plate no. 9595
Portrait of a young woman
recreation guide
This recreation guide addresses a Post-Impressionist portrait by David Burliuk, an artist historically associated with Russian Futurism and Neo-Primitivism (Source 5). While the specific visual details of this particular 'Portrait of a young woman' are not described in the provided sources, the guide relies on general oil painting principles relevant to the medium and the artist's documented stylistic tendencies. Burliuk’s work is characterized by a bold use of color and a departure from strict naturalism, often employing strong contrasts and expressive forms consistent with the Neo-Primitivist movement (Source 5, Source 6). The painting likely emphasizes the vitality of the medium over photographic illusion, treating the portrait as a constructed image rather than a mere record of appearance (Source 8).
estimated time
15-25 hours over 4-6 sessions
materials
4 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas | Support for the oil paint. A surface with a distinct 'tooth' is necessary to hold the paint, especially if painting 'fatly' or with an unctuous manner (Source 1). | Primed linen or cotton canvas with a medium texture. |
| Oil Paints | Primary medium. Burliuk’s style suggests a need for high-chroma pigments to achieve the vivid contrasts associated with Futurism and Neo-Primitivism. | Standard tube oil paints. |
| Brushes | Application of paint. Various sizes for blocking in masses and refining details. | Hog bristle for impasto, sable for glazing if used. |
| Solvent/Medium | Thinning paint for initial layers or glazing. Source 2 notes that darks may be applied with varnish, suggesting the use of mediums to adjust viscosity and drying time. | Odorless mineral spirits or linseed oil. |
preparation
surface prep
The canvas should not be overly smooth; a distinct 'tooth' is a necessity to prevent color from slipping and to allow the paint to hold (Source 1). For a portrait of a young woman, a slightly textured surface is preferable to a coarse one, which might be too aggressive for the delicate features of a youth, whereas a coarse canvas might suit an older subject (Source 1). The ground should be prepared to allow for the specific handling of light and dark; while some traditions use a white gesso ground to keep lights passive (Source 2), Burliuk’s Post-Impressionist style likely favors a neutral or toned ground to facilitate color mixing and contrast.
underdrawing
Sources do not specify Burliuk’s exact underdrawing method for this portrait. However, general practice suggests establishing the composition lightly. Source 2 mentions that some works are 'drawn with the resolute outline' before being prepared in monochrome, but this is specific to Italian/Gothic schools. For Burliuk, a loose, expressive underdrawing consistent with Futurist energy is likely, avoiding rigid, photographic precision in favor of structural suggestion.
underpainting
An underpainting or 'imprimatura' may be used to establish tonal values. Source 2 describes a technique where a work is 'prepared in a brown and black monochrome' before colors are glazed or modeled over it. While this is attributed to Italian schools, the principle of establishing value structure before applying full color is a standard oil painting technique that supports the 'fat over lean' rule and helps manage the transparency of pigments (Source 2).
color palette
Complexion Tones
Mixtures of reds, yellows, and whites, adjusted with complements to avoid hue shifts.
The subject's face. Source 7 warns against the error of assuming women's complexions consist only of red and white; one must find the 'predominating colour' and reproduce it faithfully, potentially including brown or copper tones if appropriate to the subject's lighting and ethnicity.
Contrasting Background/Dress
Complementary colors to the complexion, possibly broken with grey.
To enhance the portrait's effect. Source 7 states that a portrait has a poor effect if the dress or background colors are not well chosen to contrast with the complexion. Using light tones of complementary colors or broken tones with grey can avoid crudity while maintaining distinction (Source 7).
Darks/Shadows
Deep pigments, potentially mixed with varnish or medium for depth.
Shadows and depth. Source 2 notes that in some traditions, darks are applied thickly with varnish so they stand higher on the surface, creating a tactile relief. This technique can add physical presence to the shadows.
composition
Specific compositional details of this portrait are not provided in the sources. However, Burliuk’s association with Futurism and Neo-Primitivism suggests a dynamic composition that may prioritize expressive form and color contrast over realistic perspective. The artist likely sought to express a 'spiritual attitude' or emotional idea rather than a mere deceptive illusion of nature (Source 2, Source 8). The arrangement of the subject should aim for a balance where the complexion is highlighted by the surrounding colors, adhering to the laws of contrast (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing→surfaceprep
underdrawing
step 02
Lightly sketch the composition. Focus on the structural placement of the head and shoulders. Avoid rigid outlines if aiming for a Post-Impressionist feel, but ensure the likeness is recognizable as per the genre's intent (Source 3).
