plate no. 5536
Kutaisi
Pyotr Konchalovsky, 1935
what to study here
It shows how a few dark shadow shapes and warm-against-cool masses can describe a hillside town without precise drawing.
Study how the value structure carries the space. The visionGuide describes three zones: a near-white sky with blue-gray undertones, sunlit cream and yellow wall faces, and very dark browns and blacks under roofs, in window openings and inside the arches. Squint and the buildings split into warm-lit and cool-shadowed masses, and that contrast drives the recession. Note the pivot between two architectural types: rusty terra cotta roofs on the left and the arched portico colonnade on the right, which anchors the eye. Light comes from the upper left. The colonnade gets its weight from shadow strokes, not fine detail, and the figures are quick gestural marks that give scale. Edges soften where buildings meet sky, and the roofs show dry brush. Copy the dark passages first, then judge how little drawing the arches need once the darks are placed. The palette notes list earth colors with ultramarine for the shadows.
key decision
The painter put the darkest values inside the arches, window openings and under the roofs, and left the lit walls light and warm. Those darks, not outlines, define the colonnade and push the architecture back.
recreation guide
Pyotr Konchalovsky’s *Kutaisi* (1935) is a cityscape executed in oil, reflecting his Post-Impressionist style and his foundational role in the Knave of Diamonds group (Source 5). Konchalovsky’s artistic development was deeply influenced by his study of Paul Cézanne and Vincent van Gogh, particularly during his time in Paris, where he sought to synthesize modern French breakthroughs with Russian primitivism (Source 5). While specific visual details of *Kutaisi* are not described in the provided sources, the work likely exhibits the bold color contrasts and structural solidity associated with Cézannism and Fauvism, which Konchalovsky adopted after 1907 (Source 5). The painting represents a topographical view, a genre that depicts specific places with buildings prominently featured, though such views were sometimes historically distinguished from fine art landscapes (Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Red, Yellow) | Primary pigments for underpainting and glazing, consistent with traditional methods and Konchalovsky’s likely palette influenced by Cézanne and Van Gogh. | Artist-grade oil paints |
| Linseed oil or Oil of Copavia | Medium for thinning paint and creating glazes; Sir Joshua Reynolds noted using oil of copavia for his first and second paintings (Source 1). | Stand oil or refined linseed oil |
| Mineral spirits or Turpentine | Solvent for cleaning brushes and thinning initial layers; traditional oil painting uses these to adjust drying time and consistency (Source 8). | Odorless mineral spirits |
| Canvas | Support for the oil painting. | Primed linen or cotton canvas |
| Charcoal or thinned paint | For sketching the initial composition onto the canvas (Source 8). | Vine charcoal or diluted oil paint |
preparation
surface prep
The canvas should be primed to accept oil paint. While specific preparation for *Kutaisi* is not detailed, traditional oil painting techniques often begin with sketching the subject onto the canvas with charcoal or thinned paint (Source 8). Konchalovsky’s practice, influenced by the old masters and Cézanne, likely involved a solid ground to support subsequent glazing and scumbling techniques.
underdrawing
Sketch the cityscape composition using charcoal or thinned paint, focusing on the structural elements of the buildings and the horizon line. Avoid exact bisections of the picture space and ensure the prominent subject is off-center to create balance (Source 4). The drawing should establish the 'lines of force' and directional tendencies of the urban scene, a technique noted in Futurist and modernist approaches to cityscapes (Source 7).
underpainting
Create a grisaille (monochrome underpainting) using black, ultramarine, and white, as suggested by Sir Joshua Reynolds’ method for establishing form and value before introducing color (Source 1). This layer should capture the chiaroscuro and gradation of light, allowing the artist to mentally extract red and yellow tones to be added later (Source 1). Ensure this layer is completely dry before proceeding.
color palette
Ultramarine
Pure ultramarine blue
Underpainting and sky tones, consistent with Reynolds’ method and Konchalovsky’s Post-Impressionist influences.
Black
Ivory black or Mars black
Underpainting for shadows and structural definition.
White
Titanium or Zinc white
Underpainting for highlights and mixing with other colors.
