plate no. 6347

Alexander I

oilRococoportraitportraitfigurebustdraperybookspedestal

recreation guide

Vladimir Borovikovsky’s *Alexander I* is a quintessential example of late 18th-century Russian portraiture, blending the elegance of the Rococo style with the emerging Neoclassical seriousness appropriate for imperial subjects. As a portrait intended to memorialize a powerful figure, the work aims not merely at literal likeness but at capturing the 'inner essence' and 'moral quality' of the Tsar, avoiding fleeting expressions in favor of a dignified, character-defining gaze (Source 3, Source 6). The painting likely employs the sophisticated oil techniques standard for the period, including the use of a monochrome underpainting (grisaille) to establish form and value before applying transparent glazes and semi-opaque scumbles to achieve luminosity and depth (Source 2). The artist’s practice would have adhered to the 'fat over lean' principle to ensure the stability of the paint film, utilizing linseed oil and solvents to manipulate drying times and texture (Source 1, Source 4).

estimated time

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

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Primed linen canvas	Support for the oil painting	Pre-primed linen canvas
Charcoal or thinned paint	Initial sketching of the subject onto the canvas	Vine charcoal or raw umber thinned with solvent
Linseed oil	Medium to mix with paint, ensuring 'fat over lean' application and proper drying	Stand linseed oil or refined linseed oil
Mineral spirits or turpentine	Solvent to thin paint for underpainting and cleaning brushes	Odorless mineral spirits (OMS) or Gamsol
Oil paints (Black, Ultramarine, White, Red, Yellow earth tones)	Creating the grisaille underpainting and subsequent color glazes	Artist-grade oil paints
Paintbrushes	Primary tool for transferring paint to the surface	Hog bristle and sable brushes
Palette knives and rags	Scraping off wet paint for corrections or applying thick layers	Flexible palette knives and lint-free rags

preparation

surface prep

The canvas should be primed to create a stable ground. While specific priming recipes for Borovikovsky are not detailed in the sources, traditional oil painting practice of the era involved preparing a surface that could support multiple layers of oil paint without cracking. The artist would ensure the ground was dry before beginning the underdrawing (Source 1, Source 4).

underdrawing

The process likely begins with sketching the subject onto the canvas using charcoal or thinned paint. This initial step establishes the composition and proportions of the figure, allowing the artist to adjust the form before committing to opaque color (Source 1, Source 4).

underpainting

A monochrome underpainting, or grisaille, is likely employed. This involves painting the forms using a limited palette (such as black, ultramarine, and white, or earth tones) to establish values and structure. This layer must be allowed to dry completely before color is applied, serving as the foundation for subsequent glazing (Source 2).

color palette

Black

Bone black or ivory black

Part of the grisaille underpainting to establish shadows and form

Ultramarine

Natural ultramarine

Part of the grisaille underpainting, providing cool shadows and depth

White

Lead white or zinc white

Part of the grisaille underpainting to establish highlights and mid-tones

Red and Yellow tones

Vermilion, red lake, yellow ochre

Applied as transparent glazes and semi-opaque scumbles over the dry grisaille to introduce warmth and flesh tones

composition

The composition is organized to highlight the 'inner significance' of the subject, consistent with portrait painting traditions that prioritize character over literal detail (Source 6). The arrangement of elements follows principles of visual ordering, using line, shape, and value to guide the viewer’s eye to the face and expression, which are critical for conveying the subject's moral quality (Source 7, Source 6). Specific details of the room layout or clothing patterns are not described in the sources, so the focus remains on the general compositional strategy of emphasizing the sitter's presence and dignity.

step by step

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

underdrawing

step 01
Sketch the figure of Alexander I onto the primed canvas using charcoal or thinned paint. Focus on accurate proportions and the three-quarter view of the head, which is common in portraiture to reveal character (Source 6).
Tip — Ensure the sketch is light enough to be covered by subsequent layers but clear enough to guide the underpainting.
Underdrawing

underpainting

step 02
Apply a monochrome grisaille layer using black, ultramarine, and white (or earth tones) to establish the values and forms of the face, hands, and clothing. This layer should be 'lean' (mixed with more solvent than oil) to dry quickly and firmly (Source 2, Source 1).
Tip — Allow this layer to dry completely. Rushing this step can lead to cracking or muddiness in later layers.
Grisaille

first pass

step 03
Begin applying color using glazing techniques. Mix transparent colors with oil and varnish to tint the dry grisaille, similar to tinting an engraving with watercolors. Start with red and yellow tones to warm up the flesh and clothing (Source 2).
Tip — Apply thin, transparent layers. The underlying grisaille will show through, creating depth and luminosity.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust highlights and cool tones. This technique allows the underlying painting to remain visible while modifying the surface color. Pay close attention to the eyes and eyebrows, which convey the subject's character and emotion (Source 6, Source 2).
Tip — Ensure each new layer is 'fatter' (contains more oil) than the previous one to prevent cracking (Source 1).
Scumbling

finishing

step 05
Refine details in the face and hands, ensuring the expression is serious and dignified, avoiding exaggerated smiles or fleeting emotions. Use brushes, palette knives, or rags to adjust texture and form as needed (Source 6, Source 1).
Tip — Oil paint remains wet longer than other media, allowing for adjustments. If a mistake is made, wet paint can be removed with a rag and turpentine (Source 1).
Detailing

varnishing

step 06
Once the painting is completely dry (which may take weeks), apply a varnish to protect the surface and unify the sheen. This step enhances the depth of the glazes and protects the paint film (Source 1, Source 2).
Tip — Ensure the painting is fully cured to avoid trapping solvents under the varnish.
Varnishing

critical techniques

Fat over Lean

Each subsequent layer of paint must contain more oil than the layer below it. This prevents the painting from cracking and peeling as it dries by oxidation (Source 1, Source 4).

Glazing and Scumbling

Glazing involves applying transparent coats of color over a dry underpainting to achieve luminosity. Scumbling involves applying semi-opaque paint to modify tones while allowing the underlayer to show through. These techniques were widely used by old masters to build up color and depth (Source 2).

Grisaille Underpainting

A monochrome underpainting establishes the values and forms of the subject before color is introduced. This method allows the artist to focus on structure and light without the distraction of color (Source 2).

common pitfalls

→Applying lean layers over fat layers, which can cause the paint film to crack and peel (Source 1).
→Rushing the drying process between layers, especially the grisaille underpainting, which can lead to muddiness or structural instability (Source 2).
→Focusing too much on literal likeness rather than the 'inner essence' and character of the subject, which is the goal of great portraiture (Source 6).
→Over-modeling or being too timid with outlines, which can result in a stiff or lifeless appearance (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 pigments used by Borovikovsky for this particular painting are not detailed in the sources.
·The exact dimensions and aspect ratio of the canvas are not provided.
·Specific details of Alexander I's clothing, jewelry, or background elements are not described in the sources, so they must be inferred from general historical knowledge or omitted.
·The specific varnish formula used by the artist is not detailed.

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 Grisaille underpainting, glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of medium and material properties

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Underdrawing, fat over lean principle, drying times, and use of solvents
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Purpose of portraiture and likeness
- Portrait painting — part 2 — applied to Expression, character, and facial features in portraiture
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional principles