plate no. 5120

Kond Street

Petros Malayan, 1986

oilExpressionismcityscapebuildingsstreetcityscapearchitecturesky

recreation guide

Kond Street (1986) by Petros Malayan is an expressionist cityscape executed in oil. As an expressionist work, it likely prioritizes emotional experience and subjective interpretation over strict realism, utilizing bold brushwork and dynamic composition to convey the atmosphere of the urban environment. The painting adheres to traditional oil painting principles, where the medium's slow drying time allows for manipulation of texture and form, essential for the expressive style characteristic of this genre. The composition likely employs asymmetrical balance and varied spatial intervals to guide the viewer’s eye through the streetscape, avoiding static or bisected layouts.

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for color and texture application	—
Linseed oil	Medium to thin paint and increase oil content for 'fat over lean' layering	—
Mineral spirits or turpentine	Solvent for thinning initial layers, cleaning brushes, and removing wet paint if necessary	—
Canvas	Support surface for the painting	—
Charcoal or thinned paint	For initial sketching and underdrawing	—
Palette knives and rags	For applying paint, scraping off layers, and adjusting texture	—
Cold wax or resins (optional)	To adjust translucency, sheen, and body of the paint for expressive effect	—

preparation

surface prep

The canvas should be primed with a traditional ground suitable for oil painting. While specific preparation for Malayan is not detailed in the sources, standard practice involves ensuring a stable surface to prevent cracking. The 'fat over lean' rule must be respected from the start, meaning the initial layers should be leaner (more solvent) than subsequent layers (Source 1).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1). For an expressionist cityscape, contour drawing techniques may be useful to emphasize the mass and volume of buildings and streets rather than minute details, focusing on the outlined shapes and three-dimensional perspective (Source 6). The drawing should establish the composition, ensuring the center of interest is off-center and avoiding exact bisections of the picture space (Source 3).

underpainting

Consider using a monochrome underpainting (grisaille) to establish values and forms before applying color. This technique involves painting in a single hue or neutral tones to define light and shadow. Once dry, this layer can be glazed and scumbled with color (Source 2). This approach helps in managing the complexity of the cityscape and allows for adjustments in tone before committing to full color.

color palette

Ultramarine

Ultramarine pigment

General use in establishing cool tones and shadows, consistent with traditional oil painting practices

White

Titanium or Zinc white

Highlighting and mixing to adjust value and opacity

Black

Ivory or Mars black

Deep shadows and defining contours

Red and Yellow tones

Various red and yellow pigments

Glazing and scumbling to add warmth and vibrancy, particularly in areas where light interacts with surfaces

composition

The composition should avoid exact bisections and place the prominent subject off-center to create dynamic balance (Source 3). Use varied spaces between objects to prevent monotony and guide the viewer's eye around the work before leading it out (Source 3). Contrast detailed areas with 'rest' areas to direct attention, and ensure the horizon line is positioned to emphasize either the sky or the ground, rather than dividing the canvas equally (Source 3).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the cityscape onto the canvas using charcoal or thinned paint, focusing on the main structures and perspective lines.
Tip — Emphasize mass and volume over detail; ensure the composition is asymmetrical.
Contour drawing

underpainting

step 02
Apply a monochrome underpainting (grisaille) to establish values and forms. Use lean paint (mixed with solvent) for this initial layer.
Tip — Allow this layer to dry completely before proceeding to avoid muddying the colors.
Grisaille

first pass

step 03
Begin applying color using glazing and scumbling techniques. Glaze with transparent coats of color, and scumble with semi-opaque paint to allow the underpainting to show through.
Tip — Start with oil as a medium; ensure each layer is 'fatter' (more oil) than the previous one.
Glazing and Scumbling

refining

step 04
Adjust colors, textures, and forms as needed. Use palette knives to scrape off paint or apply thick impasto for expressive texture.
Tip — Oil paint remains wet longer, allowing for changes; use rags and turpentine to remove wet paint if necessary.
Palette knife application

finishing

step 05
Add final details and highlights. Ensure the center of interest is well-defined and that the composition leads the eye effectively.
Tip — Use high-contrast elements to draw attention to key areas.
Detailing

varnishing

step 06
Once the painting is completely dry (usually within two weeks), apply a varnish to protect the surface and enhance the colors.
Tip — Ensure the painting is fully dry to prevent trapping solvents.
Varnishing

critical techniques

Fat over Lean

Each additional layer of paint should contain more oil than the layer below to prevent cracking and peeling. This is a fundamental rule in oil painting.

Glazing and Scumbling

Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint to allow the underpainting to show through. These techniques help in building depth and luminosity.

Contour Drawing

Used in the underdrawing phase to emphasize the mass and volume of the cityscape elements, focusing on outlines and three-dimensional form.

common pitfalls

→Applying lean layers over fat layers, which can lead to cracking and peeling of the paint film (Source 1).
→Overworking the paint while it is still wet, which can muddy colors and lose the expressive quality of the brushstrokes.
→Ignoring compositional principles, such as placing the subject in the center or bisecting the canvas, which can result in a static and unengaging image (Source 3).
→Failing to allow sufficient drying time between layers, especially when using glazing techniques, which can cause the paint to become tacky or uneven.

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 color palette used by Petros Malayan in 'Kond Street' is not detailed in the sources; the palette suggested is based on general oil painting practices.
·Exact compositional layout of 'Kond Street' is not described in the sources; the composition notes are based on general principles of visual arts.
·Specific expressive techniques unique to Malayan's style are not covered; the guide relies on general expressionist and oil painting techniques.

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 Grisaille underpainting, glazing, and scumbling techniques

cross-referenced from

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

Wikipedia: Oil painting↗
- part 2 — applied to Underdrawing, fat over lean rule, palette knife use, drying time
Wikipedia: Composition (visual arts)↗
- part 6 — applied to Compositional principles, center of interest, horizon line placement
Wikipedia: Contour drawing↗
- part 1 — applied to Underdrawing technique, emphasizing mass and volume