plate no. 5675

Illustration for the fairytale "Go there do not know where, bring it I do not know what"

Ivan Bilibin, 1935

oilArt Nouveau (Modern)illustrationfiguresroyaltyclothingornamentsfolkloreillustration

what to study here

It shows how a flat, ornamental oil design can be organized by three simple value groups, with precise pattern work resting on that structure.

Study how the design is built from three value groups rather than from modeling. The vision read describes dark hair, beards and robe patterning; mid-tone costumes in lavender-pink, red and ochre; and a lighter patterned background that pushes the figures forward. Squint and the picture should reduce to those three bands with little gradation between them. The tall central figure in the yellow hat gives the eye its entry point, and the frontal pose lets the eye then travel across the ornament. The left figure's white-and-black patterned robe carries the darkest accents and the sharpest contrast. Edges are described as crisp throughout, with brushstrokes nearly invisible, so the pattern repeats depend on controlled small-brush work. Faces are lit from the upper left and keep smooth tonal transitions while staying defined. Copy a section of the left robe and note how white and black shapes are kept in rhythm. Then check how much lighter the background stays than every figure.

key decision

The painter kept the background consistently lighter than the foreground figures and held the figures to a few value groups. Crisp edges and invisible brushwork keep the design flat and decorative.

recreation guide

This recreation guide addresses Ivan Bilibin’s 1935 oil illustration for the fairytale 'Go there do not know where, bring it I do not know what.' While Bilibin is historically renowned for his watercolor and gouache illustrations characterized by sharp lines and flat planes of color, this specific work is executed in oil, a medium that allows for different textural and luminous effects. The artwork belongs to the Art Nouveau style, which emphasizes decorative linearity and stylized forms. Because the provided sources do not contain specific visual descriptions of this particular painting’s composition or subject matter, the guide focuses on the technical application of oil painting methods compatible with Bilibin’s era and the general principles of oil technique described in the sources, such as glazing and scumbling over a monochrome underpainting.

estimated time

20-30 hours over 5-7 sessions (allowing for drying time between glaze layers)

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Titanium White, Ultramarine, Black, Cadmium Red, Cadmium Yellow)	Primary pigments for underpainting and glazing	—
Linseed oil or Oil of Copavia	Medium for mixing paints and glazing; historically used by Reynolds and common in oil painting	Stand oil or Walnut oil for slower drying/less yellowing
Canvas or Panel	Support for the oil painting	—
Gesso or Oil Ground	To prepare the surface for oil application	—
Varnish	For final glazing layers or protection, as mentioned in glazing techniques	Dammar or Synthetic Resin Varnish

preparation

surface prep

Prepare a rigid support (panel or stretched canvas) with a smooth ground. Bilibin’s style relies on precise linearity, so a smooth surface is preferable to heavy canvas texture. While specific preparation for this 1935 work is not detailed in the sources, standard oil painting practice involves sealing the support to prevent oil absorption. (Source 3) notes that linen is a common support, derived from the flax plant.

underdrawing

Bilibin’s work is characterized by strong, decorative outlines. In oil, this is often achieved through a precise underdrawing in charcoal or thinned oil. Since the sources do not specify Bilibin’s underdrawing method for this piece, use a light, removable medium to establish the Art Nouveau linear forms. Ensure lines are confident, as Bilibin’s style does not typically rely on soft, blended contours.

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white, as suggested by Sir Joshua Reynolds’ method cited in the sources. This establishes the value structure without color interference. (Source 1) describes this as 'mentally extracting the red and yellow colours' to translate what would be left in nature. This step is crucial for the glazing technique that follows.

color palette

Ultramarine/Black/White

Ultramarine, Ivory Black, Titanium White

Grisaille underpainting to establish values

Red Tones

Cadmium Red or Alizarin Crimson

Glazing over the grisaille to introduce warmth and flesh tones or decorative elements

