plate no. 2068

Models

oilRealismportraitchildrenportraitfiguresclothingfoliagebuilding

what to study here

It shows how a narrow earth palette, a clear three-value structure and varied edge softness make two direct gazes the focus.

Look at how the faces carry the picture. Skin is the lightest mass, set against dark hair, a dark patterned dress and a black cap, so a squint gives three groups: bright skin, medium-dark clothing, very dark accents. Light comes from the upper left and warms the faces and hands, with shadows in the eye sockets, under the chins and across the necks. Study the soft skin transitions at cheeks and jawlines, where no hard line separates face from background. Then compare the edges elsewhere: the girl's dress has visible directional strokes that suggest the check pattern without stating every square, clothing edges are crisper than skin, and the foliage and ochre wall behind are loose and left unresolved. The painter varies edge sharpness to rank importance. The palette is a narrow earth range, with warm skin and clothing darks that lean toward a blue-brown rather than pure black. Notice the blue headscarf as the one cool note against the warm faces.

key decision

The painter kept the faces as the lightest, softest-edged masses against dark hair and clothing, while leaving the background foliage and wall loose so nothing competes with the gazes.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Two children occupy the center of the composition—a girl on the left in a dark patterned dress and blue headscarf, a boy on the right in a brown jacket and black cap. Light enters from the upper left, warming the faces and hands while casting shadows across their clothing and the background. Behind them, loose foliage and building elements (ochre wall, tree branches) frame the figures without competing for attention. Both children gaze directly outward with contemplative expressions, making their faces the primary focal point.

value structure

The faces are the lightest, brightest masses, contrasting sharply against the dark hair and clothing. The boy's jacket and girl's dress read as mid-to-dark values with the girl's dress notably darker and more complex. Shadows fall in the eye sockets, under the chin, and across the neck, creating volume. When you squint, you see three clear groups: bright skin, medium-dark clothing, and very dark accents (cap, dress details, hair shadows).

observed palette and mixes

#b9a280
titanium white + raw sienna + touch of ultramarine blue
skin highlights on cheeks, forehead, and the boy's lighter shirt
#967a5b
raw sienna + burnt umber + titanium white
midtone skin, boy's jacket front
#765e4a
burnt umber + raw sienna + ultramarine blue
boy's jacket, warm shadows in dress, background foliage mid-tones
#5f463a
burnt umber + ultramarine blue
dark shadows in hair, folds of dress, shadows under chins
#493f39
burnt umber + ultramarine blue + touch of raw sienna
dark accents in eyes, deepest folds, tree branches
#363231
ultramarine blue + burnt umber (almost black)
boy's cap, deepest shadows in dress pattern, pupils

edges and brushwork

Skin transitions are soft and blended, particularly around the cheeks and jawlines—no harsh lines separate face from background. The patterned dress shows visible, directional brushstrokes that define the plaid or check pattern without overworking it; these strokes follow the form of the fabric. Hair is rendered with darker, decisive strokes that suggest texture and direction. Clothing edges are crisper than skin but still soft enough to feel natural; the background foliage is loose and suggestive, never fully rendered.

a working sequence

01
Composition and proportions
Lightly establish the positions of both children's heads and bodies, noting that the girl's head is slightly lower and to the left. Mark the key verticals: the boy's straight posture versus the girl's slight angle. Check that the faces occupy the upper-middle portion of your canvas.
02
Block in value masses
Rough in the lightest lights (faces, boy's shirt) and darkest darks (cap, dress, shadows) using diluted burnt umber and ultramarine blue. Establish the boy's jacket and girl's dress as mid-dark shapes. This skeleton shows you where light is traveling across the composition.
03
Develop facial structure
Model the faces with careful attention to bone structure and subtle planes. Keep skin tones warm by favoring raw sienna and burnt umber; use ultramarine blue sparingly for shadows. The cheeks need gentle transitions from highlight to shadow—avoid abrupt changes that flatten the form. Paint the eyes as observant, direct gazes; this expression carries the painting's character.
04
Paint the girl's dress and headscarf
The dress's pattern is the most complex element—work with a small round brush to suggest the plaid or check weave using darker strokes (burnt umber + ultramarine). Don't attempt every square; indicate the pattern strategically where light hits, leaving some areas less defined. The blue headscarf should contrast against the warm tones of her face and neck, painted with ultramarine blue tinted with a touch of white for lighter folds.
05
Paint the boy's clothing
The brown jacket is simpler than the dress—focus on the form-following shadows along the lapels and sleeves. The white shirt peeking from his collar is a key light note; keep it clean and slightly cool-toned compared to the warm skin. His black cap needs texture suggestion through a warm dark (burnt umber + ultramarine) rather than pure black.
06
Develop background and foliage
The upper left corner's tree foliage should be loose and atmospheric—use gestural strokes of green and brown without precision. The building element on the right (ochre-toned wall) anchors the background but remains soft and undetailed. Keep these elements recessive; they should never compete with the children's presence.
07
Refine hands and details
The children's hands are warm and simplified. Paint them with the same skin-tone palette, using subtle shadows to define fingers and form. Avoid overworking them; they're secondary to the faces. Add small details like buttons or highlights on the boy's cap with a tiny round brush.
08
Final integration and edges
Step back and assess the overall value relationships—are the faces reading clearly against the background? Soften any harsh edges where faces meet background, especially around the hair. Add final accent shadows under the chin and along the neck to reinforce form. A final glaze of very diluted burnt umber over shadowed areas can warm and unify the piece.

where studies of this painting go wrong

The girl's patterned dress is visually compelling but easy to overwork—paint it with restraint, suggesting the pattern rather than rendering every thread. Too much detail here pulls focus from the faces.
Skin tones often drift too cold or too gray; remember this is oil paint with warm earth pigments (raw sienna, burnt umber). Use ultramarine blue only for shadows, and mix sparingly. Test colors on scrap canvas first.
The children's direct gazes are essential to the painting's mood—if the eyes are even slightly off-center or misaligned, the entire piece loses its psychological presence. Take extra care with eye placement and the angle of gaze.
The background foliage invites overworking and precise rendering, which will push it forward visually and compete with the figures. Leave it suggestive and atmospheric—a few gestural strokes often outperform careful detail.

measured difficulty