plate no. 2068
Models
recreation guide
Nikolay Bogdanov-Belsky’s 'Models' is a realist portrait that captures the quiet, often weary atmosphere of art students or models in a studio setting. While the specific visual details of this particular canvas are not described in the provided sources, Bogdanov-Belsky is historically known for his genre scenes depicting the lives of artists and students, characterized by a naturalistic approach to light and form. The recreation of such a work relies on the fundamental principles of oil painting craftsmanship, where the artist must first master the 'alphabet' of the medium to properly reduce thoughts to visual words (Source 1). The painting likely employs traditional realist techniques, focusing on the accurate representation of human figures and the subtle interplay of light and shadow, consistent with the artist’s dedication to capturing the 'vital expression of nature' through the specific qualities of oil paint (Source 5).
estimated time
40-60 hours over 8-12 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil | To mix with pigments to create paint consistency and adhere to the canvas; essential for the 'fat over lean' rule. | Refined linseed oil |
| Mineral spirits or turpentine | To thin paint for initial layers and clean brushes; allows for faster drying in early stages. | Odorless mineral spirits (OMS) |
| Oil paints (artist grade) | Primary medium for color application. | Titanium white, lead white (historical), earth tones, ultramarine, etc. |
| Canvas | Support for the painting. | Linen or cotton canvas, primed |
| Charcoal or thinned paint | For the initial sketch/underdrawing on the canvas. | Vine charcoal or raw umber thinned with solvent |
| Paintbrushes | Primary tool for transferring paint to the surface. | Hog bristle and sable brushes of various sizes |
| Palette knives and rags | For scraping off paint, mixing, and applying texture if needed. | Standard palette knives and lint-free rags |
preparation
surface prep
The canvas should be properly primed to accept oil paint. While specific ground preparation for Bogdanov-Belsky is not detailed in the sources, traditional oil painting practice involves a stable ground to prevent cracking. The artist must ensure the surface is sound, as the 'knowledge of his medium... is his first essential requirement' (Source 1).
underdrawing
Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint (Source 2). For a realist portrait, this underdrawing would establish the proportions and placement of the figures. The artist should use this stage to correct any weaknesses in outline or modeling, as copying or studying from life helps check tendencies to be 'too much tied down to your outline' (Source 1).
underpainting
A monochrome underpainting (grisaille) may be employed. This involves painting the forms in neutral tones to establish value and structure before applying color. Source 7 describes a method where a grisaille is created, and once dry, glazes and scumbles are applied. This technique allows the artist to focus on form and light without the distraction of color initially, a practice noted in the work of old masters (Source 7).
color palette
Neutral Grays/Browns
Raw umber, burnt umber, white, black
Underpainting (grisaille) to establish form and value.
Flesh Tones
Lead white (historical) or titanium white, ochres, reds, blues for shadows
Modeling the figures' skin, adhering to the realist tradition of capturing likeness.
Dark Values
Ultramarine, burnt umber, black
Shadows and background elements, consistent with the 'chiaro-scuro' effects mentioned in color theory (Source 8).
Local Colors
Various pigments depending on clothing and studio environment
Glazing and scumbling over the dry underpainting to add color and transparency (Source 7).
composition
While the specific composition of 'Models' is not detailed in the sources, Bogdanov-Belsky’s work typically features a balanced arrangement of figures that guides the viewer’s eye. The composition likely utilizes the elements of design such as line, shape, and value to create a cohesive whole (Source 6). The artist would have considered the 'central visual element' and how figures relate to each other and the space around them, ensuring that the 'positive' and 'negative' spaces are effectively managed (Source 6).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the figures onto the canvas using charcoal or thinned paint. Focus on accurate proportions and placement.
Tip — Ensure the outline is not too rigid, as this can lead to being 'too much tied down to your outline' (Source 1).
Underdrawing
underpainting
step 02
Apply a monochrome layer (grisaille) to establish the values and forms of the figures and background. Use lean paint (more solvent, less oil).
Tip — This layer should be thin and allow the ground to show through slightly, aiding in the final transparency.
Grisaille
first pass
step 03
Once the underpainting is dry, begin applying color. Use the 'fat over lean' rule, ensuring each subsequent layer has more oil than the previous one.
Tip — If layers contain less oil, the painting will crack and peel (Source 2).
Fat over lean
refining
step 04
Glaze and scumble colors over the dry underpainting. Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint to allow the underlying layer to show through.
Tip — This technique helps in achieving the 'vital expression of nature' and adjusting translucency and sheen (Source 7, Source 2).
Glazing and Scumbling
finishing
step 05
Refine details, particularly in the faces and hands, to achieve a good likeness. Adjust values and colors to enhance the chiaroscuro effect.
Tip — Pay attention to the contrast of tones to produce a true gradation of light (Source 8).
Detailing
varnishing
step 06
After the painting is completely dry (which can take weeks), apply a varnish to protect the surface and unify the sheen.
Tip — Ensure the paint is fully dry to avoid trapping solvents.
Varnishing
critical techniques
Fat over Lean
A basic rule of oil paint application where each additional layer contains more oil than the layer below to prevent cracking and peeling. This is crucial for the longevity of the painting.
Glazing and Scumbling
Glazing applies transparent color over a dry layer, while scumbling uses semi-opaque paint. These techniques allow for complex color interactions and depth, a method practiced by old masters.
Chiaroscuro
The use of strong contrasts between light and dark to create volume and drama. This is achieved by juxtaposing tones of different values.
common pitfalls
- →Applying lean paint over fat paint, which can lead to cracking and peeling of the final painting (Source 2).
- →Being too tied down to the initial outline, resulting in a stiff or over-modeled appearance (Source 1).
- →Ignoring the 'vital qualities' of the medium, leading to a 'meretricious attempt to deceive the eye' rather than an expressive artwork (Source 5).
- →Over-modeling or failing to depart from the outline, which can make the painting look timid or small (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 'Models' (e.g., exact poses, clothing, background elements) are not described in the sources.
- ·Bogdanov-Belsky’s specific palette preferences for this particular work are not documented in the provided texts.
- ·The exact dimensions and canvas type used for 'Models' are not available.
- ·Specific biographical context for the creation of 'Models' is not provided.
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 stiffness in outline
- COLOURING A MONOCHROME — applied to Glazing and scumbling techniques
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Chiaroscuro and value contrast
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using oil paint's vital qualities
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 Fat over lean rule, materials, and drying times
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to General compositional elements
Read more about the corpus on the sources page and how the guides are built on the methods page.
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