plate no. 2326

Enchantment of the Sun

Martiros Sarian, 1905

cardboard, temperaExpressionismcityscapecityscapefigurestreesbuildingsskyMiddle East

recreation guide

Martiros Sarian’s 'Enchantment of the Sun' (1905) is an early work that predates his mature, high-saturation Armenian landscapes but aligns with the Expressionist style noted in its classification. As a member of the art association ‘The Four Arts’ and a founder of the modern Armenian national school of painting, Sarian’s practice was deeply influenced by his travels and a desire to capture the spiritual and emotional essence of his subjects rather than strict topographical accuracy (Source 5). While this specific cityscape is executed in tempera on cardboard—a medium characterized by fast-drying, water-soluble binders like egg yolk or casein—the work reflects Sarian’s broader inclination toward vibrant color and expressive form (Source 8). The piece likely utilizes the principles of simultaneous contrast to heighten the emotional impact of the urban scene, a technique Sarian would later refine in his more famous landscapes.

estimated time

10-15 hours over 3-4 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Cardboard	Support surface, as specified in the artwork metadata.	Heavyweight illustration board or mounted cardboard
Tempera paint	Primary medium. Traditional tempera uses egg yolk as a binder, though casein or synthetic PVA temperas are also classified under this term.	Egg tempera kits or high-quality acrylic tempera
Charcoal	For initial underdrawing and shading, allowing for easy correction before paint application.	Vine charcoal or compressed charcoal
Raw Umber	For setting the palette and initial tonal values, as advised in traditional painting practices.	Raw Umber oil or tempera pigment
White pigment	For lightening colors and creating tints, though care must be taken to avoid hue shifts.	Titanium White or Zinc White

preparation

surface prep

Since the artwork is on cardboard, the surface should be rigid and stable. Traditional tempera requires a smooth, absorbent ground. While Sarian’s specific preparation for this 1905 piece is not detailed in the sources, tempera generally adheres best to a gessoed or sized surface to prevent the cardboard from warping due to the water content in the binder (Source 8). If using egg tempera, a traditional gesso ground is recommended; for modern synthetic tempera, a standard acrylic gesso may suffice.

underdrawing

Begin with a charcoal underdrawing to establish the composition and proportions. As advised in traditional painting instruction, make all corrections in the charcoal stage, as charcoal offers little resistance to erasure (bread or kneaded eraser) and prevents fatal errors in the paint layer (Source 1). Use contour drawing techniques to emphasize the mass and volume of the cityscape elements rather than getting lost in minor details, focusing on the outlined shapes that convey three-dimensional perspective (Source 2).

underpainting

Set the palette with raw umber and a softer white to establish initial tonal values. This monochromatic or limited-color underpainting helps in judging the lighting and position of the cityscape elements before introducing full color (Source 1). This step is crucial for avoiding the 'perplexities' that arise when trying to correct construction errors in paint.

color palette

Raw Umber

Pure pigment

Establishing shadows and mid-tones in the underpainting phase.

White

Pure pigment

Lightening colors to create tints. Note: Adding white can shift hues (e.g., reds toward blue), so adjacent colors may need to be added to correct the hue (Source 3).

Complementary Colors

Pairs such as red/green or blue/orange

Darkening colors without shifting hue, or neutralizing tones. Using complements is preferred over adding black to maintain chroma integrity (Source 3).

Earth Tones (Ochres, Marls)

Natural earth pigments

Broken tones and general modeling, as these are substantial, cover well, and dry easily (Source 7).

composition

While specific compositional details of 'Enchantment of the Sun' are not described in the sources, Sarian’s general practice involved arranging elements into a coherent composition that emphasized the spiritual or emotional element of the scene (Source 5, Source 6). In cityscapes, the sky is almost always included, and weather or lighting conditions often play a key role in the composition (Source 6). The artist likely used contour lines to define the mass and volume of buildings, ensuring that the outlined shapes conveyed depth and distance (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the cityscape using charcoal, focusing on contour lines to define the mass and volume of buildings and streets.
Tip — Do not look at the paper constantly; rely on sensation and instinct to capture the form (Source 2).
Contour Drawing
step 02
Check proportions by holding the drawing alongside a reference or using a mirror to compare with nature, ensuring the scale is slightly smaller than life if applicable.
Tip — Make all corrections now, as charcoal is easily erased (Source 1).
Proportional Checking

underpainting

step 03
Apply a thin wash of raw umber and white to establish light and shadow values.
Tip — Avoid putting down paint with obvious errors in construction (Source 1).
Monochromatic Underpainting

first pass

step 04
Begin applying tempera colors. Use complementary colors to darken tones rather than black, to avoid hue shifts.
Tip — If lightening a color with white causes a hue shift (e.g., red to pink/blue), add a small amount of an adjacent color to correct it (Source 3).
Color Mixing

refining

step 05
Refine the colors by considering simultaneous contrast. Ensure that adjacent colors enhance each other’s intensity.
Tip — Be aware that the eye may perceive colors inaccurately due to fatigue or previous color exposure (Source 4).
Simultaneous Contrast

finishing

step 06
Complete the painting with final details, ensuring the mass and volume of the cityscape are clear.
Tip — Tempera dries fast, so work in sections (Source 8).
Final Glazing/Detailing

critical techniques

Contour Drawing

Used to emphasize mass and volume over minor details, creating a strong foundation for the painting (Source 2).

Simultaneous Contrast

Understanding that adjacent colors affect each other’s appearance, allowing the artist to harmonize the composition and imitate light modifications accurately (Source 4).

Color Correction with Adjacent Hues

When lightening colors with white causes a hue shift, adding a small amount of an adjacent color corrects the mixture (Source 3).

common pitfalls

→Adding black to darken colors, which can cause undesirable hue shifts (e.g., yellows shifting toward green) (Source 3).
→Making corrections in paint rather than charcoal, which can lead to a loss of lucidity and muddy results (Source 1).
→Ignoring simultaneous contrast, leading to inaccurate color perception and disharmonious compositions (Source 4).
→Over-detailing minor elements instead of focusing on the mass and volume of the subject (Source 2).

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 'Enchantment of the Sun' (e.g., exact buildings, color scheme, lighting direction) are not described in the sources.
·Sarian’s specific tempera technique for this 1905 work is not detailed; general tempera practices are inferred.
·The exact binder used (egg, casein, or synthetic) is not specified, though 'tempera' is the listed medium.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- PAINTING FROM LIFE — applied to Underdrawing and underpainting techniques, correction in charcoal, and palette setting.
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast and color perception.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and pigments.

cross-referenced from

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

Wikipedia: Contour drawing↗
- Contour drawing — applied to Underdrawing approach, emphasizing mass and volume.
Wikipedia: Color theory↗
- Color theory — applied to Color mixing, avoiding black, and correcting hue shifts.
Wikipedia bio — Martiros Sarian↗
- Martiros Sarian — applied to Artist context, style, and general practice.
Wikipedia: Tempera↗
- Tempera — applied to Medium characteristics and drying time.