An Arab in a turban

surface prep

Prepare a primed canvas or panel. Given Makovsky’s Academic background and the era’s practices, a white or light-toned ground is likely to facilitate the glazing techniques described in historical texts. The surface should be smooth to allow for the fine detail expected in portrait work.

underdrawing

Sketch the general form and rough likeness using thin oil, pencil, or charcoal. In portrait painting, it is common to establish the face first, as it is the focal point (Source 6). Makovsky’s academic training suggests a careful preliminary drawing to ensure anatomical correctness before applying paint.

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 1). This step involves mentally extracting red and yellow colors to establish the tonal structure. The grisaille should be allowed to dry completely before proceeding to color layers (Source 1).

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This method was practiced by old masters and is essential for achieving the rich coloration in Makovsky’s later works.

Scumbling

Using semi-opaque paint over a darker ground to create coldness or grey blooms. This technique adds texture and atmospheric quality.

Complementary Darkening

Darkening colors by adding their complement rather than black to avoid unwanted hue shifts, particularly important for flesh tones.