
plate no. 4190
Valentin Serov, 1887
From the record
from the sources
The painting depicts 11-year-old Vera Mamontova, a daughter of the entrepreneur and arts patron Savva Mamontov. en.wikipedia.org
“The painting depicts 11-year-old Vera Mamontova, a daughter of Russian entrepreneur and patron of the arts Savva Mamontov.”
The painting was made at Abramtsevo, an estate near Moscow. en.wikipedia.org
“It was painted at Abramtsevo, an estate not far from Moscow.”
Serov had known Vera Mamontova since she was a baby because he often visited the Mamontov estate at Abramtsevo. en.wikipedia.org
“Valentin Serov knew Vera Mamontova from her babyhood, as he frequently visited Mamontov's Abramtsevo estate, and sometimes he even lived there for lengthy periods of time.”
Serov said he worked on the painting for over a month and aimed to preserve a quality of freshness in it. en.wikipedia.org
“I painted it for over a month and tortured her, poor child, to death, because I wanted to preserve the freshness in the finished painting, as you can see in old works by great masters.”
The painting won first prize at the Exhibition of the Moscow Society of Lovers of Art in 1887. en.wikipedia.org
“In 1887 the painting won first prize at the Exhibition of the Moscow Society of Lovers of Art.”
Igor Grabar, Serov's friend and biographer, praised the painting as the masterpiece of Russian painting. en.wikipedia.org
“Serov's friend and biographer, Russian art historian Igor Grabar, acclaimed it as "the masterpiece of Russian painting".”
The painting's style resembles that of the French Impressionists, though Serov had not yet encountered their work when he painted it. en.wikipedia.org
“has much in common with the French Impressionists, [Serov] did not become acquainted with their work until after he had painted [it]”
approach — 8 steps
Begin with a light sketch to establish the basic composition and proportions of the figure and objects.
Block in the main shapes and colors, focusing on the overall value structure.
Start with the background, then move to the figure, and finally the still life elements.
Develop the skin tones using subtle layers of color, paying attention to the light and shadow.
Refine the details of the face, especially the eyes and mouth.
Add details to the clothing and objects, focusing on capturing their textures.
Adjust the values and colors as needed to create a sense of depth and atmosphere.
Add final highlights and details to complete the painting.
color palette
primary · titanium white · yellow ochre · alizarin crimson · raw umber
secondary · ultramarine blue · cadmium yellow · ivory black
Achieve skin tones by mixing white, yellow ochre, and alizarin crimson with small amounts of raw umber and ultramarine blue. Create the pink of the dress by mixing white and alizarin crimson. Use yellow ochre and cadmium yellow for the apples and leaves.
techniques
common pitfalls
surface · stretched canvas
required
optional
Use a medium-grain canvas for best results. Consider using a limited palette to simplify the color mixing process.
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