Yellow Tones

Cadmium Yellow or Yellow Ochre

Glazing to introduce light and warmth, correcting hue shifts

Neutral Grays

Complementary mixes or diluted black/white

Scumbling to create coldness or atmospheric effects

composition

The sources do not describe the specific composition of this 1935 illustration. However, Bilibin’s general practice involves strong diagonal lines and triangular compositions typical of Art Nouveau. (Source 8) defines composition as the organization of visual elements like line, shape, and value. Apply these principles by ensuring the linear elements guide the eye through the narrative scene, maintaining the decorative balance characteristic of the style.

step by step

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

underdrawing

step 01
Sketch the composition lightly, focusing on the strong linear contours typical of Bilibin’s Art Nouveau style.
Tip — Keep lines light to avoid interfering with subsequent layers.
Linear drawing

underpainting

step 02
Mix black, ultramarine, and white to create a grisaille. Paint the full tonal range of the image, ignoring color.
Tip — Mentally extract red and yellow colors as per Reynolds’ advice to focus on value structure.
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Begin glazing with transparent red and yellow tones using oil as a medium.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underpainting.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) over darker areas to introduce coldness or gray blooms, if needed for atmospheric effect.
Tip — Ensure the underlying painting shows through to maintain depth.
Scumbling

finishing

step 05
Adjust hues by adding small amounts of adjacent colors to correct shifts caused by lightening or darkening.
Tip — Avoid adding black to yellows/oranges to prevent greenish shifts; use complements instead.
Hue correction

varnishing

step 06
Apply a final varnish layer to unify the surface and protect the glazes.
Tip — Ensure the painting is fully dry to prevent trapping solvents.
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry monochrome underpainting to achieve luminosity and depth, a method practiced by old masters and described by Reynolds.

Scumbling

Using semi-opaque paint over darker grounds to create coldness or gray blooms, allowing the underpainting to show through.

Hue Correction

Adding adjacent colors to correct hue shifts when lightening or darkening, rather than relying solely on black or white.

common pitfalls

→Adding black to yellow or orange paints, which can cause unwanted greenish or bluish hue shifts (Source 2).
→Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency (Source 1).
→Ignoring the simultaneous contrast of colors, which can alter the perceived hue of adjacent areas (Source 4).
→Overworking the paint to achieve illusionistic realism, losing the vital expression of the medium and the decorative quality of the Art Nouveau style (Source 7).

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 the 1935 illustration (characters, background, exact color scheme) are not described in the sources.
·Bilibin’s specific oil painting habits for this late period are not detailed; the guide relies on general oil techniques and his known linear style.
·The exact medium Bilibin used for this specific work (e.g., specific oil type, varnish) is not recorded in the provided passages.

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 Grisaille underpainting and glazing/scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color perception and contrast effects
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and avoiding illusionism

cross-referenced from

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

Wikipedia: Color theory↗
- Color theory — part 6 — applied to Hue correction and mixing pitfalls
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials and medium properties

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

Three bearded figures in Russian ceremonial dress occupy the foreground, anchored by a central figure in a tall yellow hat and pink-lavender coat with extensive gold patterning. The left figure displays an elaborate white and black patterned robe with red trim; the right wears a red dress with geometric embroidery. Behind them, an architectural backdrop of patterned panels creates a strong planar composition with smaller figured scenes. Light rakes from upper left, catching highlights on the faces and upper costume areas. The eye enters through the central figure's commanding height and frontality, with the eye gradually reading the decorative details across the entire composition.

value structure

The darkest darks anchor the left figure's robe patterning and the hair/beards of all three figures. Mid-tones dominate throughout: warm tan and ochre skin, muted pinkish-lavender in the central coat, and reddish-brown in shadows. The background remains consistently lighter than the foreground, creating clear spatial recession. White accents punctuate the left figure's patterned robe and appear sparingly in ornamental details. Squint to see: three distinct value groups (dark figures, medium clothing, light background) with remarkably subtle gradation between them.

