plate no. 4328

Elisabeth Alexeievna Tsarina of Russia

oilRococoportraitportraitfigureclothingcrownhistoricaljewelry

what to study here

It shows how a dark ground, a soft-edged luminous face, and restrained costume handling keep a portrait's focus on the sitter's head.

Study how the face is made the brightest and most resolved area by controlling everything around it. The vision guide describes three value zones: a warm, almost charcoal-brown background that recedes completely, a near cream-white face, and mid-tone costume passages (blue dress, golden-brown fur, flesh of the neck and décolletage) between them. Light comes from the upper left, catching the crown and the bridge of the nose. Edges are soft throughout: the face melts into the background with no hard line, and the hair is feathered so curls dissolve at their edges. The jewels and brooch get sharper, small touches, but still avoid harshness. The fur stole is painted with directional, combed strokes that follow the nap. Copy the hierarchy of edges as much as the colors: soft where form turns, crisper only at jewels. The diagonal of fur and drapery frames the head without competing with it. A useful exercise is a three-value thumbnail of this arrangement before any color.

key decision

The painter kept the background a warm, receding dark and the face the lightest, softest-edged mass, with only the jewels given sharper accents. This makes the face the clear focal point.

recreation guide

This recreation guide addresses Vladimir Borovikovsky’s 1814 portrait of Elisabeth Alexeievna, Tsarina of Russia. Borovikovsky was a prominent portraitist in late 18th and early 19th-century Russia, known for fusing classicist and sentimental styles (Source 4). By the 1810s, his work shifted toward depicting strong, energetic personalities with a focus on citizenship, nobility, and dignity, often replacing landscape backgrounds with interior settings (Source 4). His ceremonial portraits are noted for their mastery of texture, specifically the softness of velvet, the brilliance of gilded and satin vestments, and the sparkle of precious stones (Source 4). The artist characteristically conveyed the inner world of his subjects through subtle emotional expression within a chamber portrait format (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Red, Yellow)	Primary pigments for grisaille and glazing as per traditional old master methods	Artist-grade oil paints
Linseed oil	Medium for mixing paint and glazing	Refined linseed oil
Oil of Copavia (or modern resinous medium)	Historical medium used by Reynolds and likely contemporaries for initial layers	Dammar resin in turpentine or modern alkyd medium
Mineral spirits/Turpentine	Thinner for initial sketching and cleaning brushes	Odorless mineral spirits
Canvas	Support for the oil painting	Linen canvas, primed
Charcoal or thinned paint	Initial sketching of the subject	Vine charcoal or thinned raw umber

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming recipes for Borovikovsky are not detailed in the sources, traditional oil painting of this period typically involved a white or off-white gesso ground to allow for the layering techniques described. The surface must be smooth enough to support the fine detail required for facial likeness and texture rendering.

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 2). Borovikovsky’s portraits require precise likeness and attention to the 'inner world' of the sitter, so the underdrawing should focus on accurate proportions and the subtle expression characteristic of his sentimental style (Source 4).

underpainting

Create a monochrome underpainting (grisaille). Mentally extract red and yellow colors, translating what would remain in nature if these colors were not present (Source 1). This layer establishes the tonal values and forms. Use black, ultramarine, and white mixed with oil of copavia (or a similar resinous medium) for the first and second paintings, as was the established method of Sir Joshua Reynolds, a contemporary influence on portraiture (Source 1).

color palette

Ultramarine

Pure ultramarine pigment

Grisaille underpainting and cool shadows

White

Lead white or modern titanium/zinc white

Highlights and mixing in grisaille

Black

Ivory black or lamp black

Shadows and grisaille underpainting

Red

Vermilion or red lake

Glazing and scumbling to introduce warmth and flesh tones

Yellow

Yellow ochre or lead-tin yellow

Glazing and scumbling to introduce warmth and flesh tones

composition

Borovikovsky’s 1810s portraits often feature interior backgrounds rather than landscapes, focusing on the sitter’s dignity and nobility (Source 4). The composition likely emphasizes the subject’s attire, showcasing textures like velvet and satin, which were hallmarks of his ceremonial portraits (Source 4). The arrangement should reflect the 'chamber portrait' style, creating an intimate yet dignified space (Source 4).

