apprentice
artistsserieslearnchatartworkscommunity gallery
apprentice

deliberate practice for serious artists

aboutgalleryprivacyterms
built by reducibl.com
home·artworks·The old Jew
The old Jew by Alexej von Jawlensky

plate no. 3700

The old Jew

Alexej von Jawlensky, 1893

oilImpressionismportraitportraitfigureold manbeardclothingface
some experience helpful

Recreating this painting will help students develop skills in portraiture, color mixing for skin tones, and creating texture with visible brushstrokes. It also provides practice in capturing a likeness and conveying emotion through facial expression.

technical profile

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

study guide

est. 10 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the head, shoulders, and background.

  2. step 02

    Block in the main areas of color: the skin tones, the coat, the beard, and the background.

  3. step 03

    Start refining the skin tones, paying attention to the subtle variations in color and value.

  4. step 04

    Add details to the face, such as the eyes, nose, and mouth, using small, precise brushstrokes.

  5. step 05

    Work on the beard, using a dry brush technique to create texture and individual hairs.

  6. step 06

    Develop the details of the coat, including the collar and buttons.

  7. step 07

    Refine the background, adding subtle variations in color and value to create depth.

  8. step 08

    Add final highlights and shadows to enhance the form and create a sense of realism.

color palette

primary · burnt umber · raw sienna · titanium white · cadmium red

secondary · payne's gray · yellow ochre

Mix skin tones by combining burnt umber, raw sienna, titanium white, and a touch of cadmium red. Use payne's gray and white to create the cool tones in the background.

techniques

  • ·dry brush texture
  • ·color mixing
  • ·portrait sketching
  • ·blocking in
  • ·layering

common pitfalls

  • →Overmixing colors and creating muddy tones.
  • →Getting the proportions of the face wrong.
  • →Failing to capture the likeness of the subject.
  • →Ignoring the subtle variations in color and value.
  • →Overworking the painting and losing the freshness of the brushstrokes.

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·burnt umber oil paint
  • ·raw sienna oil paint
  • ·titanium white oil paint
  • ·cadmium red oil paint
  • ·#4 round brush
  • ·#6 flat brush
  • ·palette

optional

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

Use a medium-sized canvas (e.g., 16x20 inches) to allow for sufficient detail. Consider using a toned canvas to speed up the painting process.

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

related guides

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

in this vein

related artworks

View of the Bosphorus and Rumeli Hisarı

View of the Bosphorus and Rumeli Hisarı

Sevket Dag

Paysage du Midi

Paysage du Midi

Armand Guillaumin

Self-Portrait

Self-Portrait

Frederic Bazille

Tip of the Bay

Tip of the Bay

Max Kurzweil

Long Stemmed Lovelies

Long Stemmed Lovelies

Pino Daeni

At Rosetta, Lower Egypt

At Rosetta, Lower Egypt

John Varley II

House from Oltenia

House from Oltenia

Theodor Pallady

Jewish quarter in Amsterdam

Jewish quarter in Amsterdam

Max Liebermann