plate no. 8498

In Barfursh. Persia.

Martiros Sarian, 1913

oil, canvasPost-Impressionismcityscapecityscapefiguresbuildingswalltreessky

what to study here

It shows a clear three-value structure with a colored dark shadow, a useful model for organizing a detailed cityscape.

The lesson here is how three value zones carry a busy scene. Squint and the vision analysis reads light yellow-ochre plaza, a dark wall shadow, and mid-tone buildings. The shadow is a deep brown cutting diagonally across the lower right, and it is the darkest value in the picture. It sets up the foreground and pushes the plaza back. Notice that the shadow is described as warm brown and purple-brown, not black, so the dark stays colored. The sunlit ground is among the lightest values, and the sky is kept light and fairly neutral so it does not compete with it. Small figures on the plaza give scale and lead the eye toward the buildings and the central tower. The viewpoint is elevated, so the ground plane rises toward the settlement. Brushwork is visible but restrained, following the architecture, with no heavy impasto. Edges are sharper in the foreground where wall meets sunlit ground and softer in the distance. Study how few value decisions organize so much detail.

key decision

The painter made the wall's cast shadow the darkest value, a warm brown rather than black, cutting diagonally across the lower right against the light plaza. This creates foreground depth and anchors the whole composition.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

An elevated viewpoint shows a Persian settlement dominated by a sunlit yellow-ochre plaza in the foreground, which recedes upward toward clustered buildings and a central tower (minaret) in the middle distance. Strong light enters from the upper left, creating a deep brown shadow cast by a wall that cuts diagonally across the lower right—this shadow is the darkest value in the painting and establishes immediate spatial depth. Small human figures dot the bright ground plane, providing scale and drawing the eye along a path that leads from the foreground into the settlement. Behind the buildings, mountains with yellow-green foliage frame the composition, while a bright blue sky anchors the upper portion.

value structure

The value structure pivots on stark contrast: the sunlit ground plane is among the lightest values, while the wall's shadow is the darkest dark in the composition, creating powerful foreground recession. Mid-tones cluster in the building masses and tree canopies, with distinct shadow sides that read as warm browns and deep purples rather than black. The sky is light and relatively neutral, preventing it from competing with the yellow ground. When squinting, three clear value zones emerge: light ground, dark shadow, and medium-value buildings; this simplicity is what makes the composition read so clearly despite the busy detail.

observed palette and mixes

#d8cb8e
Cadmium yellow + yellow ochre + titanium white
The sunlit plaza ground plane, the dominant expanse in the foreground and middle ground
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Burnt sienna + alizarin crimson + touch of ultramarine blue
The shadowed wall face in the lower right, warm brick tones on buildings, shadows beneath eaves
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Yellow ochre + burnt sienna + ultramarine blue
Mid-tone building walls, the gray-brown rampart or wall structure, earth shadows
#bba363
Yellow ochre + cadmium yellow + burnt sienna
Warmer, sunlit portions of walls, highlights on architectural forms
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Ultramarine blue + alizarin crimson + burnt sienna
Deep shadows on figures, dark clothing, darkest accents in building shadows
#e0e1b7
Titanium white + cadmium yellow + touch of ultramarine
Pale sky, light highlights on the ground plane, brightest moments in the composition

edges and brushwork

Brushwork is directional and visible but restrained—horizontal and vertical strokes follow the architecture, while diagonal marks suggest the texture of foliage and sky movement. Edges are softer in the distance (buildings fade into the mid-ground) and sharper in the foreground where the wall meets the sunlit ground. The paint is applied with clarity of form in mind; there is no aggressive impasto, but the strokes are confident and readable, especially in the sky where horizontal passes of blue create a sense of atmosphere.

a working sequence

01
Establish value structure with monochrome underpainting
Using burnt sienna and ultramarine blue mixed to a range of grays, rapidly block in the major light and dark zones. The sunlit plaza should be light, the wall shadow very dark, and the buildings mid-tone. This is not about detail—focus on where light hits and where shadow falls. Pay attention to how the dark wall shadow cuts across the lower right, anchoring the composition's depth.
02
Paint the sky and distant landscape
Lay in a bright ultramarine blue sky, slightly lighter toward the horizon. Add yellow-green foliage masses in the upper middle and right edge using viridian green and cadmium yellow. These greens should feel warm and earthy, not cool or chartreuse. Keep edges soft; the mountains should feel atmospheric and distant.
03
Block in architectural masses
Using burnt sienna, yellow ochre, and ultramarine blue, mass in the buildings as warm brown-ochre shapes. Notice how the central tower reads lighter against the darker vegetation behind it. Build the walls with several values—sunlit sides warmer and lighter, shadow sides darker and more purple-brown. Keep these shapes simple; refine them later.
04
Develop the foreground ground plane
Paint the sunlit plaza yellow-ochre using cadmium yellow and yellow ochre with white. Vary the tone slightly—it is not uniform; some areas are more golden, others paler. Use horizontal strokes to suggest the flatness of the ground receding into depth. Notice how the yellow picks up temperature shifts as it approaches the buildings.
05
Paint the shadowed wall with warm depth
The wall's shadow is critical. Use burnt sienna with alizarin crimson and a touch of ultramarine blue to create a warm, deep brown-rust tone. This shadow should be darker than anything around it but still feel like color, not absence. Apply with confident strokes following the wall's plane. The edge where it meets the sunlit ground should be sharp and define the spatial drop-off.
06
Refine foliage and middle-ground details
Layer yellow-green and darker green foliage around the buildings and at the edges. The trees should feel organic and leafy; use varied greens mixed from viridian, cadmium yellow, and touches of burnt sienna. Add shadows beneath tree canopies using darker, more muted greens. Notice how some foliage overlaps buildings, establishing depth.
07
Place figures and add final value adjustments
Paint small human figures using dark purples (ultramarine + alizarin) for clothing, with warm skin tones and quick strokes for features. One figure wears orange in the left foreground—use cadmium yellow mixed warm. The figures are small; don't overwork them. Their shadows are cast on the yellow ground. Strengthen any weak value contrasts by darkening shadows or lifting lights.
08
Final unification and edge control
Step back and check overall color harmony. Soften edges where the eye should rest softly (distant buildings, sky-mountain transitions) and sharpen edges in the foreground. A final glaze of warm ochre over parts of the ground can unify the plane. Ensure the darkest shadow reads as dark as intended and that the sky feels appropriately distant through its soft handling.

where studies of this painting go wrong

Making the yellow ground plane too uniform in color—it should shift in temperature and value as it recedes, warming near the buildings and cooling slightly in the shadow of the wall.
Painting the greens in the foliage too bright or too saturated; they need to feel earthy and subordinate to the yellow-ochre landscape. Mute them with burnt sienna or ultramarine.
Underestimating the darkness of the wall shadow—it must be genuinely dark to create the spatial punch. If it reads too light or too gray, the foreground will flatten.
Overworking the small figures—they should be painted simply with just value and silhouette. Fine detail on a tiny figure will look fussy and pull attention away from the composition.
Forgetting the perspective cues; the elevated viewpoint requires that buildings and architectural forms recede convincingly. Check proportions regularly against the ground plane and figure scale.

measured difficulty