apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·Sir Thomas Wright
Sir Thomas Wright by John Pettie

plate no. 8187

Sir Thomas Wright

John Pettie

oilRomanticismportraitportraitfiguremanclothingchairjewelry
experienced study

Recreating this painting will help students develop skills in portraiture, including accurate proportions, rendering of fabric textures, and creating a sense of depth through subtle value changes. It also provides practice in painting metallic details and lace.

technical profile

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

study guide

est. 25 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the figure and chair.

  2. step 02

    Establish the overall value structure with a thin wash of burnt umber.

  3. step 03

    Block in the main areas of color, focusing on the background, clothing, and skin tones.

  4. step 04

    Refine the facial features, paying close attention to the light and shadow on the face.

  5. step 05

    Add details to the clothing, including the lace, jewelry, and hat.

  6. step 06

    Develop the background and chair, adding subtle variations in color and texture.

  7. step 07

    Glaze thin layers of color to enhance the depth and richness of the painting.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · ivory black · raw umber · titanium white · cadmium red light

secondary · yellow ochre · burnt sienna · ultramarine blue

Mix skin tones using titanium white, cadmium red light, yellow ochre, and a touch of raw umber. Achieve the dark blacks by mixing ivory black with a touch of burnt umber.

techniques

  • ·portraiture
  • ·glazing
  • ·chiaroscuro
  • ·rendering fabric
  • ·underpainting

common pitfalls

  • →Getting the proportions wrong, especially in the face.
  • →Overworking the details too early in the painting process.
  • →Making the skin tones look flat and lifeless.
  • →Failing to create a sense of depth and atmosphere.

materials

surface · stretched canvas

required

  • ·Stretched canvas 18x24
  • ·Oil paints (ivory black, raw umber, titanium white, cadmium red light, yellow ochre, burnt sienna, ultramarine blue)
  • ·Assorted brushes (round, flat, filbert)
  • ·Palette
  • ·Palette knife
  • ·Odorless mineral spirits
  • ·Linseed oil
  • ·Rags

optional

  • ·Retouch varnish
  • ·Medium gloss
  • ·Easel

Use high-quality oil paints for best results. A medium-tooth canvas will provide a good surface for blending and layering.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

oil painting for beginners →how to learn by studying the masters →
chat about this artwork

in this vein

related artworks

Romantic Landscape

Romantic Landscape

Karl Lessing

Self-portrait with his brother Francesco

Self-portrait with his brother Francesco

Giuseppe Tominz

Oenone Refuse de Secourir Pâris au Siège de Troie

Oenone Refuse de Secourir Pâris au Siège de Troie

Léon Cogniet

Duke of Alba

Duke of Alba

Francisco Goya

Blick Aus Dem Wald Ins Tal

Blick Aus Dem Wald Ins Tal

Andreas Achenbach

Young Girl Fixing Her Hair

Young Girl Fixing Her Hair

Sophie Gengembre Anderson

The Plough Inn

The Plough Inn

William Shayer

Hudson River Landscape

Hudson River Landscape

Johann Hermann Carmiencke