Tip — Keep lines loose to allow for expressive painting later.
Underdrawing
underpainting
step 03
Apply a monochromatic underpainting or block in large areas of color to establish values. This helps in managing the transparency of pigments and prevents the 'thinning' effect that occurs as oil dries out (Source 2).
Tip — Ensure darks are established early to avoid overworking lights.
Monochrome Underpainting
first pass
step 04
Apply paint to the complexion. Identify the predominant color of the skin tone. Do not rely solely on red and white; adjust hues using complementary colors to darken without shifting the hue undesirably (Source 4).
Tip — Use complements to neutralize and darken colors rather than black, which can cause hue shifts (Source 4).
Color Mixing
refining
step 05
Paint the dress and background. Choose colors that contrast with the complexion to enhance the portrait's effect. Use light tones of complementary colors or break tones with grey to avoid crudity and maintain harmony (Source 7).
Tip — Ensure the background does not compete with the face but supports it through color contrast.
Contrast and Harmony
finishing
step 06
Refine details and adjust values. If using thick paint for darks, ensure they are applied with sufficient medium to maintain their body and prevent excessive transparency as the oil dries (Source 2).
Tip — Check for 'crudity' in color contrasts and soften with grey if necessary (Source 7).
Impasto/Glazing
surfaceprep
step 01
Prepare the canvas with a ground that has a distinct tooth. Avoid a highly primed, smooth surface as color will slip on it. Choose a texture that is sympathetic to the subject; for a young woman, a slight texture is better than a rough surface which absorbs too much color (Source 1).
Tip — Test the tooth by dragging a dry brush across the surface; it should catch slightly.
Canvas Preparation
critical techniques
Color Contrast
Using complementary colors or broken tones with grey to enhance the complexion and avoid monotony. This is crucial for portrait painters to ensure the subject stands out against the background and dress (Source 7).
Hue Preservation
When darkening colors, use complementary colors rather than black to avoid unwanted hue shifts (e.g., yellow shifting to green). When lightening with white, correct potential blue shifts by adding a small amount of an adjacent color (Source 4).
Surface Texture Management
Selecting a canvas with appropriate tooth to hold the paint. A smooth surface causes color to slip, while a rough surface absorbs too much color, hindering an unctuous application (Source 1).
common pitfalls
- →Assuming women's complexions are only red and white, ignoring the potential for brown, bronzed, or copper tones which can be beautiful and brilliant (Source 7).
- →Using black to darken colors, which can cause hue shifts (e.g., yellows shifting to greenish) (Source 4).
- →Painting on a surface that is too smooth, causing the paint to slip and lack hold (Source 1).
- →Neglecting the choice of dress and background colors, which can result in a poor effect if they do not contrast well with the complexion (Source 7).
- →Overworking the paint or changing arrangements in prominent parts, which can lead to transparency issues as the oil dries out and thins the pigment (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 'Portrait of a young woman' (e.g., clothing style, background elements, facial expression) are not described in the sources.
- ·Burliuk's specific palette for this particular year is not detailed; the guide relies on general Post-Impressionist/Futurist tendencies.
- ·The exact dimensions of the canvas are not provided.
- ·Specific preparatory sketches or studies for this portrait are not mentioned.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- MATERIALS — applied to Surface preparation and canvas texture selection.
- ITALIAN SCHOOLS — applied to Underpainting techniques and handling of darks/varnish.
Laws of Contrast of Colour↗
- 328-331 — applied to Color contrast in portraits, complexion tones, and background selection.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of oil painting as expression rather than illusion.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to General intent of portrait painting and likeness.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing colors, avoiding hue shifts with black/white.
Wikipedia bio — David Burliuk↗
- part 1 — applied to Artist's association with Futurism and Neo-Primitivism.
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
