plate no. 8498
In Barfursh. Persia.
Martiros Sarian, 1913
recreation guide
Martiros Sarian’s 'In Barfursh. Persia' (1913) is a cityscape that reflects his deep engagement with the Middle East, a region that served as a primary inspiration for his work following his travels (Source 2). As a founder of the modern Armenian national school of painting, Sarian’s style in this period is characterized by a vibrant, expressive use of color that moves beyond strict naturalism to capture the emotional atmosphere of the scene. The work aligns with the Post-Impressionist tendency to prioritize the artist’s subjective feeling and the vitality of the medium over mere optical deception (Source 6). While specific visual details of the Barfursh bazaar are not described in the provided texts, the painting likely employs strong chromatic contrasts and a structured composition to convey the energy and light of the Persian setting, consistent with Sarian’s broader practice of using color to express inner emotion rather than just external reality.
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (primary set: Ultramarine, White, Black, plus Red and Yellow earths/ochres) | For creating the initial monochrome underpainting (grisaille) and subsequent glazes. | Standard tube oil paints; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red/Yellow or Earth tones. |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings to ensure proper flow and drying, as recommended by Reynolds for this method. | Stand oil or refined linseed oil. |
| Canvas | Support for the oil painting. | Primed linen or cotton canvas. |
| Varnish | To be mixed with oil for later glazing stages to gain mastery over transparent layers. | Dammar varnish or synthetic resin varnish. |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While Sarian’s specific ground preparation is not detailed in the sources, the technique described involves working on a surface that can support a dry grisaille underpainting before glazing. Ensure the ground is smooth enough to allow for the 'transparent coat of colour' (glazing) to sit evenly without absorbing too much pigment prematurely (Source 1).
underdrawing
The sources do not specify Sarian’s underdrawing method for this specific work. However, given the emphasis on color contrast and composition in his practice, a light, flexible underdrawing using thinned oil or charcoal is recommended to establish the 'visual path' and 'shape' of the cityscape elements (Source 4). Avoid heavy, dark lines that might interfere with the subsequent monochrome underpainting.
underpainting
Create a grisaille (monochrome underpainting) using black, ultramarine, and white mixed with oil of copavia (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish the value structure and form of the cityscape without color interference (Source 1). This layer must be completely dry before proceeding to glazing.
color palette
Ultramarine
Pure Ultramarine Blue
Part of the initial grisaille underpainting to establish shadows and mid-tones (Source 1).
White
Pure White
Part of the initial grisaille underpainting to establish highlights and form (Source 1).
Black
Pure Black
Part of the initial grisaille underpainting to establish deep shadows (Source 1).
Red and Yellow Tones
Various reds and yellows (e.g., Cadmium, Ochre, Vermilion)
Applied as transparent glazes and semi-opaque scumbles over the dry grisaille to introduce color and warmth, mimicking the effect of tinting an engraving (Source 1).
composition
The composition should organize the cityscape elements using the principles of visual ordering, including line, shape, and space (Source 4). Sarian’s work often emphasizes the 'emotional ambience' and 'simultaneity' of the scene, suggesting a dynamic arrangement rather than a static topographical view (Source 7, Source 2). Use the law of simultaneous contrast to enhance the gradation of light and color between juxtaposed areas, ensuring that the highest tones are enfeebled and lowest tones heightened at boundaries to create true gradation (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Lightly sketch the main architectural forms and spatial divisions of the Barfursh cityscape on the primed canvas.
Tip — Keep lines faint to avoid interfering with the underpainting.
Preliminary sketch
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia. Paint the entire composition in monochrome (grisaille), focusing on value and form while mentally excluding red and yellow hues.
Tip — Ensure this layer is completely dry before proceeding. This establishes the structural foundation.
Grisaille underpainting
first pass
step 03
Begin glazing with transparent coats of red and yellow oil colors over the dry grisaille. Apply these colors much like tinting an engraving with watercolors.
Tip — Use oil as the medium initially. Observe how the underlying monochrome affects the transparency and tone.
Glazing
refining
step 04
Introduce scumbling (semi-opaque painting) to adjust tones and create coldness or grey blooms where needed, particularly over darker grounds.
Tip — Scumbling allows the underlying painting to show through, creating complex optical mixtures.
Scumbling
finishing
step 05
As mastery increases, mix varnish with oil for subsequent glazing layers to deepen colors and enhance luminosity. Adjust complementary colors to maximize contrast and harmony.
Tip — Be cautious of over-working; the goal is to express feeling through painted symbols, not to deceive the eye with illusionism (Source 6).
Varnish glazing
critical techniques
Glazing and Scumbling
Glazing involves applying transparent coats of color over a dry underpainting, while scumbling uses semi-opaque paint to allow the underlayer to show through. This method was practiced by old masters and is recommended for achieving depth and complex tonal effects (Source 1).
Simultaneous Contrast
Place colors beside each other to enhance their perceived intensity. The highest tone will appear enfeebled and the lowest heightened at the boundary, creating a true gradation of light (Source 3).
Expressive Symbolism
Treat the painting as an expression of feeling and painted symbols rather than a mere substitute for nature. Avoid meretricious attempts to deceive the eye with pure illusionism (Source 6).
common pitfalls
- →Attempting to mix all colors wet-on-wet instead of allowing the grisaille to dry, which prevents the effective use of glazing and scumbling (Source 1).
- →Over-emphasizing realistic detail at the expense of the emotional idea and the vitality of the medium, leading to a 'meretricious attempt to deceive the eye' (Source 6).
- →Ignoring the law of simultaneous contrast, resulting in flat or muddy color interactions instead of vibrant, heightened tones (Source 3).
- →Using too much medium in early layers, which can lead to cracking or slow drying; follow the recommendation of using oil of copavia for the first two paintings (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 visual details of the 'In Barfursh. Persia' painting (e.g., exact buildings, figures, lighting conditions) are not described in the sources, so the composition must be inferred from general cityscape principles and Sarian’s style.
- ·Sarian’s specific pigment choices for this 1913 work are not listed; the palette is inferred from the general glazing technique described in Source 1.
- ·The exact proportion of varnish to oil for the final glazes is not specified, requiring artist experimentation.
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, scumbling, and medium usage.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and gradation techniques.
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 bio — Martiros Sarian↗
- part 1 — applied to Context of Persian inspiration and artistic style.
Wikipedia: Composition (visual arts)↗
- part 1 — applied to General compositional structure.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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