plate no. 5091
Illustration for "The tale of three royal divah and the Ivashko priest's son"
Ivan Bilibin, 1911
recreation guide
This artwork is an oil illustration by Ivan Bilibin, created in 1911 during his period of prominence in the 'World of Art' (Mir iskusstva) movement. Bilibin is historically documented as an illustrator and stage designer who drew heavy inspiration from medieval Russian art and Slavic folklore (Source 6). While the specific visual details of 'The tale of three royal divah and the Ivashko priest's son' are not described in the provided texts, Bilibin’s general practice involved a stylized, decorative approach consistent with Art Nouveau and Byzantine influences, particularly evident in his later work in Egypt and Paris where he specialized in Byzantine-style icons and frescoes (Source 7). The medium is oil, which allows for the rich, dense color and layering techniques characteristic of the period (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigments) | Primary medium for color application | — |
| Drying oil (Linseed, Poppy, Walnut, or Safflower) | Binder for pigments; choice affects drying time and yellowing | — |
| Turpentine | Thinner for paint and cleaning | — |
| Varnish (Oil mixed with resin like pine or frankincense) | Protection, texture, and glazing medium | Dammar or synthetic resin varnish |
| Canvas or Wood Panel | Support surface | — |
preparation
surface prep
The surface should be prepared as a rigid support, likely wood panel or stretched canvas, consistent with traditional oil painting practices of the early 20th century. Bilibin’s background in iconography and stage design suggests a preference for smooth, well-primed surfaces that allow for precise linear work and flat color fields, though specific priming recipes for this 1911 work are not detailed in the sources. General oil painting practice involves preparing the ground to accept layers of oil and varnish (Source 3).
underdrawing
Bilibin’s style is characterized by strong, decorative lines and stylized forms. While the sources do not explicitly describe his underdrawing method for this specific piece, contour drawing is an essential foundation for emphasizing mass and volume through outline (Source 8). Given his background in illustration, a precise linear underdrawing is likely, serving as the structural skeleton for the subsequent color layers. The artist likely used a charcoal or thin wash to establish the 'rhythmic power' of the composition’s lines (Source 5).
underpainting
A grisaille (monochrome underpainting) is recommended as a foundational step. This technique involves painting the composition in neutral tones, mentally extracting red and yellow colors to establish value and form before applying color glazes (Source 1). This method was practiced by old masters and allows for greater control over the final luminosity and depth of the oil layers (Source 1).
color palette
Ultramarine
Ultramarine pigment
General use in historical oil painting for deep blues and shadows; cited as a primary color in Reynolds' method (Source 1)
White
Lead White or Titanium White
Highlighting and mixing; cited as a primary color in Reynolds' method (Source 1)
Black
Ivory Black or Lamp Black
Shadows and contrast; cited as a primary color in Reynolds' method (Source 1)
Red and Yellow tones
Vermilion, Cadmium Red, Yellow Ochre, etc.
Applied as transparent glazes over the grisaille to achieve rich, luminous color, mimicking the tinting of engravings (Source 1)
composition
The composition likely relies on the rhythmic power of abstract lines, such as right angles and curves, to direct the viewer’s attention and create emotional significance (Source 5). Bilibin’s work often features stylized, decorative elements inspired by medieval Russian art (Source 6). The arrangement of lines should avoid drawing attention to the corners of the rectangular format, instead using dark masses or swinging lines to guide the eye to the center (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition using contour lines to establish the mass and volume of the figures and decorative elements. Focus on the rhythmic arrangement of lines, ensuring that vertical and horizontal lines relate to the rectangular boundaries of the support.
Tip — Ensure lines are precise but allow for the 'truths of natural appearance' to break up abstract rigidity.
Contour Drawing
underpainting
step 02
Create a grisaille underpainting using black, ultramarine, and white. This monochrome layer establishes the value structure of the painting. Mentally extract red and yellow colors, focusing on what remains in nature if those colors were absent.
Tip — Allow the grisaille to dry completely before proceeding to glazing.
Grisaille
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially. This technique mimics tinting an engraving with watercolors, allowing the underlying monochrome to show through and create depth.
Tip — Glazing is a transparent coat of color; ensure the layer is thin enough to remain transparent.
Glazing
refining
step 04
Use scumbling to add semi-opaque layers, particularly over darker grounds to create coldness or grey blooms. This technique allows the underlying painting to make itself felt while adding texture and variation.
Tip — Scumbling tends to coldness when employed over a darker ground; use this to adjust local color temperatures.
Scumbling
finishing
step 05
Apply a final varnish mixed with oil and resin (such as pine resin or frankincense) to protect the painting and enhance the sheen. This step unifies the layers and provides the final texture.
Tip — Ensure the painting is fully dry before varnishing to prevent cracking or yellowing.
Varnishing
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting, while scumbling involves semi-opaque painting. These techniques were widely practiced by old masters and allow for rich, luminous color effects that are difficult to achieve with opaque mixing alone.
Simultaneous Contrast
Be aware that colors appear different when placed next to each other due to simultaneous contrast. The painter must perceive and imitate these modifications to harmonize the composition.
Contour Drawing
Using outline to emphasize mass and volume. This is a foundational technique for establishing the form before applying color.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking.
- →Ignoring the law of simultaneous contrast, leading to inaccurate color perception and disharmonious compositions.
- →Over-modeling or being too tied down to the outline, which can result in a stiff, lifeless appearance. Copying works by Van Dyck or Velazquez can help correct this tendency.
- →Using too much medium in the initial layers, which can slow drying time excessively.
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 artwork (characters, setting, exact color scheme) are not described in the sources.
- ·Bilibin’s specific pigment choices for this 1911 work are not documented in the provided texts.
- ·The exact ratio of oil to resin in Bilibin’s varnish mixture is not specified.
- ·Preparatory sketches or studies for this specific illustration are not included in the sources.
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 (grisaille), glazing, and scumbling techniques
- ON COPYING — applied to Advice on correcting over-modeling and outline rigidity
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and perception adjustments
The Practice and Science of Drawing↗
- ILLUSTRATING SOME OF THE LINES... — applied to Compositional structure and line rhythm
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to Materials, mediums, and varnishing
Wikipedia bio — Ivan Bilibin↗
- part 1 — applied to Artist’s style and inspiration (medieval Russian art)
- part 3 — applied to Artist’s later practice (Byzantine style, icons)
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique
Read more about the corpus on the sources page and how the guides are built on the methods page.
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