apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·St. Charles Borromeo visiting the plague sufferers in Milan (detail, self-portrait)
St. Charles Borromeo visiting the plague sufferers in Milan (detail, self-portrait) by Karel Škréta

plate no. 4167

St. Charles Borromeo visiting the plague sufferers in Milan (detail, self-portrait)

Karel Škréta, 1647

oilBaroqueportraitportraitmale figurehairclothingface
some experience helpful

Recreating this painting will help students develop skills in portraiture, including capturing likeness and creating realistic skin tones through layering and blending. It also provides practice in rendering textures, particularly in the hair and beard.

technical profile

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

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Sketch the basic shapes and proportions of the head, shoulders, and collar.

  2. step 02

    Establish the main areas of light and shadow with a thin wash of burnt umber.

  3. step 03

    Block in the skin tones using a mix of white, yellow ochre, and a touch of red.

  4. step 04

    Begin layering and blending the skin tones, paying attention to subtle variations in color and value.

  5. step 05

    Paint the hair and beard, using short, broken brushstrokes to create texture.

  6. step 06

    Add details to the eyes, nose, and mouth, capturing the likeness of the subject.

  7. step 07

    Paint the collar and clothing, using darker values to create contrast.

  8. step 08

    Refine the background and add any final details.

color palette

primary · burnt umber · yellow ochre · titanium white · cadmium red

secondary · ultramarine blue · ivory black

Achieve skin tones by mixing white, yellow ochre, and red in varying proportions. Use burnt umber and black for shadows and hair, and add blue to cool down the shadows.

techniques

  • ·layering
  • ·blending
  • ·scumbling
  • ·dry brush
  • ·glazing

common pitfalls

  • →Getting the proportions wrong in the initial sketch.
  • →Over-blending the skin tones, resulting in a flat, lifeless appearance.
  • →Failing to capture the subtle variations in color and value.
  • →Making the hair and beard look too uniform and lacking texture.

materials

surface · stretched canvas

required

  • ·stretched canvas 16x20
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·linseed oil
  • ·palette

optional

  • ·palette knife
  • ·medium gloss
  • ·easel

Use high-quality oil paints for best results. Consider using a pre-primed canvas to save time.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

Girl with a Straw Hat

Girl with a Straw Hat

Judith Leyster

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Gezicht Op De Laurenskerk Gezien Vanuit Noordoosten

Abraham Storck

Bathsheba Bathing

Bathsheba Bathing

Francesco Solimena

Repentant Peter

Repentant Peter

Guido Reni

Itinerant Musicians

Itinerant Musicians

Jacob Ochtervelt

Marie Christine

Marie Christine

Marcello Bacciarelli

Santa Cecilia E Due Angeli

Santa Cecilia E Due Angeli

Giulio Cesare Procaccini

Scene from the Life of Saint Benedict

Scene from the Life of Saint Benedict

Philippe de Champaigne