plate no. 8944
In the Church
Nikolay Bogdanov-Belsky, 1939
recreation guide
Nikolay Bogdanov-Belsky’s 'In the Church' (1939) is a genre painting that depicts aspects of everyday life, likely portraying ordinary people engaged in common activities within a religious setting (Source 3). As a member of the Peredvizhniki and the Kuindzhi Society, Bogdanov-Belsky was known for realist genre scenes, particularly those involving peasant life and education, though he also produced impressionistic landscape studies (Source 2). The work falls under the tradition of 'petit genre,' which distinguishes itself from history painting by focusing on figures without specific individual identity, aiming for a realistic or romanticized depiction of familiar subject matter (Source 3). While the specific visual details of the 1939 interior are not described in the provided sources, the artist’s general practice involved a transition from strict realism to more impressionistic techniques, especially in his later years in Riga (Source 2).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red, Yellow) | Primary pigments for the grisaille underpainting and subsequent glazing/scumbling layers. | Standard tube oil paints; Ultramarine Blue, Titanium White, Ivory Black, Cadmium Red/Yellow or Alizarin Crimson/Chrome Yellow. |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for the first and second paintings, as cited in Reynolds’ method which influenced old master techniques relevant to this period’s academic training. | Stand oil or refined linseed oil. |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparent coats. | Dammar varnish or synthetic resin varnish. |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso. |
preparation
surface prep
The surface should be prepared to accept a monochrome underpainting. While Bogdanov-Belsky’s specific ground preparation for this 1939 work is not detailed, the traditional method described for old masters and academic painters involves a neutral ground that allows for the extraction of red and yellow tones in the initial stage (Source 1). A white or light grey gesso ground is appropriate to facilitate the grisaille technique.
underdrawing
The artist likely employed a careful underdrawing to establish the composition of the genre scene. Academic drawing practices of the period emphasized 'minute visual expression' to acquire habits of accuracy that become instinctive, allowing the artist to focus on broader emotional qualities during the painting phase (Source 8). The drawing should aim for 'artistic accuracy'—conveying the emotional significance of the church interior—rather than mere scientific precision (Source 8).
underpainting
A grisaille (monochrome) underpainting is recommended, using black, ultramarine, and white mixed with oil of copavia (Source 1). This stage involves mentally extracting red and yellow colors to establish the tonal structure of the scene (Source 1). This method aligns with the academic training Bogdanov-Belsky received at the Imperial Academy of Arts (Source 2).
color palette
Ultramarine
Pure Ultramarine Blue
Part of the initial grisaille underpainting to establish darks and mid-tones (Source 1).
White
Lead White or Titanium White
Part of the initial grisaille underpainting to establish lights and highlights (Source 1).
Black
Ivory Black or Lamp Black
Part of the initial grisaille underpainting to establish shadows and depth (Source 1).
Red and Yellow Tones
Various reds and yellows (e.g., Vermilion, Ochre, Cadmium)
Applied in subsequent glazing and scumbling layers to introduce color, mimicking the tinting of an engraving (Source 1).
composition
The composition likely adheres to genre painting conventions, depicting ordinary people in a common activity without specific individual identities (Source 3). The arrangement of figures and the church interior would be designed to create a realistic or romanticized narrative of everyday life. The artist may have utilized principles of simultaneous contrast to harmonize the inherent colors of the church interior (e.g., stone, wood, vestments) with the chosen palette (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition of the church interior and figures, focusing on the emotional significance and spatial relationships rather than minute detail.
Tip — Ensure the drawing conveys the 'vivid manner' of the scene, preparing for the emotional stimulus of the painting phase (Source 8).
Academic Drawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia. Mentally extract red and yellow tones to establish the tonal values of the scene.
Tip — Ensure the grisaille is quite dry before proceeding to color layers (Source 1).
Grisaille
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille, similar to tinting an engraving with watercolors.
Tip — Use oil initially; later, mix varnish with oil for greater transparency and mastery (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones and create effects like a 'grey bloom' over darker grounds.
Tip — Be aware that scumbling over a darker ground tends to coldness (Source 1).
Scumbling
finishing
step 05
Refine the color contrasts, ensuring that the juxtaposition of colors produces the desired chiaroscuro and gradation of light.
Tip — Remember that the lightest tone will be lowered and the darkest heightened when juxtaposed (Source 4).
Simultaneous Contrast
critical techniques
Glazing and Scumbling
Used to build color over a monochrome underpainting. Glazing provides transparent coats, while scumbling offers semi-opaque layers that allow the underlying painting to show through, creating complex tonal effects (Source 1).
Simultaneous Contrast
Applied to harmonize colors inherent to the objects (e.g., church interior) and to manage the perception of light and tone. Juxtaposing colors affects their perceived intensity and tone (Source 4).
Grisaille Underpainting
Establishes the tonal structure using only black, ultramarine, and white, allowing for precise control of light and shadow before introducing color (Source 1).
common pitfalls
- →Applying color before the grisaille is completely dry, which can lead to muddiness and loss of tonal clarity (Source 1).
- →Ignoring the effects of simultaneous contrast, resulting in colors that appear dull or incorrectly toned due to juxtaposition (Source 4).
- →Over-modeling or becoming too tied to the outline, which can detract from the broader emotional impact of the genre scene (Source 6).
- →Failing to perceive the subtle modifications of light and color caused by contiguous colors, leading to inaccurate representation (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 'In the Church' (1939), such as the exact arrangement of figures, lighting conditions, and specific objects in the church, are not described in the sources.
- ·Bogdanov-Belsky’s specific palette choices for this late work are not detailed; the guide relies on general old master techniques and his earlier academic training.
- ·The extent to which Bogdanov-Belsky used impressionistic techniques in this specific genre painting versus his landscape studies is not specified.
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, glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and chiaroscuro principles.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Underdrawing and artistic accuracy.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Nikolay Bogdanov-Belsky↗
- Life — applied to Artist background, genre painting focus, and academic training.
Wikipedia: Genre painting↗
- Genre painting — applied to Definition and characteristics of genre scenes.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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