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home·artworks·Zinaida Yusupova (Naryshkina)
Zinaida Yusupova (Naryshkina) by Christina Robertson

plate no. 0940

Zinaida Yusupova (Naryshkina)

Christina Robertson, 1845

oilAcademicismportraitportraitfiguredresshairflowerslace
some experience helpful

Recreating this painting will help students develop skills in portraiture, including accurate proportions and subtle color blending for skin tones. It also provides practice in rendering delicate details like lace and fabric folds.

technical profile

palette complexity
4
brushwork visibility
2
value contrast
3
compositional simplicity
4

study guide

est. 15 hrs

approach — 8 steps

  1. step 01

    Lightly sketch the basic shapes and proportions of the figure, focusing on the head, shoulders, and arm placement.

  2. step 02

    Block in the background with a thin, even layer of neutral color.

  3. step 03

    Establish the main areas of light and shadow on the face and hands using a limited palette of skin tones.

  4. step 04

    Begin layering and blending colors to refine the skin tones, paying attention to subtle shifts in value and hue.

  5. step 05

    Paint the dress, focusing on capturing the folds and highlights of the fabric.

  6. step 06

    Add details such as the lace trim, hair, and flowers.

  7. step 07

    Refine the overall composition and make any necessary adjustments to the values and colors.

  8. step 08

    Add final highlights and details to bring the painting to life.

color palette

primary · titanium white · rose madder · raw umber · ivory black

secondary · yellow ochre · ultramarine blue · cadmium red light

Achieve skin tones by mixing white, rose madder, raw umber, and small amounts of yellow ochre and blue. To create the pink dress, mix white with rose madder and a touch of red.

techniques

  • ·portraiture
  • ·glazing
  • ·blending
  • ·rendering fabric
  • ·chiaroscuro

common pitfalls

  • →Incorrect proportions of the face and body
  • →Muddy skin tones due to over-mixing
  • →Lack of contrast in the fabric folds
  • →Overworking details before establishing the overall form

materials

surface · stretched canvas

required

  • ·stretched canvas
  • ·titanium white oil paint
  • ·rose madder oil paint
  • ·raw umber oil paint
  • ·ivory black oil paint
  • ·#2 round brush
  • ·#4 filbert brush
  • ·palette

optional

  • ·palette knife
  • ·linseed oil
  • ·turpentine
  • ·medium gloss

Use high-quality oil paints for best results. A smooth canvas surface will aid in blending.

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