Masquerade | Classical Oil Painting Tutorial

Marion Dutton
3 days ago
2 min read

Updated: 2 days ago

Masquerade

A study in underpainting, restraint, and quiet tension

The Beginning: Structure Before Colour

Masquerade began exactly where I believe strong paintings should start, with an underpainting that does the heavy lifting. Before a single bright colour appeared, the focus was on proportion, value, and form. The face was built slowly, keeping everything subdued and controlled, allowing the expression to emerge without distraction.

Wearing the Mask

Clown imagery is always tempting to overplay, but I wanted restraint. The mask isn’t about comedy here; it’s about concealment. The underpainting allowed me to push subtle planes of the face, keeping the emotion inward rather than theatrical. The sadness sits quietly, almost unannounced, which makes it far more powerful than exaggeration ever could.

Colour With Intention

When colour was introduced, it was deliberate and sparing. The reds and blues were kept clean but controlled, laid over a solid tonal base so they felt anchored rather than decorative. The costume followed the same rule: muted greens, softened highlights, nothing shouting for attention. Everything supports the face. Always the face.

Light, Fabric, and Patience

The ruff collar became a lesson in patience. Each fold needed clarity without becoming stiff, light without losing weight. This is where traditional layering earns its keep: slow refinement, soft transitions, and knowing when to stop. Overworking would have killed the quiet elegance of the piece.

Built over a solid underpainting, the ruff was refined, fold by fold

The Final Mood

Masquerade is about what we hide as much as what we show. It’s a painting built on structure, not spectacle. The stillness, the lowered gaze, the controlled palette — all of it comes back to classical discipline doing exactly what it’s meant to do: giving emotion a solid place to live.

This piece reminds me why I return to underpainting again and again. It removes the noise, slows the process, and lets the painting become something thoughtful rather than rushed. And frankly, that’s where the real magic lies.