plate no. 0441

Cassis. The roofs of the city

Zinaida Serebriakova, 1928

oilExpressionismcityscapecityscaperooftopsbuildingsskytreeschurch

recreation guide

Zinaida Serebriakova’s 1928 oil painting *Cassis. The roofs of the city* is an Expressionist cityscape that captures the urban landscape of Cassis, France. As a cityscape, it falls within the genre of landscape painting that depicts cities and urban environments, often emphasizing the arrangement of buildings and the interplay of light and shadow on architectural forms (Source 3). Serebriakova, a prominent Russian artist who spent significant time in France, is known for her vibrant use of color and expressive brushwork, which aligns with the Expressionist style’s focus on emotional experience over strict realism. The painting likely employs the traditional oil painting techniques of the period, including layering and the use of solvents to adjust paint consistency, allowing for the dynamic texture and depth characteristic of her work (Source 1).

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for painting	—
Linseed oil	To thin paint and increase oil content in upper layers for 'fat over lean' application	—
Mineral spirits or turpentine	To thin paint for initial layers and clean brushes	—
Canvas	Support for the painting	—
Charcoal or thinned paint	For initial sketching of the composition	—
Paintbrushes and palette knives	For applying and manipulating paint	—
Rags	For wiping away wet paint or blending	—

preparation

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While specific details of Serebriakova’s ground preparation are not provided in the sources, standard practice involves ensuring the surface is stable to prevent cracking. The 'fat over lean' rule is critical here, meaning the initial layers should be leaner (more solvent) and subsequent layers richer in oil to ensure proper drying and longevity (Source 1).

underdrawing

Begin by sketching the composition onto the canvas using charcoal or thinned paint. This initial drawing should outline the roofs and key architectural elements of Cassis, establishing the structure of the cityscape. Contour drawing techniques can be useful here to emphasize the mass and volume of the buildings rather than fine details, focusing on the overall shape and perspective (Source 1, Source 7).

underpainting

Apply a thin layer of paint, likely using a limited palette, to establish the basic tones and values of the scene. This layer should be lean, using more solvent than oil, to allow for proper drying and to serve as a foundation for subsequent layers. The underpainting can help in visualizing the light and shadow relationships in the cityscape (Source 1).

color palette

Warm earth tones

Ochres, umbers, siennas

General use in depicting the roofs and buildings, consistent with the artist's palette for urban scenes

Cool blues and greens

Ultramarine, phthalo blue, viridian

Sky and shadows, creating contrast with the warm tones of the buildings

Vibrant accents

Cadmium red, yellow, white

Highlights and areas of intense light, reflecting the Expressionist style's emphasis on emotional impact

composition

The composition should avoid exact bisections and place the prominent subject, such as a cluster of roofs, off-center to create visual interest. The horizon line should be positioned to emphasize either the sky or the ground, likely showing more ground to focus on the cityscape. Use detailed areas in the foreground and 'rest' areas in the background to guide the viewer's eye through the painting (Source 2). The arrangement of elements should lead the viewer's gaze around the image before leading out, preventing the composition from becoming a static pattern (Source 2).

step by step

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

underdrawing

step 01
Sketch the main outlines of the roofs and buildings using charcoal or thinned paint.
Tip — Focus on the overall shape and mass of the structures rather than fine details.
Contour drawing

underpainting

step 02
Apply a thin, lean layer of paint to establish basic tones and values.
Tip — Use more solvent than oil to ensure quick drying and a stable foundation.
Lean underpainting

first pass

step 03
Begin applying thicker layers of paint, focusing on the main colors and forms of the cityscape.
Tip — Ensure each layer has more oil than the previous one to prevent cracking.
Fat over lean

refining

step 04
Add details and refine the edges of the roofs and buildings. Use palette knives or brushes to adjust texture and form.
Tip — Oil paint remains wet longer, allowing for adjustments to color and texture.
Palette knife application

finishing

step 05
Apply final highlights and shadows, ensuring contrast between detailed and rest areas.
Tip — Use small, high-contrast elements to draw attention to key areas.
Contrast and detail

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the colors.
Tip — Ensure the painting is fully dry to avoid trapping solvents.
Varnishing

critical techniques

Fat over lean

Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking. This is a basic rule of oil paint application.

Contour drawing

Used in the underdrawing phase to emphasize the mass and volume of the buildings, focusing on the outlined shape rather than minor details.

Palette knife application

Can be used to scrape off paint or apply thick layers, allowing for adjustments to texture and form while the paint is wet.

common pitfalls

→Applying lean layers over fat layers, which can lead to cracking and peeling of the paint film (Source 1).
→Placing the horizon line in the exact center of the composition, which can make the image appear static and unbalanced (Source 2).
→Over-detailing all areas of the painting, which can overwhelm the viewer and reduce the impact of key focal points (Source 2).

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 color choices and exact pigment mixes used by Serebriakova for this particular painting are not detailed in the sources.
·The exact preparatory methods and ground preparation techniques used by Serebriakova are not explicitly described.
·Detailed visual elements such as specific architectural features or atmospheric conditions in the painting are not provided in the sources.

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 Techniques for oil painting, including 'fat over lean' rule and use of solvents
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 6 — applied to Principles of composition, such as avoiding bisections and using contrast
Wikipedia: Landscape painting↗
- Landscape painting — part 13 — applied to Definition and characteristics of cityscapes
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Techniques for underdrawing and emphasizing mass and volume