plate no. 2395
Portrait of Alexander Semenovitsch Chvostov
Vladimir Borovikovsky, 1801
recreation guide
Vladimir Borovikovsky’s *Portrait of Alexander Semenovitsch Chvostov* (1801) exemplifies the artist’s mastery of the ceremonial portrait genre, characterized by a fusion of classicist structure and sentimental intimacy (Source 4). Unlike his earlier chamber portraits, works from this period often emphasize the citizenship, nobility, and dignity of the sitter, with a restrained appearance and a focus on the luxurious textures of attire rather than expansive landscape backgrounds (Source 4). The painting likely showcases Borovikovsky’s renowned ability to render the 'softness of velvet, the brilliance of gilded and satin vestments, and the sparkle of precious stones,' demonstrating a high level of technical virtuosity in handling varied material surfaces (Source 4). As a leading portraitist of the Russian court at the turn of the 19th century, Borovikovsky operated within a tradition that valued the psychological depth of the sitter alongside their social status (Source 4). His practice involved a studio environment where he relied on assistants for less critical areas, suggesting a collaborative workflow typical of high-demand academic painters of the era (Source 5). The work reflects the Rococo influence noted in its style classification, yet it aligns with the broader 18th-century oil painting tradition of using layered glazes and scumbles to achieve depth and luminosity, a method championed by old masters and described in contemporary treatises (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Lead White, Ultramarine, Black, Red Ochre, Yellow Ochre, Vermilion/Cinnabar) | Primary pigments for underpainting and glazing. Lead white and ultramarine were standard for the initial grisaille/monochrome stages according to Reynolds' method cited in sources. | Titanium White (for safety, though Lead White is historically accurate), Synthetic Ultramarine, Mars Black, Natural Red Ochre, Cadmium Yellow (substitute for Orpiment/Yellow Ochre), Cadmium Red (substitute for Vermilion) |
| Linseed Oil or Poppy Seed Oil | Binder for the oil paints. Linseed is standard; poppy seed may be used for lighter tones to prevent yellowing. | Cold-pressed Linseed Oil |
| Turpentine or Odorless Mineral Spirits | Thinner for initial washes and cleaning brushes. | Gamsol or Odorless Mineral Spirits |
| Canvas (Linen) | Support for the painting. Borovikovsky worked on canvas for his major portraits. | Primed Linen Canvas |
| Varnish (Dammar or Mastic) | Used in glazing stages to increase transparency and depth, as described in the glazing/scumbling technique. | Artist's Varnish |
preparation
surface prep
The canvas should be primed with a traditional oil ground or gesso to provide a smooth, slightly absorbent surface suitable for the fine detail work required in ceremonial portraiture. Borovikovsky’s training under Dmitry Levitzky and Johann Baptist Lampi, both associated with the Imperial Academy, suggests adherence to standard academic preparation methods of the late 18th century (Source 5). The surface should be neutral or slightly warm-toned to facilitate the subsequent monochrome underpainting.
underdrawing
While specific preparatory sketches for this portrait are not detailed in the sources, Borovikovsky’s academic background implies a careful initial drawing to establish the sitter’s pose and the complex folds of the ceremonial attire. Given his reliance on assistants for 'less important parts,' the underdrawing likely served as a precise guide for delegation (Source 5). The drawing should focus on the structural integrity of the figure and the placement of key decorative elements like medals or sashes.
underpainting
The underpainting should likely follow the 'grisaille' or monochrome method described in Source 1, where the artist mentally extracts red and yellow colors, painting in black, ultramarine, and white to establish form and light. Sir Joshua Reynolds, a contemporary influence on academic painting, established his method using oil of copavia with black, ultramarine, and white for the first and second paintings (Source 1). This monochrome base allows for the subsequent application of transparent glazes to build color depth without muddying the tones.
color palette
Lead White
Pure Lead White
Highlights in the monochrome underpainting and final opaque highlights in flesh tones and fabrics.
Ultramarine
Pure Ultramarine
Shadows and cool tones in the monochrome underpainting; potentially for deep blue accents in clothing if present.
Black (Ivory or Lamp Black)
Pure Black
Deep shadows and defining lines in the monochrome underpainting.
Red Ochre / Vermilion
Red Ochre for earthy tones, Vermilion for bright reds
Glazing over the monochrome to introduce warmth to flesh tones and red elements in the ceremonial dress.
