Portrait of academician Ivan Yanzhul

surface prep

The canvas should be prepared with a ground that allows for the 'fat over lean' principle, ensuring each subsequent layer contains more oil than the previous one to prevent cracking (Source 6). Makovsky, trained in the Moscow School, would have utilized a standard academic ground, likely a white or warm-toned gesso, to facilitate the layering techniques described in traditional oil painting practices (Source 5).

underdrawing

Begin by sketching the subject onto the canvas with charcoal or thinned paint, establishing the basic proportions and pose (Source 6). Makovsky’s academic background suggests a precise initial drawing, focusing on the realistic volume and perspective of the figure, consistent with the Northern European tradition of portraiture (Source 5).

underpainting

Create a monochrome grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 2). This step involves mentally extracting red and yellow tones to establish the value structure of the portrait. The grisaille should be allowed to dry completely before proceeding to color layers (Source 2).

Fat over lean

Each additional layer of paint should 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 transparent coats of color over a dry grisaille, while scumbling uses semi-opaque paint to allow the underlayer to show through. These techniques were practiced by old masters and are crucial for achieving depth and texture in portraits.

Harmony of Contrast

Using complementary or broken tones to enhance the complexion and avoid monotony. This involves mixing colors with grey or using light tones of complementary colors to bring out specific hues.