Moon Night

surface prep

The canvas should be prepared with a traditional ground suitable for oil painting. While specific preparation for this exact work is not detailed, traditional oil painting techniques often begin with sketching the subject onto the canvas with charcoal or thinned paint (Source 2).

underdrawing

Sketch the cityscape composition using charcoal or thinned paint. Korovin’s etude style suggests a focus on capturing the essence of the scene rather than rigid linear precision (Source 4). Ensure the horizon line is positioned to emphasize either the sky or the ground, avoiding exact bisection (Source 7).

underpainting

Create a monochrome underpainting (grisaille) using black, ultramarine, and white, potentially with oil of copavia as a medium, as suggested by Sir Joshua Reynolds’ method which Korovin may have been aware of through academic training (Source 3). This layer should establish the values and forms of the cityscape without color, allowing for later glazing.

Glazing

Applying transparent coats of color over a dry underpainting to build up depth and luminosity, a method practiced by old masters and useful for capturing atmospheric effects (Source 3).

Scumbling

Using semi-opaque paint to create texture and cool tones, allowing the underlying layer to influence the final appearance (Source 3).

Fat over Lean

Ensuring each additional layer of paint contains more oil than the layer below to prevent cracking and peeling (Source 2).