plate no. 0103
Portrait of A.A.Cherkesovoy-Benoit
Zinaida Serebriakova, 1938
recreation guide
Zinaida Serebriakova’s 1938 portrait of A.A. Cherkesovoy-Benoit represents a mature work from her period in Paris, characterized by a synthesis of academic draftsmanship and expressive color theory. Serebriakova was trained in the Imperial Academy tradition, which emphasized rigorous craftsmanship and the ability to render form with 'minute visual expression' that becomes instinctive, allowing the artist to focus on broader emotional qualities (Source 2). By 1938, she had established herself in France, where her work often reflected a 'love of beauty' and a focus on the artist's own personality rather than strict naturalism (Source 5). The painting likely employs oil paint not merely to deceive the eye with illusion, but as a medium for expressing feeling through 'painted symbols' that remain true to the material’s vitality (Source 4).
estimated time
20-30 hours over 5-7 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (traditional palette) | Primary medium for capturing flesh tones and drapery with expressive accuracy. | — |
| Linseed oil or walnut oil | Medium to adjust viscosity and drying time, allowing for the 'broad masses' and 'finish' balance described in copying exercises. | Stand oil or pure linseed oil |
| Canvas or linen panel | Support for the oil layers. Serebriakova’s early work involved oil painting before financial constraints forced a switch to charcoal/pencil, implying a return to oil in her stable Paris years. | Primed linen canvas |
| Charcoal or graphite | For the initial underdrawing, ensuring 'scientific accuracy' of form before applying color. | Vine charcoal or graphite pencil |
preparation
surface prep
The surface should be prepared with a traditional oil ground (gesso and oil primer) to support the layering of paint. Serebriakova’s training emphasized the 'alphabet of our art' and sound craftsmanship (Source 1), implying a respect for traditional support preparation that allows for both broad modeling and fine finish. The ground should be neutral or warm-toned to assist in judging values during the underpainting phase.
underdrawing
Begin with a precise underdrawing. Serebriakova’s academic background suggests a method where drawing is 'more than what is called accurate' but presents form in a 'vivid manner' (Source 2). The drawing should capture the 'emotional significance' of the sitter rather than just commonplace appearance. Use charcoal to establish the major planes of the face and the structure of the clothing, ensuring the habit of 'minute visual expression' is acquired early so it becomes instinctive (Source 2).
underpainting
Apply a monochromatic or limited-color underpainting (imprimatura) to establish the general tonal values. This step aligns with the advice to deal with 'broad masses' before attempting finish (Source 1). The underpainting should not aim for photographic realism but should set up the 'chiaro-scuro' and tonal gradations that will support the subsequent color layers (Source 6).
color palette
Flesh tones (warm ochres, siennas, whites)
Yellow Ochre, Raw Sienna, White, touch of Vermilion
General use in this artist's palette for rendering the 'flesh colours' which are 'fixed by the model' (Source 6).
Drapery/Background colors
Ultramarine, Burnt Umber, White, Cadmium Yellow
Serebriakova had a choice of draperies and backgrounds to harmonize with the inherent colors of the figure (Source 6). Her later work showed a fascination with color in ethnic clothing and landscapes, suggesting a vibrant but harmonized palette (Source 5).
Shadows (cool blues/purples)
Ultramarine, Burnt Sienna, White
Creating 'true gradation of light' through juxtaposition of tones (Source 6).
composition
While specific compositional details of this 1938 portrait are not described in the sources, Serebriakova’s general practice involved focusing on the 'artist's own personality' and 'love of beauty' in her subjects (Source 5). The composition likely balances the 'inherent' colors of the sitter with chosen background elements to create harmony, as advised by color contrast laws (Source 6). The pose may reflect the 'solemn expressions' or dignified bearing common in portraiture of her era, avoiding the 'boisterous' nature of militia groups (Source 7) in favor of individual character study.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the sitter’s form with charcoal, focusing on the 'vivid manner' of form rather than mere accuracy. Ensure the structural lines are confident to avoid being 'too much tied down to your outline' (Source 1).
Tip — Aim for 'artistic accuracy' that conveys emotional significance, not just scientific measurement (Source 2).
Academic Drawing
underpainting
step 02
Apply a thin wash of oil paint to establish the major light and shadow masses. This helps in dealing with 'broad masses' before refining details (Source 1).
Tip — Do not attempt to finish details here; focus on the overall tonal harmony.
Imprimatura
first pass
step 03
Begin applying color to the flesh tones and drapery. Use the law of simultaneous contrast to adjust colors based on their neighbors; for instance, if the background is warm, the shadows in the flesh may need a cooler tint to appear correct (Source 6).
Tip — Remember that 'neither of them appears of the colour peculiar to it' when viewed together (Source 8).
Simultaneous Contrast
refining
step 04
Refine the edges and details. If you find yourself 'over-modeling' or becoming too timid, refer to the advice to copy works like Reynolds’s 'Portraits of Two Gentlemen' to check tendencies toward smallness (Source 1).
Tip — Ensure the 'minute visual expression' is present but does not distract from the bigger qualities (Source 2).
Glazing and Scumbling
finishing
step 05
Final adjustments to harmonize the composition. Ensure the painting remains a 'painted picture' and does not attempt to 'deceive the eye' into thinking it is real nature (Source 4).
Tip — Check that the 'vitality possessed by the medium' is evident (Source 4).
Final Glazing
critical techniques
Simultaneous Contrast of Colors
Used to harmonize colors inherent to the model (flesh, hair) with chosen colors (drapery, background). The artist must perceive how contiguous colors modify each other’s appearance (Source 6, Source 8).
Artistic vs. Scientific Accuracy
The drawing and painting should prioritize 'emotional significance' and 'vivid form' over photographic realism. This allows the artist to express the 'sentient individual'’s sensations (Source 2).
Craftsmanship and Copying
The process should reflect a 'sound craftsman' approach, balancing broad masses with finish. If the artist struggles with finish, they should study detailed works; if too tied to outline, they should study looser works (Source 1).
common pitfalls
- →Attempting to 'deceive the eye' with meretricious illusion rather than expressing feeling through the medium’s vitality (Source 4).
- →Becoming 'too much tied down to your outline' or 'over-modeling,' leading to a small, timid appearance (Source 1).
- →Ignoring the law of simultaneous contrast, resulting in colors that appear muddy or incorrect because they were mixed in isolation rather than in relation to their neighbors (Source 8).
- →Confusing 'scientific accuracy' with 'artistic accuracy,' leading to a lifeless representation that lacks emotional significance (Source 2).
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 sitter A.A. Cherkesovoy-Benoit (clothing, pose, expression) are not described in the provided sources.
- ·Exact pigment palette used by Serebriakova in 1938 is not specified, though general oil painting practices are inferred.
- ·Specific compositional layout of this particular portrait is not detailed in the sources.
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 Step 1, 4, and Critical Techniques regarding craftsmanship and avoiding over-modeling.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Underdrawing and Critical Techniques regarding artistic vs. scientific accuracy.
- XX MATERIALS — applied to Overview and Step 5 regarding the nature of oil paint and avoiding illusionism.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Color Palette and Step 3 regarding simultaneous contrast and harmony.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Zinaida Serebriakova↗
- part 2 and part 3 — applied to Overview and Context regarding her style, training, and later Paris period.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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