plate no. 9579

Evening

oilImpressionismlandscapetreesunsetlandscapeskyhorizonsilhouette

recreation guide

Arkhyp Kuindzhi’s 'Evening' (1890) is a landscape that exemplifies his mature period’s aspiration to capture the 'most expressive illuminative aspect of the natural condition' (Source 1). Unlike earlier works with social associations, this piece likely focuses on panoramic views and the illusion of illumination through intense colors and light effects (Source 1). Kuindzhi’s practice was deeply influenced by his study of chemistry and optics with Dmitri Mendeleev, leading to a scientific approach to color and perception (Source 1). The work is characterized by decorative effects of color building, a hallmark of his later style (Source 1).

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glaze layers

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion)	Primary pigments for underpainting and glazing	Artist-grade oil paints
Linseed oil	Medium for thinning paint and creating glazes	Refined linseed oil
Mineral spirits or turpentine	Solvent for cleaning brushes and thinning initial layers	Odorless mineral spirits
Canvas	Support for the painting	Linen or cotton canvas
Charcoal or thinned paint	Initial sketching	Vine charcoal or raw umber thinned with solvent
Varnish (optional)	For final glazing layers if following old master techniques	Dammar varnish

preparation

surface prep

Prepare a standard oil-primed canvas. Kuindzhi’s later works are noted for 'decorative effects of color building,' suggesting a smooth, stable ground is beneficial for layering transparent glazes (Source 1). Ensure the ground is dry and sealed to prevent oil absorption issues.

underdrawing

Begin by sketching the subject onto the canvas with charcoal or thinned paint (Source 2). Given Kuindzhi’s focus on 'panoramic views' and 'high horizon' compositions, establish the broad masses of sky and land early (Source 1). Do not focus on fine details; the goal is to establish the composition’s structure for the subsequent light effects.

underpainting

Create a monochrome underpainting (grisaille) to establish values. This technique involves extracting red and yellow colors initially to focus on form and light structure (Source 3). Use black, ultramarine, and white to create a neutral base, as suggested by Sir Joshua Reynolds’ method which Kuindzhi’s contemporaries and predecessors utilized (Source 3). This layer should be lean (less oil) to ensure proper drying.

color palette

Ultramarine

Pure ultramarine blue

Sky and shadow areas in the underpainting and glazes

White

Lead white or titanium white

Highlights and mixing tints

Black

Ivory black or lamp black

Shadows and neutralizing colors in the underpainting

Yellow Ochre

Natural yellow ochre

Earthy tones in the landscape, applied in glazes

Vermilion/Red Ochre

Vermilion or red ochre

Warm light effects and sunset tones, applied in glazes

composition

Kuindzhi characteristically used 'composite receptions (high horizon, etc.), creating panoramic views' (Source 1). The composition should emphasize the sky and the illusion of illumination, with the landscape serving as a base for these light effects. Avoid detailed topographical accuracy; instead, focus on the 'expressive illuminative aspect' (Source 1).

step by step

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

underdrawing

step 01
Sketch the panoramic composition with charcoal or thinned paint, establishing the high horizon and broad masses of sky and land.
Tip — Keep lines loose; focus on the overall structure rather than details.
Initial sketching

underpainting

step 02
Apply a monochrome grisaille using black, ultramarine, and white. Establish the value structure of the scene, focusing on the contrast between light and shadow.
Tip — Ensure this layer is 'lean' (mixed with more solvent than oil) to prevent cracking later.
Grisaille underpainting

first pass

step 03
Allow the grisaille to dry completely. Then, begin applying transparent glazes of yellow and red tones to simulate the 'illusion of illumination' (Source 1).
Tip — Use linseed oil as a medium to create transparent layers. Apply thin coats to build up color intensity.
Glazing

refining

step 04
Add semi-opaque scumbles over darker areas to create coldness or grey blooms, as described in traditional oil painting practices (Source 3). Adjust the 'decorative effects of color building' (Source 1).
Tip — Scumbling involves dragging a semi-opaque paint over a dry layer to modify the underlying color.
Scumbling

finishing

step 05
Refine the light effects, ensuring the 'intense colors shown in main tones' (Source 1) are balanced. Check for the 'fat over lean' rule to ensure stability.
Tip — Each subsequent layer should contain more oil than the previous one to prevent cracking.
Layering

varnishing

step 06
Once fully dry (up to two weeks), apply a varnish if desired to enhance depth and protect the surface.
Tip — Ensure the painting is completely dry to avoid trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color to build up luminosity and depth, essential for Kuindzhi’s 'illusion of illumination' (Source 1).

Scumbling

Using semi-opaque paint to modify underlying tones, particularly for creating coldness or grey blooms in shadows (Source 3).

Fat over Lean

Ensuring each layer has more oil than the previous one to prevent cracking and ensure proper drying (Source 2).

common pitfalls

→Applying lean layers over fat layers, which can cause cracking and peeling (Source 2).
→Overworking the underpainting, which can muddy the subsequent glazes (Source 3).
→Ignoring the 'fat over lean' rule, leading to structural instability of the paint film (Source 2).
→Focusing on detail rather than the 'expressive illuminative aspect' and panoramic composition (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 color palette for 'Evening' (1890) is not detailed in the sources; general Kuindzhi practices are inferred.
·Exact brushwork techniques (e.g., brush type, stroke direction) are not specified in the sources.
·The specific subject matter details (e.g., presence of trees, water, figures) are not described in the provided passages, so the guide focuses on general landscape composition.

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

cross-referenced from

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

Wikipedia bio — Arkhyp Kuindzhi↗
- part 2 — applied to Overview, composition notes, and critical techniques related to illumination and color building
Wikipedia: Oil painting↗
- part 2 — applied to Materials, surface prep, and step-by-step process regarding layering and drying

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

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