Red
Cadmium red or Alizarin crimson
Glazing and scumbling to add warmth and vitality, reflecting Konchalovsky’s Fauvist tendencies.
Yellow
Cadmium yellow or Chrome yellow
Glazing and scumbling to enhance light and contrast, consistent with the Greek palette mentioned in color theory (Source 2).
composition
The composition should avoid exact bisections and place the horizon line to emphasize either the sky or the ground, depending on the desired focus (Source 4). Use detailed areas and 'rest' areas to guide the viewer’s eye, creating a contrast between detail and lack of detail (Source 4). The cityscape should have a center of interest to prevent it from becoming a mere pattern, and the viewer’s gaze should be led around all elements before exiting the picture (Source 4). Konchalovsky’s style, influenced by Cézanne, likely emphasizes structural solidity and color contrast over realistic detail.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the cityscape composition on the canvas using charcoal or thinned paint, focusing on structural forms and avoiding exact bisections.
Tip — Ensure the prominent subject is off-center to create visual balance.
Initial sketching
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white to establish values and forms. Allow to dry completely.
Tip — Mentally extract red and yellow tones to be added later, focusing on what remains in nature without these colors.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil, applying red and yellow tones transparently over the dry grisaille. Use a medium like linseed oil or oil of copavia.
Tip — Glazing is a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through.
Glazing and Scumbling
refining
step 04
Adjust colors and contrasts, paying attention to the laws of simultaneous contrast. Juxtapose colors to enhance their vibrancy and create true gradations of light.
Tip — Small, high-contrast elements can have as much impact as larger, duller ones; use this to balance the composition.
Simultaneous Contrast
finishing
step 05
Add final details and adjust the balance of detail and rest areas. Ensure the viewer’s eye is led through the composition effectively.
Tip — Avoid making spaces between objects identical to create a more interesting image.
Compositional Balance
varnishing
step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the depth of the glazes.
Tip — Ensure the painting is fully dry to prevent cracking or peeling.
Varnishing
critical techniques
Glazing and Scumbling
Used to add color and depth over a monochrome underpainting. Glazing involves transparent coats of color, while scumbling is semi-opaque, allowing the underlying layer to influence the final appearance. This method was practiced by old masters and is relevant to Konchalovsky’s Post-Impressionist style.
Simultaneous Contrast
Juxtaposing colors to enhance their vibrancy and create visual interest. This principle helps in harmonizing colors inherent to the object and those chosen by the artist.
Compositional Balance
Using off-center subjects, varied detail levels, and guiding the viewer’s eye to create a dynamic and engaging composition.
common pitfalls
- →Applying layers with less oil than the previous layer, which can lead to cracking and peeling. Follow the 'fat over lean' rule (Source 8).
- →Ignoring the laws of simultaneous contrast, which can result in dull or muddy colors. Pay attention to how juxtaposed colors affect each other (Source 2).
- →Creating a composition with exact bisections or identical spaces between objects, which can make the image static and uninteresting (Source 4).
- →Adding color before the underpainting is completely dry, which can ruin the glazing effect (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 *Kutaisi* (e.g., exact buildings, color scheme, lighting conditions) are not described in the sources.
- ·Konchalovsky’s specific palette for this 1935 work is not detailed, though his general influences are noted.
- ·The exact medium and varnish used by Konchalovsky for this painting are 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 and glazing techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color contrast and harmony
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Composition (visual arts)↗
- part 1 and part 6 — applied to Compositional principles and techniques
Wikipedia bio — Pyotr Konchalovsky↗
- part 1 — applied to Artist’s style and influences
Wikipedia: Oil painting↗
- part 2 — applied to General oil painting techniques and materials
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 label6 dominant colors, measured
what the eye sees
A Georgian hillside cityscape viewed from ground level, with warm sunlight striking building facades from the upper left. The composition pivots between two architectural types: the rusty terra cotta–roofed residential structures on the left and the substantial arched portico colonnade on the right, which anchors the viewer's gaze. A pale sky with soft cloud shadows occupies the upper third, while the clustered buildings command the foreground. Small figures at street level provide scale and human warmth to what could otherwise be a stark architectural study.