step by step

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

underdrawing

step 01
Sketch the subject using charcoal or thinned paint, focusing on accurate likeness and subtle expression.
Tip — Ensure the proportions are correct, as Borovikovsky’s work relies on precise representation.
Initial sketching

underpainting

step 02
Apply a grisaille layer using black, ultramarine, and white mixed with oil of copavia. Exclude red and yellow tones.
Tip — Mentally extract red and yellow colors to establish pure tonal values.
Monochrome underpainting

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Introduce yellow and red tones as they occur in the subject.
Tip — Treat this like tinting an engraving with watercolors, building up color transparently.
Glazing and scumbling

refining

step 04
Apply subsequent layers of paint, ensuring each layer contains more oil than the previous one ('fat over lean').
Tip — This prevents cracking and peeling. Use linseed oil or other solvents to adjust consistency.
Fat over lean

finishing

step 05
Render textures of velvet, satin, and precious stones with careful brushwork, leveraging the artist’s mastery of material depiction.
Tip — Focus on the brilliance and softness of materials, as seen in Borovikovsky’s ceremonial portraits.
Texture rendering

varnishing

step 06
Apply a final varnish to protect the painting and enhance depth.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Glazing involves applying a transparent coat of color, while scumbling is a semi-opaque painting through which the underlying layer shows. This method was practiced by old masters to build up color and depth.

Fat Over Lean

Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.

Monochrome Underpainting

Starting with a grisaille (monochrome) layer to establish values before adding color, a technique used by Reynolds and other old masters.

common pitfalls

→Applying layers with less oil than the previous layer, leading to cracking and peeling (Source 2).
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help correct this tendency (Source 3).
→Ignoring the simultaneous contrast of colors, which can lead to inaccurate color perception and application (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 pigments used by Borovikovsky are not detailed in the sources; general old master pigments are inferred.
·Exact brush types and sizes used by Borovikovsky are not specified.
·The specific interior background details for this particular portrait are not described in the sources, so general compositional habits are used.
·Borovikovsky’s specific varnishing practices are not detailed; general oil painting varnishing is assumed.

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
- ON COPYING — applied to Correcting over-modeling and outline adherence
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and contrast principles

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 Materials and application rules like 'fat over lean'
Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Artist’s style, texture mastery, and compositional shifts in the 1810s

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light streams from the upper left, catching the crown and the bridge of the nose, creating a luminous focal point in the face. The sitter's head occupies the upper-center canvas, tilted slightly, with the body angled away but torso facing forward—a confident, frontal presentation. The eye is drawn first to the face by its brightness and pale skin tone against the darkened background, then down through the jeweled brooch and red sash. The fur stole and drapery create diagonal movement that frames and stabilizes the composition.

value structure

The darkest values anchor the background as a warm, almost charcoal-brown shadow that recedes completely. The face is the lightest value mass, nearly cream-white with subtle modeling. Mid-tones dominate the costume—the blue dress, golden-brown fur, and flesh tones of the neck and décolletage form a middle band. When you squint, three clear zones emerge: dark background, light face, and warm-golden garments in between.

observed palette and mixes

#1b1815
Ivory black + burnt umber in equal measure, leaning warm
The background shadow that surrounds the figure, providing total atmospheric depth
#eef6fe
Titanium white with a whisper of yellow ochre and ultramarine blue
The face, neck, exposed décolletage, and inner palm highlights—the lightest luminous areas
#c0af92
Yellow ochre + titanium white + touch of cadmium red light
The fur stole, golden drapery, and warm underpainting visible in shadows of the face
#634d35
Burnt umber + ultramarine blue + cadmium red light
Hair shadows, the brooch surround, and inner contours defining the neck and jaw
#422e1e
Ivory black + burnt umber + ultramarine blue, heavily weighted toward brown
Deepest shadows in the curled hair, under the chin, and the pupil of the eye

edges and brushwork

Edges are soft throughout—the face melts into the background with no hard line, while the hair is blurred and feathered, allowing curls to dissolve at their edges. Jewels and brooch details are rendered with sharper transitions and small, precise touches, but even these avoid harshness. The fur stole shows directional, combed brushwork that follows the nap of the fabric, creating texture without overworking.

