After Caravaggio, Glazing portrait painting 2 of 3
Matt Harvey: I learned a lot painting this copy of a Caravaggio portrait, and soon I hope to start sharing some paintings I am doing where I use a similar approach but not by copying. Obviously this is an allegorical painting and not strictly a portrait but that’s how I will apply what I learn […]
After Caravaggio, Glazing portrait painting 2 of 3
Matt Harvey: I learned a lot painting this copy of a Caravaggio portrait, and soon I hope to start sharing some paintings I am doing where I use a similar approach but not by copying. Obviously this is an allegorical painting and not strictly a portrait but that’s how I will apply what I learn in my portrait paintings.
I’m going to have a go and see if I can translate this way of working into one of my own portraits.
The palette for the skin tones is:
Titanium White
Vermillion
Yellow Ochre
Burnt and Raw Umber
Black – I use Ivory Black and I’m personally not fussed which black I use. The differences are very subtle and generally I’m mixing my blacks into other colours as well.
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