value structure
Three distinct value zones: the light sky (near-white with blue-gray undertones), the sunlit cream and yellow building faces (mid-light, warm), and the deep shadow zones under roofs, in window openings, and within the arches (very dark browns and blacks). Squint and you'll see the buildings separate into warm-lit and cool-shadowed masses; the contrast between illuminated walls and shadowed depths drives spatial recession.
observed palette and mixes
#e9e7e0
titanium white + touch of ochre
sunlit wall faces and light sky areas
#d0d0c7
buff titanium + light red
mid-tone building walls and warm sky underpaint
#9a7d67
raw sienna + yellow ochre
warm mid-tone walls and architectural forms
#b5b4ad
burnt sienna + ultramarine blue + white
cooler sky and shadow accents
#656152
burnt sienna + ultramarine + raw umber
mid-value shadows and earth tones
#34211b
ultramarine + alizarin + raw umber
deepest shadows, window openings, arch recesses
edges and brushwork
The painting is executed with deliberate looseness—edges soften where buildings meet sky, and roof planes are suggested with bold, confident strokes rather than rendered precisely. Brushwork is visible and direct; the terra cotta roofing especially shows dry brush and layered wash technique. The arched colonnade gains weight through shadow strokes rather than fine detail; figures are quick gestural marks, never fussy.
a working sequence
- 01
Sky and distance
Wet the entire upper third with clean water, then drop in pale blue-gray (ultramarine + touch of burnt sienna). Leave soft white shapes for clouds. While wet, suggest distant hills with very soft warm earth tones (ochre + sienna). Keep this ethereal—no hard edges.
- 02
Building underwash
Once dry, establish a warm golden-yellow underwash across all building masses using dilute raw sienna and yellow ochre. This unifies the architecture and creates the foundation for all warmer tones. Be loose; architectural precision comes later.
- 03
Roofing and mass definition
Block in the terra cotta roofs with bold rusty-red strokes (burnt sienna + alizarin). The roofs on the left are prominent; don't make them uniform—vary the tone slightly. Define the building's overall silhouette and the arched colonnade's outline with these richer tones.
- 04
Shadow work and recession
Mix a dark shadow tone (ultramarine + raw umber + touch of alizarin) and indicate the deep shadows: under roof eaves, inside window openings, and crucially, within and behind the arches. These darks push the architecture back and create spatial depth. The arched portico's recesses should be your darkest passages.
- 05
Arches and colonnade detail
Refine the columned arches on the right with clearer shadow definition between columns and under the arches. The columns themselves stay relatively light, but the voids behind are deep. Use a medium shadow tone to suggest the arcade structure without fussiness—suggestion over precision.
- 06
Ground plane and figures
Establish the shadow-toned street or ground with a middle value wash (burnt sienna + ultramarine, diluted). Drop in quick gestural marks for figures—just dark silhouettes or simple suggestions of people at street level. These anchor the composition and give the architecture human scale.
- 07
Warm mid-tone refinement
Layer a warm mid-tone (raw sienna + yellow ochre, richer than your underwash) over building faces in sunlight, leaving your initial pale underwash showing in the brightest areas. This builds luminosity without overworking. Warm shadows on the left side's buildings should feel sun-baked.
- 08
Final accents and check
Step back and assess values: are your darkest darks dark enough? Darken window openings and arch shadows if needed. Add any final warm accent strokes to suggest architectural detail. The painting should read as a warm, sun-drenched cityscape with cool sky and deep, mysterious shadows.
where studies of this painting go wrong
- Rendering the arches as precise geometric forms instead of loose, shadow-defined voids—stay expressive and let darkness imply depth.
- Overworking the sky or making it too colorful; it should remain pale and atmospheric to support the warm buildings below.
- Making the terra cotta roofs uniform in tone; real sunlit clay has variation—let some areas be lighter, some richer russet.
- Placing figures too carefully or making them too detailed; they're quick marks that function as scale, not portrait subjects.
- Not leaving enough white paper for the brightest sunlit wall faces; reserve your whites and let them sing against surrounding tones.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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