a working sequence

01
Establish the warm dark ground
Mix a large pool of warm dark brown (ivory black + burnt umber, leaning warm) and block in the entire background loosely. Leave the silhouette of the head and shoulders untouched. This dark establishes depth immediately and will make the face glow.
02
Underpainting the head shape and planes
Using a burnt umber + ultramarine blue mixture, lightly sketch the proportions of the face—note the slightly turned angle and how the crown sits centered. Block in the basic shadow planes of the face: under the cheekbone, along the jaw, and the right side of the face receiving less light. Keep this loose; you're mapping structure, not finishing.
03
Build the skin tone foundation
Mix a pale, warm middle tone (yellow ochre + titanium white + minimal cadmium red light). Apply this across the entire face, neck, and décolletage with a soft brush. The tone should read as luminous but not yet finished—you're creating the base that will receive modeling.
04
Model the face with soft, warm shadows
Prepare a slightly darker version of your skin mix (add a touch more burnt umber and ultramarine). Carefully stroke this into the shadow planes you sketched—the right side of the face, under the cheekbone, around the eye socket. Keep the transitions gradual; blend with a nearly dry brush where planes meet. Notice the upper eyelid is shadowed; the lower lid catches light.
05
Paint the eyes and features with precision
Using a small round brush and your darkest mix (ivory black + burnt umber), paint the pupils with a slight shine (leave a tiny white dot). The irises are a warm brown; the whites are not pure white but tinted very slightly with your skin tone. Paint the eyebrows as soft, feathered strokes following the arch of the brow bone. The mouth is a subtle rose-pink stroke; do not over-define.
06
Render the hair mass and curls
Block the entire hair mass with a warm mid-brown (yellow ochre + burnt umber). Then, using your darkest value, suggest the innermost curls and shadow areas with loose, directional strokes that follow the curl pattern. Use a nearly dry brush to feather and blend edges so no curl appears hard. The blonde highlights emerge as the pale background shows through; do not overwork the light areas.
07
Paint the crown and jewelry with bright accents
The crown is rendered in pale gold and white highlights. Using a small brush and titanium white + yellow ochre, touch in the crown's upper edge and central points where light catches. For the brooch and pendant jewels, use cadmium red light for the red ribbon accent and touch sharp highlights with near-pure white. These bright accents should feel crisp compared to the soft face—they catch attention without dominating.
08
Block in and refine the costume
The blue dress is a mix of ultramarine blue + titanium white + a breath of cadmium red to gray it slightly. Paint this behind the brooch and jewels. The fur stole is your golden-brown mix (yellow ochre + cadmium red light + white); use directional, combed strokes to suggest the nap of fur. The reddish drapery behind the shoulder is cadmium red light + burnt umber. These warm, mid-tone masses should recede slightly behind the glowing face.
09
Final integration and softening
Step back and assess the overall luminosity. The face should feel like the brightest, most resolved area. Soften any harsh transitions by dry-brushing a neutral tone over edges where costume meets background. Add final touches of highlight to the upper cheekbone, bridge of nose, and the curve of the lower lip using nearly pure white + yellow ochre. Do not overwork; Rococo portraiture lives in the suggestion of form, not labored detail.

where studies of this painting go wrong

The face is the beacon—resist the urge to finish the costume or background with equal resolve. The portrait's success depends on the face remaining the most luminous and refined area.
The skin tone is deceptively subtle; too much pink or red will make the face appear flushed or artificial. Keep the undertone warm and earthy (yellow ochre-based), not rosy.
The background appears simple but is crucial; if it is too light or too cool, the face will not glow. Commit to the warm dark brown and resist the temptation to lighten it.
Hair curls can easily become tight and unconvincing. Use soft, feathered strokes and allow the background to show through; suggest volume rather than delineate every ringlet.

measured difficulty