plate no. 1879
A portrait of E. I. Makovsky
Vladimir Makovsky, 1880
recreation guide
Vladimir Makovsky’s 1880 portrait of E. I. Makovsky is a work of Russian Realism, a style defined by the artist’s commitment to depicting subjects with psychological depth and social consciousness, often employing irony or humor (Source 7). As a founding member of the Association of Travelling Art Exhibitions and an academician, Makovsky operated within a tradition that valued precise observation and the faithful reproduction of light and color modifications on the model (Source 2). The portrait likely adheres to the principles of color contrast and harmony, where the painter seeks to find the predominating color in the complexion and uses accessories or backgrounds to enhance its value, avoiding the monotony of unbroken tones (Source 1).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigment + drying oil) | Primary medium for the portrait | Modern tube oils; historically, linseed oil was the general-purpose drying oil (Source 3) |
| Linseed oil | Drying oil for mixing paints; general purpose | Refined linseed oil |
| Safflower, walnut, or poppyseed oil | Mixing lighter colors like white to prevent yellowing | Light-bodied oils or specific white pigment formulations (Source 3) |
| Canvas or linen support | Surface for painting | Primed linen or cotton canvas |
| Lead white (historical) or Titanium/Zinc White (modern) | Opacity and highlights; historically dominant white pigment | Titanium White (non-toxic alternative to Lead White) (Source 3) |
| Siccative (optional) | To accelerate drying time if needed | Cobalt or iron-based siccatives (Source 3) |
preparation
surface prep
Prepare a linen or canvas support. While specific priming recipes for Makovsky are not detailed in the sources, standard oil painting practice of the period involved preparing a ground that allows for the layering of transparent and semi-opaque glazes. The surface should be smooth enough to allow for the fine detail characteristic of realism but textured enough to hold the oil paint. (Source 3)
underdrawing
The sources do not explicitly describe Makovsky’s underdrawing method for this specific portrait. However, given the Realist style and the emphasis on perceiving and imitating light modifications promptly (Source 2), a precise underdrawing is likely. Artists of this period often used charcoal or thinned oil to establish proportions and light/shadow relationships before applying color.
underpainting
A grisaille (monochrome underpainting) is a likely technique, consistent with the practice of old masters and the method described in Source 4. This involves painting the composition in neutral tones (black, ultramarine, white) to establish values before applying color glazes. This method helps in mentally extracting red and yellow colors to translate the underlying structure (Source 4).
color palette
Complexion tones
Lead white (or modern equivalent), ochres, umbers, and subtle reds
Faithfully reproducing the predominating color in the complexion, avoiding the error of assuming complexions are only red and white (Source 1)
Background/Dress
Complementary colors to the complexion, possibly broken with grey
Creating harmony of contrast; ensuring the dress and background are well-chosen to give value to the complexion (Source 1)
Highlights
White mixed with safflower/walnut oil to prevent yellowing
Light tones that require less yellowing upon drying (Source 3)
composition
The composition likely focuses on the sitter’s likeness and psychological presence, consistent with Makovsky’s realist approach. The arrangement of elements would aim to harmonize colors inherent to the objects while using contrast to distinguish planes (Source 2). Specific compositional details like background objects are not described in the sources, so the focus remains on the interplay of light and color on the figure.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the portrait with charcoal or thinned oil, focusing on accurate proportions and the direction of light.
Tip — Ensure the likeness is recognizable, as the goal is a good record of appearance (Source 6).
Realist underdrawing
underpainting
step 02
Apply a grisaille layer using black, ultramarine, and white to establish values. This monochrome base helps in visualizing the final color structure.
Tip — Let this layer dry completely before proceeding to glazing (Source 4).
Grisaille
first pass
step 03
Begin glazing and scumbling colors over the dry grisaille. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to build up the complexion and clothing.
Tip — Use oil as a medium initially; later, varnish and oil can be mixed for mastery (Source 4).
Glazing and Scumbling
refining
step 04
Refine the complexion by identifying its predominating color and adjusting surrounding colors to enhance it. Use complementary colors or broken tones with grey to create contrast and avoid monotony.
Tip — Avoid crudity or too great intensity by using light tones of complementary colors (Source 1).
Harmony of Contrast
finishing
step 05
Finalize the portrait by ensuring that the modifications of light on the model are accurately imitated. Check for simultaneous contrast effects, where colors appear different due to adjacent hues.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; adjust accordingly (Source 2).
Simultaneous Contrast
critical techniques
Harmony of Contrast
Used to bring out colors by using complementary or opposed tones, especially in portrait painting to enhance the complexion. Mixing colors with grey can avoid monotony and distinguish planes (Source 1).
Simultaneous Contrast
Understanding that two colored objects viewed together appear different than when viewed separately. The painter must appreciate these modifications to imitate them accurately (Source 2).
Glazing and Scumbling
Glazing involves transparent coats of color, while scumbling is semi-opaque painting over a darker ground. This method was practiced by old masters and helps in building up color depth (Source 4).
common pitfalls
- →Assuming complexions are only red and white, which is a common error; complexions can be brown, bronzed, or copper (Source 1).
- →Ignoring the effect of simultaneous contrast, leading to inaccurate color perception and application (Source 2).
- →Using linseed oil for white pigments, which can cause yellowing over time; use safflower, walnut, or poppyseed oil for lighter colors (Source 3).
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness (Source 4).
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 details of E. I. Makovsky’s appearance (clothing, facial features, background) are not described in the sources, so the recreation must rely on general realist principles rather than specific visual references.
- ·Makovsky’s exact palette for this specific painting is not documented; the guide uses general period-appropriate pigments.
- ·The specific varnishing technique used by Makovsky is not detailed; standard oil painting varnishing practices are assumed.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- 328-331 — applied to Color harmony, complexion painting, and contrast techniques
- 315-318 — applied to Perception of light, simultaneous contrast, and color accuracy
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Grisaille underpainting, glazing, and scumbling techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- part 4 — applied to Materials, drying oils, and pigment properties
Wikipedia bio — Vladimir Makovsky↗
- part 1 — applied to Artist’s style, realism, and historical context
Read more about the corpus on the sources page and how the guides are built on the methods page.
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