plate no. 9493

In old Yerevan

Martiros Sarian, 1930

oilExpressionismcityscapecityscapebuildingstreesfiguresmountainsky

recreation guide

Martiros Sarian’s 'In old Yerevan' (1930) is a cityscape that reflects his role as the founder of a modern Armenian national school of painting, characterized by a deep admiration for nature and landscape (Source 5). While the specific visual details of this particular canvas are not described in the provided texts, Sarian’s work from this period is generally associated with landscape and portrait painting, often inspired by his travels to Armenia and the Middle East (Source 5). The piece likely embodies the 'highest expressions' of simple materials, aiming for aesthetic qualities gained through serious craft practice (Source 1). As an Expressionist work, it may depart from strict topographical accuracy, instead using the cityscape to convey emotional or spiritual elements consistent with the broader landscape tradition where sky and weather are integral to the composition (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 (various pigments)	Primary medium for the artwork	Standard tube oil paints; avoid lead-based pigments due to toxicity restrictions (Source 7)
Linseed oil	Drying oil medium to manipulate paint characteristics and extend drying time	Refined linseed oil
Canvas or linen support	Surface for painting; linen is historically significant as it comes from the same plant as linseed oil	Primed linen or cotton canvas
Palette knives and brushes	Application of paint	Standard artist brushes and knives
Siccatives (optional)	To accelerate drying time if needed, though historically litharge was used, modern non-toxic alternatives are recommended	Modern non-toxic drying agents

preparation

surface prep

Prepare a linen or canvas support. Historically, linen was a common support for oil painting, derived from the flax plant which also provides linseed oil (Source 7). The surface should be primed with a ground suitable for oil painting to ensure proper adhesion and prevent oil from rotting the canvas fibers. While specific priming recipes for Sarian are not detailed, standard practice involves a gesso or oil-based ground.

underdrawing

The sources do not specify Sarian’s preparatory drawing methods for this specific work. However, given his background in theater design and set decoration (Source 2, Source 5), he likely employed a structured approach to composition. A light underdrawing using charcoal or thinned oil paint is recommended to establish the cityscape’s layout, keeping in mind that landscape views may be imaginary or loosely copied from reality (Source 3).

underpainting

An underpainting (imprimatura) may be used to establish tonal values. While not explicitly cited for Sarian, the 'practice of the earlier oil-painters' suggests a layered approach to achieve aesthetic qualities (Source 1). A neutral or warm-toned wash can help unify the composition before applying opaque colors.

color palette

Earth tones and local colors

Ochres, umbers, siennas, and potentially blues for sky

General use in Sarian’s landscape palette, reflecting Armenian landscapes and traditional fabrics (Source 2, Source 5)

White

Titanium white or Zinc white (modern equivalents)

Highlights and mixing; historically lead white was used but is now restricted due to toxicity (Source 7)

Vibrant accents

Cadmiums or modern synthetic organics

Expressionist emphasis; Sarian’s work often reflected the colors of traditional Armenian fabrics and carpets (Source 2)

composition

The composition likely includes a sky, as sky is almost always included in landscape views (Source 3). As a cityscape, it may feature buildings prominently, which can be considered a topographical view, though Sarian’s style may prioritize expressive qualities over strict accuracy (Source 3). The arrangement of elements should form a coherent composition, possibly using perspective or scaling for distance to depict the city’s depth (Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the basic layout of the cityscape, including major architectural forms and the horizon line.
Tip — Keep lines light and flexible; remember that landscape views may be imaginary (Source 3).
Preparatory drawing

underpainting

step 02
Apply a thin wash of oil paint to establish general tonal values and unify the surface.
Tip — Use linseed oil to thin the paint for a smooth application (Source 7).
Imprimatura

first pass

step 03
Block in the main colors of the buildings and sky, focusing on large shapes rather than details.
Tip — Consider the 'spiritual element' or emotional atmosphere of the scene, consistent with landscape traditions (Source 3).
Blocking in

refining

step 04
Add details to the architecture and refine the edges. Use thicker paint for highlights and foreground elements.
Tip — Manipulate paint characteristics by mixing with medium to achieve desired texture and depth (Source 7).
Glazing and impasto

finishing

step 05
Review the overall composition for coherence and expressive impact. Make final adjustments to color and value.
Tip — Seek models in which are revealed the highest expressions of simple materials, as advised by masters (Source 1).
Final adjustments

critical techniques

Oil manipulation

Mixing paint with linseed oil or other mediums to control drying time and texture. Linseed oil is the most general-purpose oil, while lighter colors may use safflower or poppyseed oil to prevent yellowing (Source 7).

Expressive landscape composition

Arranging elements into a coherent composition that may include imaginary views or emotional atmospheres, rather than strict topographical accuracy (Source 3).

common pitfalls

→Using lead-based pigments, which are restricted due to toxicity concerns (Source 7).
→Overworking the paint before it dries, leading to muddiness; allow layers to dry appropriately (Source 7).
→Ignoring the sky or weather elements, which are often important in landscape compositions (Source 3).
→Focusing too much on topographical accuracy at the expense of expressive quality, which may not align with Sarian’s modern Armenian style (Source 5).

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 'In old Yerevan' (e.g., exact buildings, color scheme, lighting) are not described in the sources.
·Sarian’s specific brushwork or layering technique for this painting is not detailed.
·The exact palette used for this 1930 work is not specified, though general tendencies are noted.
·Preparatory sketches or studies for this specific artwork are not mentioned.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — METHODS OF THE MASTERS↗
- Methods of the Masters — applied to General advice on seeking aesthetic qualities and using simple materials effectively (Source 1).

cross-referenced from

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

Wikipedia bio — Martiros Sarian↗
- Biography and Career — applied to Context on Sarian’s focus on landscape, Armenian inspiration, and theater design (Source 2, Source 5).
Wikipedia: Landscape painting↗
- Landscape painting — applied to Composition principles, inclusion of sky, and distinction between topographical and expressive views (Source 3, Source 4).
Wikipedia: Oil painting↗
- Oil painting — applied to Materials, drying oils, and pigment safety (Source 7).