plate no. 3907
Landscape near Kingston
David Burliuk, 1942
recreation guide
David Burliuk’s 'Landscape near Kingston' (1942) is an oil painting executed in a Realist style, depicting natural scenery consistent with the genre of landscape art. While Burliuk is historically associated with Futurism and Cubo-Futurism, this specific work adheres to the tradition of depicting natural elements such as trees, sky, and terrain, arranged into a coherent composition (Source 2). The artwork relies on the material properties of oil paint, which allows for extended working time and the layering of colors to achieve depth and texture (Source 1). The realism suggests a focus on accurate representation of light and form, potentially utilizing traditional oil painting techniques such as glazing and scumbling to modulate tone and color harmony (Source 7).
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (artist grade) | Primary medium for color 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 and cleaning brushes | — |
| Canvas | Support surface for the painting | — |
| Charcoal or thinned paint | For initial sketching and underdrawing | — |
| Paintbrushes and palette knives | Application and manipulation of paint | — |
| Rags | Wiping away wet paint or applying scumbles | — |
preparation
surface prep
The canvas should be primed with a traditional ground suitable for oil painting. While specific preparation for this 1942 work is not detailed in the sources, standard practice involves ensuring the surface is stable to prevent cracking. The 'fat over lean' rule dictates that the initial layers must be lean (more solvent, less oil) to ensure proper drying and adhesion of subsequent layers (Source 1).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1). Use contour drawing techniques to establish the outlines of the landscape elements, focusing on the mass and volume of trees, hills, or structures rather than minor details (Source 3). This foundational step helps in arranging the elements into a coherent composition, ensuring that the sky and weather elements are integrated if present (Source 2).
underpainting
Apply a monochromatic underpainting, likely a grisaille, to establish the tonal values of the landscape. This technique involves extracting red and yellow colors initially to focus on form and light (Source 7). This layer should be allowed to dry completely before proceeding to color glazing. The underpainting serves as a structural base, allowing the artist to visualize the composition without the distraction of color (Source 7).
color palette
Earth tones (Greys, Browns)
Black, White, Ultramarine (for grisaille)
Underpainting and shadow areas
Greens
Yellow and Blue primaries
Foliage and grass, utilizing complementary contrast with reds if present
Blues
Ultramarine or Cobalt Blue
Sky and water reflections
Yellows/Oranges
Yellow Ochre, Cadmium Yellow
Highlights and warm light sources, creating contrast with blues
Reds
Cadmium Red or Alizarin Crimson
Accent colors or warm shadows, used sparingly to maintain harmony
composition
The composition likely features a wide view of natural scenery, with the sky included as a significant element (Source 2). As a realist landscape, it may depict a specific place with varying degrees of accuracy, potentially including topographical elements if buildings are prominent (Source 2). The arrangement of elements should create a coherent whole, balancing the foreground, middle ground, and background to convey depth and perspective (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the landscape contours using charcoal or thinned paint, focusing on the outline and mass of major elements.
Tip — Ensure the lines convey volume and space, not just flat outlines.
Contour drawing
underpainting
step 02
Apply a lean grisaille underpainting using black, white, and ultramarine to establish tonal values.
Tip — Keep this layer thin and lean to allow proper drying.
Grisaille
first pass
step 03
Once the underpainting is dry, begin glazing with transparent oil colors, starting with cooler tones.
Tip — Apply thin, transparent layers to build up color depth.
Glazing
refining
step 04
Use scumbling to apply semi-opaque paint over darker areas to create coldness or grey blooms, particularly in shadows.
Tip — This technique allows the underlying painting to show through, creating complex tones.
Scumbling
step 05
Apply subsequent layers of paint with increasing oil content, adhering to the 'fat over lean' rule.
Tip — Ensure each layer has more oil than the previous one to prevent cracking.
Fat over lean
finishing
step 06
Adjust colors and textures using brushes or palette knives, taking advantage of oil paint's slow drying time.
Tip — Oil paint remains wet longer, allowing for changes in color and form.
Wet-on-wet adjustment
varnishing
step 07
Allow the painting to dry completely (up to two weeks) before applying varnish if desired.
Tip — Oil paint dries by oxidation, not evaporation.
Oxidation drying
critical techniques
Fat over lean
Each additional layer of paint should contain more oil than the layer below to ensure proper drying and prevent cracking.
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity.
Scumbling
Applying semi-opaque paint over a darker ground to create coldness or grey blooms, allowing the underlayer to show through.
Contour drawing
Using lines to emphasize the mass and volume of the subject, focusing on the outlined shape rather than minor details.
common pitfalls
- →Applying lean layers over fat layers, which can cause the painting to crack and peel (Source 1).
- →Ignoring the slow drying time of oil paint, leading to premature layering or varnishing (Source 1).
- →Overworking the paint before it is dry, which can muddy colors and lose the clarity of the underpainting (Source 1).
- →Failing to establish a coherent composition, resulting in a disjointed landscape (Source 2).
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 choices for 'Landscape near Kingston' are not detailed in the sources; the palette is inferred from general realist landscape practices.
- ·The exact topographical features of Kingston depicted in the painting are not described in the sources.
- ·Burliuk's specific brushwork style for this realist piece is not detailed, so general oil painting techniques are applied.
- ·The presence or absence of specific elements like buildings or figures is not confirmed by the sources.
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
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and contrast principles
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, fat over lean rule, drying time, and application methods
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Genre definition, composition principles, and inclusion of sky/weather
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique and focus on mass/volume
Read more about the corpus on the sources page and how the guides are built on the methods page.
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