plate no. 4966

Self-Portrait Nude Torso

Avigdor Arikha, 1991

oilContemporary Realismnude painting (nu)portraitfiguremale nudetorsoself-portraitglasses

some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and rendering skin tones using a limited palette and visible strokes. It also provides practice in depicting the human form and understanding basic anatomy.

technical profile

palette complexity

brushwork visibility

value contrast

compositional simplicity

study guide

est. 8 hrs

approach — 8 steps

step 01
Lightly sketch the basic proportions and pose of the figure, paying attention to the overall composition.
step 02
Establish the darkest areas of the background with charcoal or dark pastel.
step 03
Begin layering skin tones, starting with a base of light ochre or a similar neutral color.
step 04
Gradually build up the shadows and highlights on the figure, using reds, browns, and whites to create depth and form.
step 05
Add details to the face, focusing on capturing the likeness of the subject, including the eyes, nose, and mouth.
step 06
Render the hair with loose, expressive strokes, using a combination of browns, reds, and yellows.
step 07
Refine the details of the figure, paying attention to the subtle variations in skin tone and texture.
step 08
Add final touches and highlights to complete the painting.

color palette

primary · burnt umber · raw sienna · titanium white

secondary · cadmium red · ultramarine blue · ivory black

Achieve skin tones by mixing burnt umber, raw sienna, and titanium white in varying proportions. Use cadmium red for warmer areas and ultramarine blue for cooler shadows. Mix black with browns for the background.

techniques

·hatching
·scumbling
·blending
·layering
·dry brushing

common pitfalls

→Over-blending the skin tones, resulting in a flat and lifeless appearance.
→Ignoring the subtle variations in color and value, leading to a lack of depth and realism.
→Failing to capture the likeness of the subject, resulting in a generic and unconvincing portrait.
→Overworking the details, resulting in a stiff and unnatural appearance.

materials

surface · Pastel paper or toned paper

required

·Oil pastels or soft pastels
·Pastel paper or toned paper
·Charcoal pencil
·Kneaded eraser
·Blending stumps or tortillions
·Fixative spray
·Palette for mixing
·Soft cloths

optional

·Palette knife
·Workable fixative
·Easel

Choose a paper with a slightly textured surface to better grip the pastel. Toned paper can help establish a base color and create a more harmonious composition.

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