plate no. 1822
Oriental Motif
Konstantin Makovsky, 1870
recreation guide
Konstantin Makovsky’s *Oriental Motif* (1870) is a portrait executed in oil, situated within the Romanticism style and the broader tradition of Orientalist art. As an academic painter who later exhibited qualities associated with Russian Impressionism, Makovsky’s work from this period likely relies on rigorous draftsmanship and a mastery of oil medium properties to achieve expressive depth. The painting serves as a representation of a specific human subject, consistent with the genre’s intent to capture likeness and character, though the specific visual details of the sitter’s attire or setting are not described in the provided sources. The execution would have followed traditional 19th-century oil painting protocols, emphasizing the structural integrity of the paint film through careful layering.
estimated time
20-30 hours over 4-6 weeks (allowing for oxidation drying times between layers)
materials
8 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas | Support for the oil paint | Linen or cotton canvas, primed |
| Charcoal or thinned paint | Initial sketching of the subject onto the canvas | Vine charcoal or raw umber thinned with solvent |
| Linseed oil | Medium to mix with paint, ensuring 'fat over lean' application | Refined linseed oil |
| Mineral spirits or turpentine | Solvent to thin paint for initial layers and clean brushes | Odorless mineral spirits (OMS) or gum turpentine |
| Oil paints (various colors) | Primary medium for color application | Artist-grade oil paints |
| Paintbrushes | Traditional tool for transferring paint to the surface | Hog bristle and sable brushes |
| Palette knives and rags | Alternative application methods and for scraping/removing wet paint if necessary | Flexible palette knives and lint-free rags |
| Varnish (optional) | To adjust sheen and protect the final work, potentially mixed with oil for glazing | Dammar or synthetic resin varnish |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific priming recipes for Makovsky are not detailed in the sources, traditional practice involves a stable ground to support the oil layers. The artist must ensure the surface is ready to accept the initial sketch, which is traditionally done with charcoal or thinned paint (Source 1).
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 1). As a portrait, the underdrawing must establish the likeness and composition accurately. Makovsky, being an academic painter, would likely have employed precise drawing techniques to define the figure before applying paint. The drawing serves as the structural foundation, allowing the artist to correct errors while the paint is still wet or by scraping off hardened layers if necessary (Source 1).
underpainting
It is likely that Makovsky employed a monochrome underpainting (grisaille) or a limited palette initial layer, consistent with the practices of old masters and academic training. This involves painting the forms in neutral tones, mentally extracting red and yellow colors to establish value and structure (Source 2). This layer should be 'lean' (mixed with more solvent than oil) to allow subsequent 'fat' layers to dry properly (Source 1).
color palette
Neutral Grays/Browns
Black, white, and earth tones (e.g., raw umber)
Underpainting/grisaille to establish form and value without color interference
Reds and Yellows
Vermilion, cadmium red, yellow ochre, chrome yellow
Glazing and scumbling over the dry underpainting to introduce warmth and local color, as suggested by the method of tinting an engraving (Source 2)
Blues and Greens
Ultramarine, cerulean, viridian
Cool tones and shadows, potentially used in the initial underpainting as per Reynolds' method mentioned in Source 2
composition
The composition is a portrait, intending to represent a specific human subject (Source 7). While specific visual details of the *Oriental Motif* are not provided in the sources, Makovsky’s academic background suggests a focus on clear form and balanced arrangement. The artist likely avoided 'smallness' or over-modeling, aiming for broad masses and finish, as advised in copying exercises for portrait painters (Source 3). The work should express feeling through painted symbols rather than mere photographic deception, keeping the viewer aware of the medium’s vitality (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the subject onto the primed canvas using charcoal or thinned paint.
Tip — Ensure the likeness and proportions are accurate before proceeding.
Traditional sketching
underpainting
step 02
Apply a monochrome underpainting (grisaille) using lean paint (more solvent than oil). Focus on values and forms, excluding red and yellow tones.
Tip — Keep this layer thin to allow proper drying and prevent cracking.
Grisaille
first pass
step 03
Allow the underpainting to dry completely. Then, begin applying color using glazing and scumbling techniques. Start with oil-only mixtures for transparency.
Tip — Glazing adds transparent color; scumbling adds semi-opaque color that interacts with the underpainting.
Glazing and Scumbling
refining
step 04
Build up subsequent layers of paint, ensuring each layer is 'fatter' (contains more oil) than the one below it to prevent cracking.
Tip — Monitor drying times; oil paint dries by oxidation and may take up to two weeks to dry to the touch.
Fat over Lean
finishing
step 05
Adjust translucency, sheen, and texture using additional media like resins or varnishes if needed. Use palette knives or rags to scrape or blend areas as required.
Tip — Oil paint remains wet longer than other media, allowing for changes in color, texture, or form.
Texture adjustment
varnishing
step 06
Once the painting is fully dry, apply a varnish to protect the surface and unify the sheen.
Tip — Ensure the painting is completely dry to avoid trapping solvents.
Varnishing
critical techniques
Fat over Lean
Each additional layer of paint must contain more oil than the layer below to ensure proper drying and prevent cracking. This is a basic rule of oil paint application.
Glazing and Scumbling
Glazing involves applying a transparent coat of color over a dry underpainting. Scumbling involves applying semi-opaque paint that allows the underlying layer to show through. These techniques were commonly used by old masters to build color depth.
Monochrome Underpainting
Establishing the composition in neutral tones (grisaille) before adding color helps in managing values and forms without the distraction of hue.
common pitfalls
- →Applying lean layers over fat layers, which can cause the paint film to crack and peel (Source 1).
- →Over-modeling or becoming too tied to the outline, leading to a lack of broad mass and finish (Source 3).
- →Attempting to deceive the eye into seeing 'real nature' rather than expressing feeling through the medium, which can result in a 'meretricious' attempt rather than fine art (Source 4).
- →Not allowing sufficient drying time between layers, as oil paint dries by oxidation and can take weeks to dry fully (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 *Oriental Motif* (e.g., the sitter's clothing, jewelry, background elements) are not described in the provided sources.
- ·Makovsky's specific palette preferences for this particular painting are not detailed; general 19th-century academic practices are inferred.
- ·The exact dimensions and canvas type used for this specific work are not provided.
- ·Specific brushwork styles unique to Makovsky in this portrait are not described, though his academic and impressionistic tendencies are noted generally.
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 Grisaille underpainting, glazing, scumbling, color application strategy
- ON COPYING — applied to Avoiding over-modeling, focusing on broad masses, portrait composition advice
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium, avoiding mere deception, expressing feeling through paint
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 Underdrawing, fat over lean rule, drying times, use of solvents and tools
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Definition and intent of portrait genre
Read more about the corpus on the sources page and how the guides are built on the methods page.
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