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home·artworks·Self-portrait (detail from The Preaching and Acts of the Antichrist)
Self-portrait (detail from The Preaching and Acts of the Antichrist) by Luca Signorelli

plate no. 4160

Self-portrait (detail from The Preaching and Acts of the Antichrist)

Luca Signorelli, 1500

frescoHigh Renaissanceself-portraitportraitfiguremanhathairface
some experience helpful

Recreating this painting will help students develop skills in portraiture, including understanding facial anatomy, color mixing for skin tones, and rendering realistic textures. It also provides practice in glazing and layering to achieve depth and subtle transitions.

technical profile

palette complexity
4
brushwork visibility
3
value contrast
4
compositional simplicity
5

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Create a light sketch of the portrait, paying attention to proportions and placement of features.

  2. step 02

    Establish the basic skin tones with a mid-tone base layer.

  3. step 03

    Begin layering in shadows and highlights to define the form of the face, using thin glazes.

  4. step 04

    Paint the hair, focusing on the direction of the strands and variations in color.

  5. step 05

    Render the hat, paying attention to the folds and textures.

  6. step 06

    Refine the details of the eyes, nose, and mouth.

  7. step 07

    Add subtle details to the background.

  8. step 08

    Apply a final glaze to unify the painting and adjust values as needed.

color palette

primary · raw umber · burnt sienna · titanium white · ivory black

secondary · yellow ochre · cadmium red light · ultramarine blue

Achieve skin tones by mixing burnt sienna, raw umber, and white, with small additions of red and yellow for warmth. Use ultramarine blue and black to create cooler shadows. Mix yellow ochre and white for highlights in the hair.

techniques

  • ·glazing
  • ·layering
  • ·scumbling
  • ·dry brushing
  • ·color mixing

common pitfalls

  • →Overworking the paint and losing the subtle transitions.
  • →Using too much paint in the initial layers.
  • →Failing to accurately capture the proportions of the face.
  • →Ignoring the subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·raw umber oil paint
  • ·burnt sienna oil paint
  • ·titanium white oil paint
  • ·ivory black oil paint
  • ·round brushes (sizes 0, 2, 4)
  • ·flat brushes (sizes 4, 6)
  • ·linseed oil

optional

  • ·palette knife
  • ·medium gloss
  • ·odorless mineral spirits

Use high-quality oil paints for best results. Allow each layer to dry before applying the next.

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