Countess Vera Zavadovskaya

surface prep

The canvas should be primed with a ground suitable for oil painting. While specific priming methods for Borovikovsky are not detailed in the sources, traditional oil painting practice involves preparing a stable surface to prevent cracking. The 'fat over lean' rule dictates that the initial layers must be lean (less oil) to ensure proper drying of subsequent layers (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint. This initial drawing establishes the composition and proportions. Borovikovsky’s focus on the 'inner essence' suggests a careful study of the subject’s pose and expression, particularly the eyes and eyebrows, which convey character (Source 3).

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or a similar medium. This layer establishes the values and forms without color. The grisaille should be allowed to dry completely before proceeding to color glazing (Source 2). This technique allows the artist to focus on form and light before introducing color complexity.

Glazing

Applying transparent coats of color over a dry underpainting to build depth and luminosity. This was a common practice among old masters and is essential for achieving the rich tones in Borovikovsky’s portraits.

Scumbling

Using semi-opaque paint to modify underlying tones, particularly for creating subtle effects like coolness or grey blooms. This technique adds complexity to the surface.

Fat over Lean

Ensuring each successive layer of paint contains more oil than the one below it to prevent cracking and peeling. This is a fundamental rule of oil painting.

Texture Rendering

Borovikovsky was known for his mastery of texture, particularly in depicting velvet, satin, and precious stones. This requires careful brushwork and possibly the use of palette knives or rags.