plate no. 7426
Coast of the sea with a rock
Arkhyp Kuindzhi, 1908
recreation guide
Arkhyp Kuindzhi’s 'Coast of the sea with a rock' (1908) represents the artist’s mature period, characterized by a focus on 'expressive illuminative aspect of the natural condition' and 'decorative effects of color building' (Source 4). Unlike his earlier Peredvizhniki works which held social associations, this late work likely emphasizes panoramic views and the illusion of illumination through intense colors and light effects (Source 4). The medium is specified as oil on paper, a choice that allows for the 'greater flexibility, richer and denser color, the use of layers, and a wider range from light to dark' inherent to oil painting (Source 1). Kuindzhi’s practice was deeply informed by his friendship with chemist Dmitri Mendeleev, leading to a scientific approach to light, color, and perception (Source 4).
estimated time
20-30 hours over 5-7 sessions (allowing for drying times between glazes)
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (various pigments) | Primary medium for creating rich, dense color and layers | — |
| Linseed oil or Poppy seed oil | Binder and medium to thin paint or create glazes; linseed dries faster, poppy yellows less | Stand oil or refined linseed oil |
| Turpentine | Solvent to thin paint for initial layers or cleaning brushes | Odorless mineral spirits |
| Heavyweight oil paper or prepared paper | Support surface; must be sized to prevent oil absorption | Oil painting paper or acrylic-gessoed watercolor paper |
| Varnish (optional) | To enhance depth and protect the work; Kuindzhi used varnish mixed with oil for glazing | Dammar varnish or synthetic resin varnish |
| Brushes (various sizes) | For applying washes, glazes, and scumbles | Hog bristle for impasto, sable for glazing |
preparation
surface prep
Since the medium is oil on paper, the paper must be properly sized to prevent the oil from rotting the paper fibers. Source 5 notes that sizing should be 'equally distributed in the paste' to prevent irregular sponginess and stains. For oil painting on paper, a modern equivalent is applying a layer of acrylic gesso or a traditional rabbit-skin glue size followed by an oil ground. Kuindzhi’s work on paper suggests a need for a stable, non-absorbent surface to allow for the 'layers' and 'glazing' techniques described in Source 1 and Source 3.
underdrawing
Sources do not explicitly describe Kuindzhi’s underdrawing method for this specific work. However, given his scientific approach to light and color (Source 4), a light, minimal underdrawing in charcoal or thinned oil is likely, serving only to establish the 'high horizon' and panoramic composition (Source 4) without interfering with the luminous quality of the final layers.
underpainting
A monochrome underpainting (grisaille) is highly recommended based on Source 3, which describes a method of 'colouring a monochrome' where one first establishes the tonal structure. Source 3 suggests using 'black, ultramarine, and white' for the first painting to establish values before adding color. This aligns with Kuindzhi’s focus on the 'illusion of illumination' (Source 4), as establishing correct light/dark contrasts first ensures the final glazes have a solid structural foundation.
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and deep sea tones; Source 3 mentions its use in the initial black/ultramarine/white stage
White Lead/Titanium White
White pigment
Highlights and mixing with ultramarine for the underpainting (Source 3) and creating the 'grey bloom' via scumbling (Source 3)
Yellow Ochre/Chrome Yellow
Yellow earth or synthetic yellow
Glazing to add warmth and light; Source 3 mentions glazing with 'yellow and red tones' over the dry grisaille
Red Ochre/Vermilion
Red earth or vermilion
Glazing to add warmth and intensity; Source 3 mentions glazing with 'yellow and red tones'
Black (Ivory or Lamp Black)
Carbon-based black
Underpainting shadows and deep rock tones (Source 3)
composition
Kuindzhi characteristically used 'composite receptions (high horizon, etc.), creating panoramic views' (Source 4). The title 'Coast of the sea with a rock' suggests a composition where the rock likely serves as a dark mass against the light of the sea or sky, consistent with the 'sharp contrast' between dark and light masses described in Source 6 regarding Turner and Corot, which Kuindzhi’s contemporaries and successors studied. The 'high horizon' places emphasis on the sky and the expansive nature of the sea, allowing for the 'illusion of illumination' (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the high horizon line and the placement of the rock using charcoal or thinned oil. Ensure the composition allows for a panoramic view.
Tip — Keep lines minimal to avoid showing through the transparent glazes.
Sketching
underpainting
step 02
Create a grisaille (monochrome) underpainting using black, ultramarine, and white. Establish the full range of light to dark values, focusing on the contrast between the rock and the sea/sky.
Tip — Ensure the underpainting is completely dry before proceeding. This establishes the 'rhythmic tone arrangements' (Source 6).
Grisaille
first pass
step 03
Begin glazing with oil-thinned pigments. Apply transparent layers of yellow and red tones over the dry grisaille, particularly in areas of light and illumination.
Tip — Glazing is a 'transparent coat of colour' (Source 3). Build up color intensity gradually.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to create 'grey bloom' or cold tones, especially in shadows or atmospheric areas. Scumble over darker grounds to achieve coldness.
Tip — Scumbling allows the underlying painting to 'make itself felt' (Source 3). Use a dry brush with thick, pale paint.
Scumbling
finishing
step 05
Refine the 'illusion of illumination' by adjusting the intensity of colors and light effects. Add final highlights to the rock and sea foam if necessary.
Tip — Kuindzhi’s mature work is noted for 'decorative effects of color building' (Source 4). Ensure the light sources are convincing.
Layering
varnishing
step 06
Once fully dry, apply a varnish to protect the work and enhance the depth of the glazes. Kuindzhi used varnish mixed with oil for glazing, suggesting a familiarity with varnish properties.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. Kuindzhi’s scientific interest in light (Source 4) aligns with the optical mixing achieved through glazing (Source 3).
Scumbling
Applying semi-opaque, broken color over a darker ground to create atmospheric effects and 'grey bloom' (Source 3). This technique helps in rendering the 'illusion of illumination' (Source 4).
High Horizon Composition
Placing the horizon line high in the picture plane to emphasize the sky and create a panoramic view, a characteristic of Kuindzhi’s mature period (Source 4).
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency (Source 3).
- →Using too much white in the glazes, which reduces transparency and defeats the purpose of optical mixing (Source 3).
- →Ignoring the 'rhythmic tone arrangements' (Source 6) and failing to establish strong contrast between light and dark masses in the underpainting, leading to a flat final image.
- →Using unsized paper, which can lead to staining and degradation of the support (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 pigment recipes used by Kuindzhi for this 1908 work are not detailed in the sources.
- ·The exact dimensions and aspect ratio of the original work are not provided, which affects the panoramic composition planning.
- ·Specific details of the rock’s texture or the sea’s state (calm vs. stormy) are not described in the sources, requiring artistic interpretation based on the title and Kuindzhi’s general style.
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 Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper sizing and preparation warnings
The Practice and Science of Drawing↗
- SHOWING THE PRINCIPLE ON WHICH THE MASS OR TONE RHYTHM IS ARRANGED — applied to Tonal contrast and composition principles
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General properties of oil paint, layering, and varnishing
Wikipedia bio — Arkhyp Kuindzhi↗
- Arkhyp Kuindzhi — part 2 — applied to Artist’s style, high horizon composition, illusion of illumination, and scientific approach to light
Read more about the corpus on the sources page and how the guides are built on the methods page.
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