plate no. 0471

Княжна Лопухина

oilRococoportraitportraitfigurelandscapetreesclothinghair

recreation guide

This recreation guide addresses the painting 'Княжна Лопухина' (Princess Lopukhina) by Vladimir Borovikovsky, dated to 1797 according to art-historical records (Source 1). Borovikovsky was a prominent Russian portraitist of the late 18th and early 19th centuries, known for his 'chamber portraits' that embodied the ideal of beauty of his era while subtly conveying the inner world of his subjects (Source 1). His work represents a fusion of classicist and sentimental styles, characterized by limited emotional expression in the face but a diversity of innermost feelings conveyed through subtle cues (Source 1). As a left-handed painter who gained fame in the late 1790s, Borovikovsky’s practice involved a mastery of texture, particularly in ceremonial portraits, though this specific work is a chamber portrait likely focusing on the sitter’s character and moral quality rather than just literal likeness (Source 1, Source 5).

estimated time

40-60 hours over 6-8 weeks (allowing for drying times between glaze layers)

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red Ochre, Yellow Ochre)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil	Medium for mixing paint and glazing	Refined linseed oil
Mineral spirits or Turpentine	Thinner for initial sketching and cleaning brushes	Odorless mineral spirits
Canvas or Panel	Support surface	Linen canvas primed with gesso
Charcoal or Thinned Paint	Initial sketching	Vine charcoal or raw umber thinned with solvent
Varnish (optional for final glazing)	To mix with oil for final transparent layers	Dammar varnish

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a smooth ground. Borovikovsky’s work, particularly his ceremonial portraits, demonstrates a mastery of texture and smoothness, suggesting a fine-tooth surface is preferable to a heavy weave that might disrupt the delicate rendering of skin and fabrics (Source 1). The surface should be sealed to prevent oil absorption, ensuring the 'fat over lean' principle can be maintained (Source 3).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 3). Given Borovikovsky’s focus on the 'inner essence' and 'character' of the sitter, the underdrawing should prioritize accurate proportions and the subtle tilt of the head and eyes, which are critical for conveying the 'serious, closed lip stare' or slight smile typical of the era (Source 5). Since Borovikovsky painted with his left hand, the artist recreating this work should be mindful of their own handedness if attempting to mimic his specific brushstroke direction, though the source does not specify if his left-handedness affected his preparatory sketches (Source 1).

underpainting

Employ a monochrome underpainting (grisaille) technique. This involves painting the composition in a single color (typically black, white, and ultramarine or a warm earth tone) to establish values and forms before applying color (Source 2). This method allows the artist to focus on the 'inner significance' and form without the distraction of color, aligning with the traditional practices of the old masters that Borovikovsky likely adhered to (Source 2, Source 8). Ensure this layer is completely dry before proceeding.

color palette

Ultramarine

Pure ultramarine

Underpainting shadows and cool tones

White

Lead white or Titanium white

Highlights and mixing tints in underpainting

Black

Ivory black or Lamp black

Underpainting shadows and defining forms

Red Ochre/Venetian Red

Red earth pigments

Glazing warm tones in skin and fabrics

Yellow Ochre

Yellow earth pigments

Glazing warm tones and highlights

composition

Borovikovsky’s chamber portraits typically feature a restrained appearance with the subject placed against an interior background rather than a landscape (Source 1). The composition likely focuses on the head and shoulders or half-length view, emphasizing the sitter’s face and upper body to convey character (Source 5). The arrangement should avoid excessive detail in the background, keeping the focus on the 'inner world' of the subject (Source 1).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the portrait using charcoal or thinned paint, focusing on the proportions of the face and the subtle expression of the eyes and eyebrows.
Tip — Ensure the eyes are accurately placed, as they convey the most reliable information about the subject's character (Source 5).
Direct sketching

underpainting

step 02
Apply a monochrome grisaille layer using black, white, and ultramarine (or a warm earth tone) to establish all values and forms. Do not use red or yellow yet.
Tip — Mentally extract red and yellow colors, translating what would be left in nature if these colors were not present (Source 2).
Grisaille

first pass

step 03
Once the grisaille is completely dry, begin glazing with oil. Apply transparent coats of red and yellow tones over the underpainting.
Tip — Glazing is a transparent coat of color that allows the underlying painting to show through, enhancing depth and richness (Source 2).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust highlights and cool tones, particularly in areas where the underlying dark ground should remain visible.
Tip — Scumbling over a darker ground tends to produce a cold, grey bloom, useful for shadows and distant areas (Source 2).
Scumbling

finishing

step 05
Refine the textures of clothing and skin. Borovikovsky was known for mastering the softness of velvet and the brilliance of fabrics in his ceremonial works; apply this attention to texture here.
Tip — Use the 'fat over lean' rule: each additional layer should contain more oil than the layer below to prevent cracking (Source 3).
Texture rendering

varnishing

step 06
Allow the painting to dry completely (up to two weeks) before applying a final varnish if desired.
Tip — Oil paint dries by oxidation, not evaporation, so patience is required (Source 3).
Varnishing

critical techniques

Glazing and Scumbling

Borovikovsky’s era and style likely utilized these traditional oil painting methods. Glazing adds depth and luminosity, while scumbling adds texture and cool tones. This method was practiced by old masters and is essential for achieving the subtle transitions in skin and fabric seen in high-quality portraits of this period (Source 2).

Fat over Lean

A fundamental rule of oil painting where each successive layer contains more oil than the previous one. This ensures proper drying and prevents the paint film from cracking or peeling (Source 3).

Character Portraiture

Focus on the 'inner essence' and 'moral quality' of the sitter rather than just physical likeness. The expression should be serious or subtly smiling, with emotion conveyed primarily through the eyes and eyebrows (Source 5).

common pitfalls

→Applying thick paint over thin paint (violating 'fat over lean') will cause cracking and peeling (Source 3).
→Over-modeling or being too tied down to the outline can result in a stiff, unnatural appearance. Borovikovsky’s work is noted for its subtlety and inner feeling, not rigid formalism (Source 1, Source 6).
→Ignoring the drying time of oil paint. Oil paint dries by oxidation and can take up to two weeks to dry to the touch; applying new layers too soon can ruin the painting (Source 3).
→Focusing too much on literal likeness rather than character. A well-executed portrait should show the inner significance of the subject (Source 5).

what the sources don't tell us

Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.

·Specific visual details of Princess Lopukhina’s clothing, jewelry, or background are not described in the provided sources, so the artist must rely on general knowledge of late 18th-century Russian aristocratic fashion or reference images of Borovikovsky’s other works from 1797.
·The exact color palette used by Borovikovsky for this specific painting is not detailed in the sources, so the guide relies on general period-appropriate pigments and the glazing technique described in Source 2.
·Borovikovsky’s specific preparatory methods (e.g., whether he used cartoons or direct drawing) are not explicitly detailed, so the guide assumes standard charcoal/thinned paint sketching (Source 3).

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and material understanding

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Artist context, style description, and texture mastery
Wikipedia: Oil painting↗
- part 2 — applied to Fat over lean rule and drying times
Wikipedia: Portrait painting↗
- part 2 — applied to Character portraiture and expression