observed palette and mixes

#f4f4f1
Titanium white with touch of raw sienna
White patterning on left figure's robe, background architectural panels, highlights on ornaments
#d0c3a8
Yellow ochre and titanium white
Pale cream background areas, light portions of hats and clothing
#be8269
Raw sienna and red ochre
Warm skin tones, mid-tone areas of patterned clothing, decorative details
#bda280
Raw sienna with yellow ochre
Tan hats, lighter clothing areas, background fills
#96816b
Burnt sienna and ultramarine blue
Muted browns in mid-background, shadow areas within patterns
#93615a
Alizarin crimson and burnt umber
Darkest areas in hair and beards, deep shadows in patterned robes

edges and brushwork

Every edge is crisp and intentional—this is decorative illustration, not expressive painting. The ornamental patterns demand precise brushwork with sizes 0–2 on intricate details; pattern repeats maintain consistent rhythm through controlled hand work, not glazing. Faces show smooth tonal gradation yet remain defined; the architectural background elements repeat with mechanical precision, suggesting ruler-assisted construction for some linear elements. Brushstrokes are nearly invisible, absorbed into pattern and form rather than celebrating the paint itself.

a working sequence

01
Composition and value underpainting
Establish the three-figure composition in light ochre, noting the central figure's dominance. Block the three figures with dilute burnt sienna mixed to a transparent wash. Map the darkest shadow accents on hair and beards, noting how they anchor the upper third. Lightly indicate the architectural background panels as rectangular zones of varied tone behind the figures.
02
Flesh tones and facial structure
Mix warm skin tones from raw sienna, yellow ochre, and white—test on a scrap to match the tan-beige of the visible faces. Render all three faces using consistent warm light from upper left; the central and right figures face left while the left figure faces right, requiring slight value adjustments per turn. Block features simply at this stage.
03
Major clothing color masses
Lay in the left figure's white-and-cream base robe with dilute titanium white and yellow ochre; leave space for the black pattern. Paint the central figure's lavender-pink coat and yellow-tan hat using alizarin crimson with white and raw sienna with white respectively. Block the right figure's red dress in alizarin and red ochre. Keep these broad areas flat to preserve clarity.
04
Ornamental pattern frameworks
The left figure's robe demands the most pattern work: sketch lightly first with dilute burnt sienna to establish the mirrored motifs (elaborate branching forms). Paint the black negative spaces with ultramarine and burnt umber, then refine the cream-and-gold ornamental shapes. This step often represents 30–40% of total time—patience is critical. For the central figure's coat and right figure's dress, block the primary patterned borders first, then secondary geometric repeats.
05
Beards, hair, and small-scale details
Refine the facial hair using dark burnt sienna and ultramarine, following the texture directions visible in each face. Add the white decorative accents on upper garments—collars, embroidered edges, and ornamental discs—using near-white mixed with touches of yellow ochre. Build complexity gradually rather than rushing; a single misplaced line in pattern work is difficult to correct in oil.
06
Background architectural panels
Paint the upper background with tan washes organized into rectangular zones. Add smaller figured silhouettes and architectural details using muted warm grays and tans. Maintain clear separation between the foreground figures and background through consistent value relationships; the background never competes in darkness with the dark-haired figures.
07
Ornamental detail refinement
Return to the costumes and refine every ornamental line: add the small gold accents on the central figure's chest and decorative elements on the right figure's dress. Check pattern symmetries and rhythm across mirror halves. Tighten any edges that have softened, restoring crispness throughout.
08
Final assembly and glazing
Step back and assess value unity: the composition should read as three dark-toned figures against a consistently lighter background. If transitions feel too abrupt, apply thin transparent glazes of dilute burnt sienna over mid-tones to unify. Add final crisp accents to ornamental highlights and ensure all pattern work maintains consistent detail scale.

where studies of this painting go wrong

Ornamental patterns overwhelm the overall composition if painted before establishing value structure—the eye gets lost in detail instead of reading the three figures first. Resist the temptation to finish one figure completely.
Skin tones can turn muddy when surrounded by richly saturated reds and pinks; keep flesh mixtures cool and restrained (favor ochre over cadmium red), testing continuously against the final costume colors.
Pattern symmetries on the left robe are essential to the design's harmony; a single misaligned motif breaks the visual rhythm. Use tracing paper or light transfer to map the repeat accurately before painting.
The background architectural panels can appear flat and lifeless if treated as solid fills; maintain subtle value variation within each panel and ensure smaller detail repeats read clearly at proportion.

measured difficulty