plate no. 6415

Cup of honey

oilRomanticismportraitportraitfigurewomantraditional clothingjewelryvessel

recreation guide

Konstantin Makovsky’s 'Cup of Honey' (1890) is a portrait executed in oil, reflecting the artist’s transition from strict Academic realism toward a style that emphasizes color and shape, influenced by his travels to North Africa and Serbia in the mid-1870s (Source 7). As a member of the Peredvizhniki (Wanderers), Makovsky sought realistic depictions of life, yet his later works, including this period, show qualities associated with Russian Impressionism and a heightened attention to chromatic effects (Source 7, Source 8). The work belongs to the portrait genre, which historically aims to achieve a recognizable likeness of the sitter, serving as a record of their appearance (Source 3).

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for color application	—
Linseed oil	Drying oil medium for mixing paints and glazing	Cold-pressed linseed oil
Canvas or linen support	Surface for painting; linen is historically consistent with oil painting supports	Primed linen canvas
White pigment (e.g., Titanium White or historically Lead White)	For highlights and mixing lighter tones; Lead White was dominant for centuries due to opacity and fast drying	Titanium White (non-toxic alternative)
Brushes	Application of paint, glazes, and scumbles	Hog bristle and sable brushes
Solvent (e.g., Turpentine or Odorless Mineral Spirits)	Thinning paint for underdrawing and initial layers	Odorless Mineral Spirits

preparation

surface prep

The support should be prepared with a ground suitable for oil painting. While specific preparation for this exact canvas is not detailed in the sources, traditional oil painting practice involves a stable ground to receive the oil layers. Makovsky’s academic training would imply a standard, well-prepared surface consistent with 19th-century academic standards (Source 5).

underdrawing

For complex compositions or portraits, artists often begin with a pencil, charcoal, or thin oil sketch to establish the general form and rough likeness, especially if the sitter's time is limited (Source 4). Makovsky, being an academic painter, likely employed a structured underdrawing to ensure the likeness and composition were correct before applying color.

underpainting

A grisaille (monochrome underpainting) is a traditional technique where the artist mentally extracts red and yellow colors, painting the forms in neutral tones to establish light and shadow (Source 1). This method allows for subsequent glazing and scumbling of colors. While Makovsky’s specific use of grisaille for this work is not explicitly cited, it is a documented method of the old masters and academic tradition that aligns with his training (Source 1).

color palette

Red and Yellow tones

Transparent red and yellow pigments

Glazing and scumbling over the monochrome underpainting to introduce warmth and color, as these colors were mentally extracted in the grisaille stage (Source 1)

White

Lead White (historically) or Titanium White

Highlights and mixing lighter colors; historically valued for opacity and fast drying (Source 5)

Black and Ultramarine

Black pigment and Ultramarine

Part of the initial monochrome or dark ground layers, as noted in Reynolds’ method which influenced academic practice (Source 1)

General Palette

Various pigments

Makovsky’s later style emphasized greater emphasis on colors and shapes, suggesting a vibrant palette consistent with his post-travel period (Source 7)

composition

As a portrait, the composition likely focuses on achieving a recognizable likeness of the sitter, which is the primary intent of the genre (Source 3). Makovsky’s academic background suggests a careful arrangement of the subject, possibly with symbolic elements or a background that places the sitter in a specific milieu, though specific details of the background in 'Cup of Honey' are not described in the sources (Source 4). The artist’s shift toward emphasizing color and shape may influence the compositional balance, moving away from strict linear realism (Source 7).

step by step

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

underdrawing

step 01
Sketch the general form and rough likeness of the sitter on the canvas using pencil, charcoal, or thin oil. Focus on establishing the correct proportions and pose.
Tip — Ensure the likeness is recognizable, as this is crucial for portrait painting (Source 3).
Initial sketching

underpainting

step 02
Create a grisaille underpainting using neutral tones (e.g., black, ultramarine, white) to establish light, shadow, and form. Mentally extract red and yellow colors, painting what would remain in nature without them.
Tip — Allow the grisaille to dry completely before proceeding to color layers (Source 1).
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially. This technique mimics tinting an engraving with watercolors.
Tip — Glazing involves applying a transparent coat of color, allowing the underlying painting to show through (Source 1).
Glazing

refining

step 04
Use scumbling, a semi-opaque painting technique, to adjust tones and textures. Scumbling over darker grounds can create a grey bloom or coldness, which may be used for atmospheric effects.
Tip — Scumbling allows the underlying painting to make itself felt, adding depth and complexity (Source 1).
Scumbling

finishing

step 05
Refine the likeness and details, particularly the face and hands, which are often completed first or by the master in portrait studios. Adjust colors and shapes to reflect Makovsky’s emphasis on chromatic effects.
Tip — Focus on the sitter’s expression and features to ensure a good likeness (Source 3).
Detailing

varnishing

step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the depth of the glazes. Historically, varnish and oil were mixed for glazing, but final varnishing is a separate step.
Tip — Ensure the paint is fully dry to avoid trapping solvents (Source 1).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This was a common practice among old masters and academic painters (Source 1).

Scumbling

Using semi-opaque paint to modify tones and textures, allowing the underlying layer to influence the final appearance. Useful for creating atmospheric effects or grey blooms (Source 1).

Grisaille

Creating a monochrome underpainting to establish form and value before adding color. This method separates the structural work from the color application (Source 1).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness or cracking (Source 1).
→Over-modeling or becoming too tied down to the outline, which can result in a stiff or unnatural appearance. Copying works like Reynolds’ portraits can help correct this tendency (Source 2).
→Neglecting the likeness of the sitter, which is the primary goal of portrait painting. A poor likeness can lead to client dissatisfaction (Source 3, Source 4).
→Using too much opaque paint in glazing, which defeats the purpose of transparency and depth (Source 1).

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 visual details of 'Cup of Honey' such as the sitter’s clothing, jewelry, facial expression, and background are not described in the provided sources.
·Makovsky’s exact palette for this specific painting is not detailed; the guide relies on general academic practices and his known stylistic shift toward color.
·The specific medium ratios (oil to pigment) used by Makovsky are not provided, though general oil painting practices are cited.
·The exact underdrawing method (pencil vs. charcoal vs. oil sketch) for this specific work is not confirmed, though general portrait practices are referenced.

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 Underpainting, glazing, and scumbling techniques
- ON COPYING — applied to Advice on correcting over-modeling and improving likeness

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Intent of portrait painting and likeness
- Portrait painting — part 5 — applied to Underdrawing and composition practices
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and pigments
Wikipedia bio — Konstantin Makovsky↗
- part 1 — applied to Artist’s style evolution and academic background