plate no. 0595

During the harvest in Ukraine

oilRomanticismlandscapefieldskycloudsfigurescartwindmill

recreation guide

Ivan Aivazovsky’s *During the harvest in Ukraine* (1883) represents a departure from his most famous marine subjects, engaging instead with the landscape genre. While Aivazovsky is primarily celebrated as a master of marine art, he produced numerous Ukrainian landscapes, including depictions of the Dnieper and the steppe, reflecting his deep connection to the region where he was based in Feodosia (Source 6). The work falls within the Romantic tradition, a style Aivazovsky maintained throughout his career even as Russian art shifted toward Realism (Source 7). By 1883, his palette had evolved; his later works are characterized by delicate colors and, in his final decades, a tendency toward silver-toned atmospheres, suggesting a refined, luminous approach to light and atmosphere rather than the bold, epic contrasts of his earlier years (Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

4 items

steps

4 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre, Vermilion)	Primary pigments for underpainting and glazing	Modern tube oils; ensure ultramarine is high quality for transparency
Linseed oil or Oil of Copavia	Medium for mixing paints and glazing	Stand oil or pure linseed oil; Copavia is a historical resinous oil
Canvas or linen support	Surface for painting	Pre-primed linen canvas
Varnish	For final glazing layers and protection	Dammar or synthetic resin varnish

preparation

surface prep

Prepare a standard oil ground on linen or canvas. Aivazovsky’s academic training at the Imperial Academy of Arts suggests a preference for smooth, well-prepared surfaces that allow for the delicate handling of light characteristic of his later work (Source 4, Source 7).

underdrawing

Aivazovsky’s preparatory methods are not explicitly detailed in the provided sources. However, given his academic background and the precision of his light effects, a light, loose charcoal or thinned oil sketch is likely to establish the horizon and major compositional elements without interfering with the subsequent glazing process.

underpainting

Employ a grisaille (monochrome underpainting) using black, ultramarine, and white. This technique aligns with the method described by Sir Joshua Reynolds, which Aivazovsky’s academic contemporaries and predecessors utilized: establishing the tonal structure first, mentally extracting red and yellow colors to focus on form and light (Source 1). This allows for the subsequent application of transparent color glazes.

color palette

Ultramarine

Pure ultramarine

Underpainting shadows and sky tones; foundational blue for glazing

White

Lead white (historical) or Titanium/Zinc white (modern)

Highlights in underpainting and mixing with glazes

Black

Ivory black or Lamp black

Deep shadows in the grisaille underpainting

Yellow/Red Tones

Yellow Ochre, Raw Sienna, Vermilion

Glazing over the dry grisaille to introduce warmth and local color, particularly in the harvest fields and sky

composition

The composition likely features a wide view of the Ukrainian steppe or riverbank, consistent with Aivazovsky’s landscape works in Ukraine (Source 6). As a Romantic landscape, the sky is almost certainly a dominant element, with weather and light playing a crucial role in the composition (Source 3). The arrangement should aim for a coherent composition where natural scenery is the main subject, potentially including figures or structures only if they serve the atmospheric effect, as Aivazovsky’s later landscapes often emphasized the 'delicate colors' and atmospheric unity over detailed topographical accuracy (Source 7, Source 3).

step by step

underpainting→refining→finishing→glazing

underpainting

step 01
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia or linseed oil. Focus on establishing the tonal values of the landscape, ignoring local color (reds and yellows) for now.
Tip — Ensure the underpainting is completely dry before proceeding. This monochrome layer serves as the structural foundation.
Grisaille

refining

step 03
Use scumbling (semi-opaque painting) to adjust highlights and atmospheric effects, particularly in the sky and distant fields. This technique allows the underlying painting to make itself felt, creating a 'grey bloom' or soft atmospheric haze.
Tip — Scumbling over darker grounds tends to create coldness, which can be useful for distant atmospheric perspective in the landscape.
Scumbling

finishing

step 04
Refine the delicate colors characteristic of Aivazovsky’s later period (1870s-1890s). Focus on the subtle transitions of light and the 'silver-toned' or delicate atmospheric qualities rather than bold, epic contrasts.
Tip — Avoid heavy impasto; Aivazovsky’s later style favored delicate color handling and luminous effects.
Atmospheric blending

glazing

step 02
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil or a mix of varnish and oil to tint the painting, similar to tinting an engraving with watercolors.
Tip — Glazing involves applying a transparent coat of color. This allows the underlying tonal structure to show through, creating depth and luminosity.
Glazing

critical techniques

Glazing and Scumbling

A method where a monochrome underpainting is glazed with transparent colors. This was a common practice among old masters and allows for rich, luminous color effects without muddying the paint. Aivazovsky’s academic training likely included such layered techniques.

Simultaneous Contrast

Be aware that colors appear different depending on adjacent colors. When painting the sky next to the earth, the tones will shift. Adjust colors to account for this optical effect to ensure accurate perception of light modifications.

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to cracking or muddying of the layers.
→Ignoring the law of simultaneous contrast, leading to inaccurate color perception where adjacent colors alter the appearance of the paint applied.
→Using too much opaque paint in the final layers, which defeats the purpose of the glazing technique and reduces the luminosity characteristic of Aivazovsky’s later delicate style.

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 *During the harvest in Ukraine* (e.g., exact placement of figures, specific crop types, architectural elements) are not described in the sources, so the composition must be inferred from general landscape conventions and Aivazovsky’s other Ukrainian works.
·Aivazovsky’s specific personal recipe for mediums or varnishes is not provided, though general academic practices are cited.
·The exact scale of the painting is not specified, which affects the brushwork and detail level.

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 and glazing techniques
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color mixing and perception adjustments

cross-referenced from

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

Wikipedia: Landscape painting↗
- Landscape painting — applied to Genre context and compositional elements
Wikipedia bio — Ivan Aivazovsky↗
- Ukraine / Style — applied to Artist’s regional focus and stylistic evolution

Read more about the corpus on the sources page and how the guides are built on the methods page.

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