plate no. 7792
Literary reading
Vladimir Makovsky, 1866
recreation guide
Vladimir Makovsky’s 'Literary reading' (1866) is a genre painting that depicts ordinary people engaged in common activities, a style defined by its focus on everyday life rather than historical or religious grandeur (Source 3). As a founding member of the Association of Travelling Art Exhibitions, Makovsky’s work from this period is characterized by a blend of realism and social commentary, often employing humor or irony to critique societal norms (Source 4). The painting likely utilizes the principles of genre art, where figures are portrayed without specific individual identity, allowing the scene to represent a broader social type rather than a specific portrait (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the painting | Artist-grade oil paints |
| Linseed oil | Medium to thin paint and increase gloss/drying time | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning paint and cleaning brushes | Odorless mineral spirits |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Charcoal or thinned paint | Initial sketching of the composition | Vine charcoal or raw umber thinned with solvent |
| Paintbrushes | Application of paint | Hog bristle and sable brushes of various sizes |
preparation
surface prep
The canvas should be primed with a ground suitable for oil painting. While specific priming methods for Makovsky in 1866 are not detailed in the sources, traditional oil painting practice of the period involved preparing a stable surface to ensure the longevity of the paint film (Source 6). The artist must ensure the ground is dry and ready to accept the initial layers of paint.
underdrawing
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 6). Given Makovsky’s academic training at the Moscow School of Painting, Sculpture, and Architecture, he likely employed a precise underdrawing to establish the composition and figures before applying paint (Source 4).
underpainting
The artist may begin with a monochromatic underpainting (imprimatura) to establish values and composition. This aligns with the general practice of oil painting where initial layers are leaner to allow proper drying of subsequent layers (Source 6).
color palette
Flesh tones
Lead white, vermilion, yellow ochre, raw umber
General use in this artist's palette for depicting human figures
Earth tones
Raw umber, burnt sienna, yellow ochre
General use in this artist's palette for backgrounds and clothing
Blues and Greens
Ultramarine, cobalt blue, viridian
General use in this artist's palette for draperies and accessories
Whites and Blacks
Lead white, ivory black
General use in this artist's palette for highlights and shadows
composition
As a genre painting, the composition likely focuses on ordinary people engaged in common activities, without attaching specific identity to the figures (Source 3). Makovsky’s work from this period often included social commentary, so the arrangement of figures may be designed to highlight interactions or contrasts that convey a narrative or ironic tone (Source 4). The artist may have used principles of color contrast to harmonize the composition, ensuring that colors inherent to the model (like flesh tones) are balanced with chosen colors for draperies and backgrounds (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition onto the canvas using charcoal or thinned paint, focusing on the placement of figures and key elements.
Tip — Ensure the proportions and gestures are accurate to convey the intended narrative.
Initial sketching
underpainting
step 02
Apply a thin layer of paint to establish the basic values and color relationships. Use lean paint (mixed with more solvent) for this layer.
Tip — Keep this layer thin to allow proper drying and adhesion of subsequent layers.
Imprimatura
first pass
step 03
Begin applying broader masses of color, focusing on the main forms and light/shadow relationships. Use the 'fat over lean' principle, ensuring each layer has more oil than the previous one.
Tip — Avoid over-modeling at this stage; focus on capturing the overall impression.
Layering
refining
step 04
Add details and refine the forms, paying attention to the contrast of colors and tones. Use the principles of simultaneous contrast to enhance the visual impact of adjacent colors.
Tip — Be mindful of the inherent colors of the model versus chosen colors for accessories and backgrounds.
Color contrast
finishing
step 05
Complete the painting by adding final touches and ensuring the harmony of the composition. Check for any areas that need adjustment in terms of value or color.
Tip — Step back frequently to assess the overall effect and make necessary corrections.
Final adjustments
varnishing
step 06
Once the painting is completely dry, apply a varnish to protect the surface and enhance the colors.
Tip — Ensure the painting is fully dry to prevent trapping solvents under the varnish.
Varnishing
critical techniques
Fat over lean
Each additional layer of paint should contain more oil than the layer below to allow proper drying and prevent cracking.
Simultaneous contrast
Use the juxtaposition of colors to enhance the visual impact and harmony of the composition.
Genre painting conventions
Depict ordinary people in everyday activities without specific identity, focusing on narrative and social commentary.
common pitfalls
- →Over-modeling details too early, which can lead to a muddy appearance and loss of overall composition.
- →Ignoring the 'fat over lean' principle, which can cause the painting to crack and peel over time.
- →Failing to consider the inherent colors of the model versus chosen colors for accessories, leading to a disharmonious composition.
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 details of the painting's composition, such as the exact arrangement of figures and objects, are not described in the sources.
- ·Makovsky's specific palette and pigment choices for this particular painting are not detailed.
- ·The exact underdrawing and underpainting techniques used by Makovsky for this work are not explicitly documented in the provided sources.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to General advice on copying and technique
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color contrast and harmony
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Importance of materials and medium
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Genre painting↗
- Genre painting — part 1 — applied to Definition and conventions of genre painting
Wikipedia bio — Vladimir Makovsky↗
- Biography — applied to Artist's style and social commentary
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Traditional oil painting techniques
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