Yellow Ochre / Massicot
Yellow Ochre
Glazing to introduce yellow tones, particularly in skin highlights and gold embroidery.
composition
The composition likely centers the sitter to emphasize dignity and citizenship, consistent with Borovikovsky’s shift in the 1810s toward more restrained appearances and interior or neutral backgrounds rather than landscapes (Source 4). The arrangement of the figure should balance the visual weight of the ceremonial attire, ensuring that the 'brilliance of gilded and satin vestments' does not overwhelm the facial expression (Source 4). The pose is likely static and formal, reflecting the ceremonial nature of the portrait.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Transfer the sketch to the primed canvas using charcoal or thinned paint. Focus on the accurate proportions of the face and the complex geometry of the ceremonial clothing.
Tip — Ensure the placement of medals and sashes is precise, as these are key indicators of status.
Academic Drawing
underpainting
step 02
Apply a monochrome underpainting (grisaille) using black, ultramarine, and white. Establish the full range of values from deep shadows to bright highlights, ignoring local color.
Tip — Mentally extract red and yellow colors, focusing on the structural light and shadow as if viewing the subject in grayscale (Source 1).
Grisaille
first pass
step 03
Once the grisaille is dry, begin glazing with transparent oil colors. Apply thin layers of red and yellow tones over the monochrome base to build up the flesh tones and warm colors.
Tip — Use oil as a medium initially. Glazing involves applying a transparent coat of color, allowing the underlying monochrome to show through and create depth (Source 1).
Glazing
refining
step 04
Use scumbling to add semi-opaque layers, particularly for cooler tones or to soften transitions. Scumbling involves painting through which the underlying painting makes itself felt, often creating a 'grey bloom' over darker grounds (Source 1).
Tip — Be cautious of coldness when scumbling over darker grounds. Use this technique to refine the texture of fabrics and skin.
Scumbling
finishing
step 05
Render the specific textures of the ceremonial attire. Use opaque highlights for the 'sparkle of precious stones' and 'brilliance of gilded vestments,' contrasting with the softer glazes used for velvet and satin (Source 4).
Tip — Differentiate materials by varying the opacity and texture of the paint. Velvet should appear soft and light-absorbing, while gold should be bright and reflective.
Impasto/Highlighting
varnishing
step 06
Apply a final varnish to unify the surface and enhance the depth of the glazes. This step protects the painting and restores the richness of the colors.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
These techniques are central to the old master method described in Source 1. Glazing adds transparent color layers over a dry monochrome underpainting, while scumbling adds semi-opaque layers to modify tone and texture. This approach allows for rich, luminous colors and complex tonal relationships without muddying the paint.
Monochrome Underpainting (Grisaille)
Establishing the form and light structure in black, white, and ultramarine before applying color. This method, endorsed by Reynolds and described in Source 1, ensures that the value structure is solid before color is introduced.
Texture Rendering
Borovikovsky’s mastery in depicting varied textures—velvet, satin, gold, and gems—is a hallmark of his ceremonial portraits. This requires a nuanced application of paint, from smooth glazes for soft fabrics to opaque, thick highlights for reflective surfaces.
common pitfalls
- →Muddying colors by mixing too many pigments on the palette instead of layering transparent glazes over a monochrome base (Source 1).
- →Failing to let the underpainting dry completely before glazing, which can lead to cracking or unwanted mixing of layers (Source 1).
- →Overworking the face, losing the 'subtle' conveyance of the sitter’s inner world that Borovikovsky is known for (Source 4).
- →Ignoring the contrast between different textures, resulting in a flat appearance rather than the 'brilliance' and 'softness' characteristic of Borovikovsky’s work (Source 4).
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 sitter’s facial features and exact clothing patterns are not described in the sources, so the artist must rely on reference images of the actual painting.
- ·The exact ratio of oil to varnish used in Borovikovsky’s glazes is not specified, though Source 1 suggests starting with oil and moving to varnish/oil mixes.
- ·The specific pigments used for the 'gilded' elements are not detailed, though historical records suggest the use of gold leaf or yellow ochre/lead-tin yellow mixtures.
- ·The extent of assistant involvement in this specific portrait is unknown, though Source 5 notes Borovikovsky often relied on assistants for less important parts.
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, Glazing, and Scumbling techniques
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Artist’s style, texture rendering, and use of assistants
- part 1 — applied to Artist’s training and historical context
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
in this vein
related artworks
Louis XV, King of France
Charles-Andre van Loo (Carle van Loo)
William James
Joshua Reynolds
Wooded Landscape with Gypsies, Evening
George Lambert
Head of a Scholar
Giovanni Domenico Tiepolo
Gentleman and Wife
William Williams
Portrait of Antoine Watteau
Rosalba Carriera
Portrait of Henriette of France, daughter of Louis XV
Jean-Étienne Liotard
Mr. John Williams
Benjamin West