plate no. 3688
My idol - Long Island
David Burliuk, 1944
recreation guide
David Burliuk’s 'My idol - Long Island' (1944) represents a convergence of his lifelong artistic identity and his later American exile. Burliuk, described as the 'father of Russian Futurism' and associated with Neo-Primitivism, maintained a deep connection to his Ukrainian roots and his wife, Marussia, whom he frequently depicted (Source 5). While the specific visual details of this 1944 landscape are not explicitly described in the provided sources, the work falls within the genre of landscape painting, which traditionally depicts natural scenery such as mountains, valleys, or wide views arranged into a coherent composition (Source 2). Burliuk lived in Hampton Bays on Long Island for approximately 20 years until his death, making this location a significant part of his later oeuvre (Source 7). The painting likely reflects his characteristic 'exuberant, extroverted' style, noted by his professor Anton Ažbe, who called him a 'wonderful wild steppe horse' (Source 5). As a Post-Impressionist work in oil, it would rely on the fundamental elements of design—line, shape, color, texture, value, form, and space—to organize the visual experience (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints | Primary medium for the artwork | — |
| Canvas or linen | Support surface | Primed linen or cotton canvas |
| Oil painting medium | To adjust viscosity and drying time; historically, old masters used oil of copavia (Source 8) | Linarium oil or stand oil |
| Brushes | Application of paint | Hog bristle for impasto, sable for glazing |
| Palette knife | Mixing and applying thick paint, consistent with Post-Impressionist texture | — |
| Solvent | Cleaning brushes and thinning initial layers | Odorless mineral spirits |
preparation
surface prep
While specific preparation for this 1944 work is not detailed, Burliuk’s training at the Royal Academy in Munich and Kazan/Odessa schools (Source 5) suggests a traditional approach. The surface should be primed with a white or light-toned ground to allow for the full range of color values. Given the Post-Impressionist style, a slightly textured ground may be beneficial to support the impasto techniques often associated with the movement, though Burliuk’s specific texture habits are not explicitly defined in the sources.
underdrawing
Contour drawing is an essential technique for establishing the mass and volume of the subject, emphasizing the outlined shape rather than minor details (Source 4). For a landscape, this would involve sketching the horizon line, major landforms, and sky boundaries. Burliuk’s background in Futurism and Neo-Primitivism suggests a dynamic, perhaps less rigid, approach to line, but the foundational step remains capturing the 'form, weight, mass, space, and distance' through contour (Source 4).
underpainting
A grisaille (monochrome underpainting) is a traditional method where the artist mentally extracts red and yellow colors to establish values before adding color (Source 8). This technique allows for the subsequent application of transparent glazes and semi-opaque scumbles. While modern painters may have prejudice against this method, it was practiced by old masters and can provide a stable foundation for the complex color interactions in Post-Impressionist work (Source 8).
color palette
Earth tones (Umber, Ochre)
Natural earth pigments
General use in landscape painting for ground and foliage, consistent with the depiction of natural scenery (Source 2)
Blues and Whites
Ultramarine, Cerulean, Titanium White
Sky and atmospheric perspective, as sky is almost always included in landscape views (Source 2)
Vibrant Accents
Cadmium Red, Yellow, Cobalt Blue
Reflecting Burliuk’s 'exuberant' style and Futurist influence, likely used to highlight specific elements of the Long Island landscape (Source 5)
Greys and Neutrals
Black, White, Ultramarine
Establishing value structure in the underpainting or for shadow areas, consistent with Reynolds’ method of using black, ultramarine, and white for initial paintings (Source 8)
composition
The composition should organize the landscape elements into a coherent whole, utilizing the elements of design such as line, shape, and space (Source 3). Since the specific layout of 'My idol - Long Island' is not described, the artist should aim for a balanced arrangement of the sky, land, and any potential foreground elements. Burliuk’s Futurist background might suggest a dynamic, perhaps fragmented, approach to space, but the primary goal is to create a 'wide view' with elements arranged coherently (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the main contours of the landscape, focusing on the horizon, major landforms, and sky boundaries.
Tip — Focus on mass and volume rather than detail; use lighter lines for distant objects to suggest depth (Source 4).
Contour drawing
underpainting
step 02
Apply a monochrome grisaille layer to establish values, mentally extracting red and yellow tones.
Tip — Ensure the underpainting is dry before proceeding; this layer sets the value structure for the final color (Source 8).
Grisaille
first pass
step 03
Apply broad masses of color, starting with the sky and background elements.
Tip — Use the knowledge of the medium’s capacities to reduce thoughts to visual form, as a sound craftsman must (Source 1).
Blocking in
refining
step 04
Build up layers of paint, using glazing and scumbling techniques to adjust color and value.
Tip — Glazing involves transparent coats of color; scumbling is semi-opaque painting over a darker ground to create coldness or grey blooms (Source 8).
Glazing and Scumbling
finishing
step 05
Add final details and highlights, ensuring the composition remains coherent.
Tip — Check for tendencies to 'smallness' or over-modeling; ensure broad masses are maintained (Source 1).
Detailing
varnishing
step 06
Apply a final varnish to protect the painting and unify the surface.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Contour Drawing
Used to establish the form and volume of the landscape, emphasizing mass over detail (Source 4).
Glazing and Scumbling
Traditional oil painting techniques for building color depth and value; glazing adds transparent color, while scumbling adds semi-opaque layers (Source 8).
Copying for Correction
While not directly copying this specific work, the principle of copying to correct weaknesses (e.g., dealing with broad masses vs. finish) is a foundational practice for oil painters (Source 1).
common pitfalls
- →Over-modeling or being too tied down to outlines, which can make the painting appear timid or small (Source 1).
- →Neglecting the value structure by skipping the underpainting phase, leading to muddy colors (Source 8).
- →Failing to consider the 'alphabet of art' and the capacities of the medium, resulting in a lack of technical proficiency (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 'My idol - Long Island' (e.g., exact composition, color scheme, specific landmarks) are not described in the sources.
- ·Burliuk’s specific brushwork or palette choices for this 1944 work are not detailed; inferences are made from his general style and period conventions.
- ·The exact surface preparation and materials used by Burliuk in 1944 are not specified.
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 technique and avoiding pitfalls like over-modeling
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Definition and elements of landscape genre
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to Compositional principles
Wikipedia: Contour drawing↗
- Contour drawing — part 1 — applied to Underdrawing technique
Wikipedia bio — David Burliuk↗
- part 2 — applied to Artist’s style and background
- part 4 — applied to Artist’s residence in Long Island
Read more about the corpus on the sources page and how the guides are built on the methods page.
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