plate no. 8328
Making Jam
Vladimir Makovsky, 1876
recreation guide
Vladimir Makovsky’s 'Making Jam' (1876) is a quintessential example of Russian Realism and genre painting from the 1870s, a period when Makovsky focused on small-town folk life with a tone defined by 'perpetual humor as well as blatant irony and scorn' (Source 4). The work belongs to a series of paintings from this era, such as 'Fruit-Preserving' (1876), which depict domestic scenes with finely conceived moods that are 'almost laughter-inducing' (Source 4). As a founding member of the Association of Travelling Art Exhibitions, Makovsky’s practice was rooted in social observation, though this specific work leans toward the humorous depiction of daily labor rather than the profound social criticism seen in his later works like 'The Benefactor' (Source 4). The technical execution relies on the standard oil painting methods of the 19th century, utilizing pigments combined with drying oils to achieve 'greater flexibility, richer and denser color, the use of layers, and a wider range from light to dark' (Source 2). While specific visual details of the room layout or clothing patterns are not described in the provided sources, the artist’s general practice suggests a commitment to craftsmanship where the painter must be a 'sound craftsman' with essential knowledge of the medium’s capacities (Source 1). The recreation should focus on the realistic rendering of figures and objects, employing color theory principles such as complementary juxtaposition to enhance the brilliance of tones, a technique Makovsky would have been familiar with through academic training (Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil-primed canvas | Standard support for 19th-century oil painting | Pre-primed linen or cotton canvas |
| Linseed oil | Primary binder for pigments; provides flexibility and rich color | Refined linseed oil |
| Turpentine | Thinner for initial layers and cleaning | Odorless mineral spirits or pure gum turpentine |
| Traditional pigments (Ultramarine, White, Black, Earth tones) | Core palette for underpainting and grisaille | Ultramarine blue, Titanium white, Ivory black, Raw/Burnt Umber |
| Red and Yellow pigments (e.g., Vermilion, Cadmium Yellow) | For glazing and scumbling to add warmth and intensity | Alizarin Crimson or Quinacridone Red, Cadmium Yellow |
| Varnish (optional, for final protection) | Protection and texture, potentially mixed with oil for glazing | Dammar or synthetic resin varnish |
preparation
surface prep
The canvas should be prepared with a traditional oil ground. While the sources do not specify Makovsky’s exact ground recipe, the general practice of the period involved priming to create a stable surface for oil application. The artist must ensure the surface is sound, as the 'knowledge of his medium... is his first essential requirement' (Source 1).
underdrawing
The sources do not explicitly describe Makovsky’s underdrawing technique for this specific work. However, as a realist painter trained in the Moscow School, he likely employed a precise underdrawing to establish the 'broad masses' and correct proportions before applying paint. The instruction to 'make copies of certain works' to gain experience suggests a disciplined approach to initial structure (Source 1).
underpainting
A monochrome underpainting (grisaille) is recommended, consistent with the techniques described in 'The Practice of Oil Painting.' The artist should create a 'grisaille' using black, ultramarine, and white, mentally 'extracting the red and yellow colours' to establish value and form (Source 6). This method allows for the subsequent application of color through glazing and scumbling, a technique 'practised by the old masters far more generally' than modern painters might assume (Source 6).
color palette
Ultramarine Blue
Pure ultramarine pigment
Underpainting and cool shadows; creates contrast when juxtaposed with warm tones
White
Lead white or modern Titanium white
Highlights and mixing with ultramarine/black for grisaille
Black
Ivory black or Lamp black
Dark values in the grisaille underpainting
Red/Yellow Tones
Vermilion, Cadmium Yellow, or similar warm pigments
Glazing and scumbling over the dry grisaille to add warmth and intensity to figures and objects
composition
The sources do not describe the specific composition of 'Making Jam.' However, Makovsky’s genre paintings from the 1870s are noted for depicting 'small-town folk' with a 'finely conceived' mood (Source 4). The composition likely emphasizes the narrative interaction between figures, consistent with the realist tradition of capturing a 'moment from a story' (Source 7). The artist should aim for a balanced arrangement that guides the viewer’s eye through the scene, utilizing line and shape to create visual order (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic forms and proportions of the figures and objects on the primed canvas.
Tip — Ensure accuracy in proportions to avoid 'smallness' or being 'too much tied down to your outline' (Source 1).
Preparatory drawing
underpainting
step 02
Create a monochrome grisaille using black, ultramarine, and white. Establish the full range of values from light to dark.
Tip — Mentally extract red and yellow colors, focusing on the structural forms and lighting (Source 6).
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Begin applying color through glazing and scumbling.
Tip — Use transparent coats of color (glazing) and semi-opaque painting (scumbling) to add warmth, particularly with red and yellow tones (Source 6).
Glazing and Scumbling
refining
step 04
Enhance color brilliance by juxtaposing complementary colors. For example, place blue tones near orange/yellow areas to make them appear more intense.
Tip — If a color is too pronounced, soften it by surrounding it with objects of the same color but more intense (Source 3).
Complementary Juxtaposition
finishing
step 05
Refine details and ensure the mood is 'finely conceived' and consistent with Makovsky’s humorous yet realistic style.
Tip — Avoid over-modeling; ensure the finish is balanced with the broad masses established earlier (Source 1).
Realist Detailing
varnishing
step 06
Apply a final varnish for protection and to unify the surface sheen.
Tip — Use a varnish mixed with oil if desired for texture, as practiced by old masters (Source 6).
Varnishing
critical techniques
Glazing and Scumbling
Used to add color and warmth over a dry monochrome underpainting. Glazing involves transparent coats, while scumbling is semi-opaque, allowing the underlying painting to show through (Source 6).
Complementary Color Juxtaposition
Placing complementary colors next to each other to increase their apparent intensity and brilliance. For example, red beside blue verges on orange, making it more orange (Source 3).
Monochrome Underpainting
Establishing values and forms in black, white, and ultramarine before adding color. This method allows for greater control over light and shadow (Source 6).
common pitfalls
- →Being 'too much tied down to your outline' or 'inclined to over-model,' which can result in a stiff or unnatural appearance (Source 1).
- →Failing to allow the grisaille to dry completely before glazing, which can lead to muddy colors and technical issues (Source 6).
- →Ignoring the effects of complementary colors, resulting in flat or dull tones instead of vibrant, realistic hues (Source 3).
- →Neglecting the 'broad masses' in favor of excessive detail, leading to a lack of structural coherence (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 the painting (e.g., exact clothing patterns, room layout, facial expressions) are not described in the sources.
- ·Makovsky’s specific pigment choices for this painting are not documented in the provided texts.
- ·The exact dimensions and aspect ratio of the canvas are not provided.
- ·The specific lighting conditions depicted in the scene are not described.
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 Underdrawing and avoiding over-modeling
- COLOURING A MONOCHROME — applied to Grisaille, glazing, and scumbling techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color mixing and complementary juxtaposition
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General oil painting techniques and materials
Wikipedia bio — Vladimir Makovsky↗
- Biography — applied to Artist’s style and thematic focus
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional principles
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
