plate no. 2516
October in Yerevan
Martiros Sarian, 1961
recreation guide
Martiros Sarian’s 'October in Yerevan' (1961) is an expressionist still life that likely prioritizes color harmony and emotional resonance over strict naturalistic representation. Consistent with the evolution of still life from the 19th century onward, where technique and color harmony triumphed over subject matter, this work likely employs broad brushwork and tonal values to convey mood rather than allegorical content (Source 5). Sarian’s expressionist style suggests a focus on the 'modifications of the light on the model' and the inherent nature of objects, utilizing color contrast to create visual tension and harmony (Source 3, Source 7). The painting likely avoids the meticulous detail of earlier academic traditions, instead embracing the freedom to experiment with arrangement and color placement characteristic of post-Impressionist and expressionist approaches (Source 2, Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (primary set: Ultramarine, Yellow Ochre/Chrome Yellow, Vermilion/Cadmium Red) | Base pigments for mixing and glazing | — |
| Canvas | Support for oil painting | Linen or cotton canvas, primed |
| Oil of Copavia (or modern linseed/walnut oil) | Medium for underpainting and glazing | Stand oil or pure linseed oil |
| Varnish | For final glazing layers if following old master techniques | Dammar or synthetic resin varnish |
| White pigment (Lead White or Titanium White) | For tints and highlights | Titanium White |
| Black pigment (Ivory Black or Lamp Black) | For shadows and neutralizing colors | Ivory Black |
preparation
surface prep
The canvas should be primed with a traditional ground. While specific details of Sarian’s ground are not in the sources, the reference to 'old masters' suggests a stable, possibly warm-toned or neutral ground to facilitate glazing (Source 1). Ensure the surface is smooth enough for glazing but textured enough to hold impasto if used.
underdrawing
Sarian’s expressionist style likely involves loose, gestural underdrawing rather than precise linear definition. The focus is on capturing the 'modifications of tone and of colour' rather than exact contours (Source 3). Use charcoal or thinned oil to block in major shapes and values.
underpainting
A grisaille (monochrome underpainting) is recommended, following the method described in Source 1. This involves painting the composition in neutral tones (black, ultramarine, white) to establish values and forms before applying color. This step allows the artist to 'mentally extract the red and yellow colours' and focus on structure (Source 1).
color palette
Ultramarine
Pure Ultramarine
Underpainting and cool shadows
Yellow Ochre/Chrome Yellow
Pure Yellow pigment
Warm highlights and autumnal tones
Vermilion/Cadmium Red
Pure Red pigment
Warm accents and contrast
White
Lead or Titanium White
Tints and highlights
Black
Ivory Black
Shadows and neutralizing
composition
The composition likely emphasizes color harmony and contrast rather than strict realism. Sarian’s expressionist approach suggests an arrangement that prioritizes 'pleasing contrasts and consonances' (Source 7). The placement of objects may be guided by the 'law of simultaneous contrast of colours,' ensuring that adjacent colors enhance each other’s intensity (Source 3). Avoid clutter; focus on the 'organization of an artwork' through line, shape, and color (Source 8).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic shapes of the still life objects on the canvas using charcoal or thinned oil. Focus on the overall composition and balance.
Tip — Keep lines loose and gestural, consistent with expressionist style.
Blocking in
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white mixed with oil of copavia. Establish the values and forms of the composition.
Tip — Ensure the underpainting is completely dry before proceeding to glazing.
Grisaille
first pass
step 03
Begin applying color using glazing and scumbling techniques. Start with transparent coats of yellow and red tones over the dry grisaille.
Tip — Think of tinting an engraving with watercolors; apply thin, transparent layers.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones and create texture. Pay attention to the 'modifications of the light on the model' and the 'simultaneous contrast of colours.'
Tip — Be aware that scumbling over a darker ground tends to coldness, which can be used to create a 'grey bloom' effect.
Scumbling
finishing
step 05
Refine the color harmonies and contrasts. Ensure that complementary colors are used to create visual tension and balance.
Tip — Check for hue shifts when mixing colors; use complements to neutralize without shifting hue.
Color Harmony
varnishing
step 06
Apply a final varnish layer if desired, following the old master technique of mixing varnish and oil for final glazes.
Tip — Ensure the painting is completely dry before varnishing.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build up luminosity and depth. This technique is central to the old master method described in Source 1.
Scumbling
Using semi-opaque paint to modify tones and create texture. This technique allows the underlying painting to show through, creating complex color interactions.
Simultaneous Contrast
Arranging colors to enhance each other’s intensity. This principle guides the placement of complementary and contrasting colors in the composition.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking.
- →Ignoring the 'simultaneous contrast of colours,' resulting in flat or dull color interactions.
- →Over-mixing colors, which can reduce chroma and create muddy tones instead of vibrant contrasts.
- →Using black to darken colors, which can cause unwanted hue shifts toward green or blue.
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 details of the objects depicted in 'October in Yerevan' are not provided in the sources, so the composition is generalized based on still life conventions.
- ·Sarian’s specific palette preferences for this period are not detailed, so a standard expressionist palette is assumed.
- ·The exact dimensions and aspect ratio of the canvas are not specified.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color contrast and harmony principles
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Still life↗
- Still life — part 1 and 11 — applied to Genre context and evolution of still life painting
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing colors and avoiding hue shifts
Wikipedia: Harmony (color)↗
- Harmony (color) — part 1 — applied to Color harmony principles
Wikipedia: Composition (visual arts)↗
- Composition (visual arts) — part 1 — applied to Compositional elements and organization
Read more about the corpus on the sources page and how the guides are built on the methods page.
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