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surface prep

The canvas should be primed with a ground suitable for oil painting. While specific preparation methods for Makovsky are not detailed in the sources, traditional oil painting techniques often involve preparing the surface to ensure proper adhesion of the paint layers. The artist may have used a white or neutral ground to facilitate the layering process.

underdrawing

Makovsky likely began by sketching the subject onto the canvas with charcoal or thinned paint, as is common in traditional oil painting techniques. This initial drawing would establish the composition and key elements of the landscape, such as the arrangement of trees, sky, and any structures. The underdrawing serves as a guide for the subsequent layers of paint.

underpainting

The artist may have employed a grisaille or monochrome underpainting to establish the tonal values of the landscape. This technique involves painting in a single color or neutral tones to create a foundation for the final color layers. The grisaille would be allowed to dry completely before proceeding with glazing and scumbling.

Fat over lean

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

Glazing

Applying a transparent coat of color to deepen tones and create luminosity.

Scumbling

Using semi-opaque paint to lighten areas and create texture, allowing the underlying layer to show through.

Contour drawing

Establishing the outline and form of the subject with lines that emphasize mass and volume.