apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The Negro barber in Suez
The Negro barber in Suez by Leon Bonnat

plate no. 9460

The Negro barber in Suez

Leon Bonnat, 1876

oilAcademicismgenre paintingfiguresinteriorgroomingportraitclothingarchitecture
some experience helpful

Recreating this painting will develop skills in rendering skin tones with subtle variations and capturing the folds and shadows in draped fabric. Students will also learn to create a sense of depth and atmosphere through careful layering and glazing.

technical profile

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

study guide

est. 20 hrs

approach — 8 steps

  1. step 01

    Sketch the basic composition, focusing on the placement and proportions of the figures.

  2. step 02

    Establish the background with a thin wash of warm browns and yellows, creating a sense of depth.

  3. step 03

    Block in the dark tones of the figures, paying attention to the light source and shadows.

  4. step 04

    Begin layering in the mid-tones and highlights on the skin, using subtle color variations.

  5. step 05

    Paint the blue robe, focusing on capturing the folds and drapery with light and shadow.

  6. step 06

    Add details to the faces, hands, and other features, refining the forms and expressions.

  7. step 07

    Glaze over the painting to unify the colors and create a sense of atmosphere.

  8. step 08

    Add final highlights and details to complete the painting.

color palette

primary · burnt umber · yellow ochre · titanium white · ultramarine blue

secondary · raw sienna · ivory black · cadmium yellow light

Achieve skin tones by mixing burnt umber, yellow ochre, and titanium white, adjusting the proportions to create highlights and shadows. Mix ultramarine blue with white and a touch of umber for the robe.

techniques

  • ·underpainting
  • ·layering
  • ·glazing
  • ·scumbling
  • ·chiaroscuro

common pitfalls

  • →Overmixing colors, resulting in muddy tones.
  • →Failing to establish a strong value structure early on.
  • →Getting lost in details before establishing the overall form.
  • →Ignoring the subtle color variations in the skin tones.

materials

surface · stretched canvas

required

  • ·stretched canvas 18x24
  • ·burnt umber oil paint
  • ·yellow ochre oil paint
  • ·titanium white oil paint
  • ·ultramarine blue oil paint
  • ·round brushes (sizes 2, 4, 6)
  • ·flat brushes (sizes 4, 8)
  • ·linseed oil

optional

  • ·palette knife
  • ·turpentine
  • ·retouch varnish

Use high-quality oil paints for best results. Prepare the canvas with gesso before painting.

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

Portrait of a Young Woman

Portrait of a Young Woman

George Demetrescu Mirea

My daughters, Eva and Jeanne

My daughters, Eva and Jeanne

Diogène Maillart

The Reluctant Bride

The Reluctant Bride

Auguste Toulmouche

The Proposal

The Proposal

Wladyslaw Czachorski

The Dressing Room

The Dressing Room

Henri-Pierre Picou

Girl with pinks

Girl with pinks

Wladyslaw Czachorski

Self-Portrait

Self-Portrait

George Demetrescu Mirea

Portrait of Monsieur Allard

Portrait of Monsieur Allard

Leon Bonnat