plate no. 8938

Portrait of Alexei Ivanovitch Strelkovsky

oil, canvasRealismportraitportraitmanbeardclothingfacehair

what to study here

It shows how a tightly cropped, high-contrast head can be built from soft edges, cool-warm shadow planes, and directional beard strokes.

Study how the light is organized here. The warm light from the upper left lands on the face and hair, and everything else drops into a dark, cool background and near-black jacket. Squint and the head reads as one bright shape, with the white shirt collar as the only other bright accent below it. Then look at the edges: the vision analysis reports no hard lines anywhere, and the background-to-head boundary is lost in places, especially around the hair on the right. The beard carries the most visible brushwork, with feathery, directional strokes, while the face is blended more smoothly but keeps its planes. Eye sockets and cheeks are cooler and deeper, and the forehead and beard catch full light. The crop is tight at the shoulders, so the gaze and the modeling of the beard carry the picture. Copy the value grouping first, then test how much edge softness you can use before the face turns to mush.

key decision

The painter put the face and beard in a bright warm zone against a dark, cool background and near-black clothing, with soft edges throughout. The head boundary is lost in places, so light, not outline, defines the form.

recreation guide

Vladimir Makovsky’s *Portrait of Alexei Ivanovitch Strelkovsky* (1889) is a work of Russian Realism that prioritizes the depiction of the subject’s inner character over mere photographic likeness. Consistent with the conventions of portrait painting, the work likely aims to reveal the 'inner essence' or 'moral quality' of the sitter, avoiding temporary or fleeting expressions in favor of a serious, composed demeanor (Source 3). The artist employs oil on canvas, a medium chosen for its flexibility, rich color density, and capacity for layered application, which allows for a wide range from light to dark (Source 6). Makovsky’s approach aligns with the tradition of using oil paint not merely to deceive the eye with illusion, but to express feeling through painted symbols that remain true to the material’s vitality (Source 4).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Earth tones)	Primary pigments for grisaille and glazing	Standard tube oil paints
Linseed or Poppy Seed Oil	Binder and medium for glazing	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits
Canvas	Support surface	Linen or cotton canvas, primed
Varnish (optional)	Final protection and depth	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, the general practice of the period involved preparing a surface that could support the 'vast capacity of oil paint' without absorbing too much oil, ensuring the vitality of the medium is preserved (Source 4). A neutral or warm-toned ground is often preferred to facilitate the glazing techniques described in Source 1.

underdrawing

The sources do not specify Makovsky’s exact underdrawing method for this portrait. However, given the emphasis on 'promptly and surely' imitating light modifications (Source 2), a loose, tonal underdrawing is likely to establish proportions and value structure before color is introduced. The artist likely avoided rigid line work that might conflict with the soft transitions required for realistic flesh tones.

underpainting

The process likely involves a monochrome underpainting (grisaille). Source 1 describes a method where the artist mentally extracts red and yellow colors, painting the underlying structure in black, ultramarine, and white (or similar cool tones) to establish form and value. This grisaille serves as the foundation for subsequent glazing (Source 1).

color palette

Ultramarine/Black/White

Cool neutrals

Grisaille underpainting to establish form and value without local color interference (Source 1)

Red/Yellow Tones

Transparent reds and yellows (e.g., Vermilion, Yellow Ochre)

Glazing and scumbling over the dry grisaille to introduce warmth and local color, particularly in flesh tones (Source 1)

Earth Tones

Ochres, Umbers

General use in the palette for broken tones and covering power, consistent with historical practices (Source 8)

composition

The composition likely adheres to the 'head and shoulders' or 'half-length' format common in portraiture, focusing on the face to convey character (Source 3). The expression is likely serious or neutral, as 'anything beyond a slight smile being rather rare historically' in formal portraits, with emotional nuance conveyed through the eyes and eyebrows (Source 3). The artist likely considered the 'simultaneous contrast of colours' to ensure that the colors of the clothing and background harmonize with the flesh tones, preventing visual fatigue and ensuring accurate color perception (Source 2).

step by step

underdrawing→underpainting→first pass→refining→finishing→varnishing

underdrawing

step 01
Sketch the basic proportions and pose of the sitter on the prepared canvas using a thin wash of paint or charcoal.
Tip — Focus on the placement of the eyes and the tilt of the head, as these are critical for conveying character (Source 3).
Tonal underdrawing

underpainting

step 02
Paint a grisaille (monochrome) layer using black, ultramarine, and white. Mentally exclude red and yellow hues to focus on form and light.
Tip — Ensure this layer is completely dry before proceeding. This establishes the 'inner significance' of the form (Source 1, Source 3).
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially.
Tip — Treat this like tinting an engraving with watercolors. The underlying grisaille will show through, creating depth (Source 1).
Glazing

refining

step 04
Use scumbling (semi-opaque paint) to adjust highlights and cool tones, particularly in shadows or areas requiring a 'grey bloom'.
Tip — Be aware that scumbling over darker grounds tends to coldness; use this to balance the warmth of the glazes (Source 1).
Scumbling

finishing

step 05
Refine the eyes and eyebrows to convey the specific character and moral quality of the sitter, as these areas provide the most reliable information about the subject.
Tip — Avoid exaggerated features; aim for a representative portrayal that reveals inner essence rather than caricature (Source 3).
Detailing

varnishing

step 06
Apply a varnish mixed with oil if desired, to unify the surface and protect the glazes.
Tip — Ensure the painting is fully dry to prevent cracking or yellowing issues (Source 1, Source 6).
Varnishing

critical techniques

Glazing

Applying transparent coats of color over a dry underpainting to build depth and richness. This was a common practice among old masters and is described as essential for achieving the desired tonal effects (Source 1).

Scumbling

Using semi-opaque paint to modify tones, particularly to create coolness or grey blooms over darker areas. This complements glazing by allowing for subtle adjustments in value and temperature (Source 1).

Simultaneous Contrast Management

Being aware that adjacent colors affect each other’s perception. The artist must account for this to accurately depict the model’s colors and avoid visual fatigue in the viewer (Source 2).

common pitfalls

→Attempting to mix all colors opaquely in one layer, which loses the depth and luminosity achieved through glazing and scumbling (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color representation and visual discord (Source 2).
→Focusing too much on literal likeness rather than the inner character and moral quality of the subject, resulting in a flat or caricatured portrait (Source 3).
→Using too much medium or varnish too early, which can lead to cracking or uneven drying (Source 1, Source 6).

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 pigments used by Makovsky for this particular portrait are not listed in the sources.
·The exact pose, clothing, and background details of *Portrait of Alexei Ivanovitch Strelkovsky* are not described in the provided texts, so compositional specifics are inferred from general portrait conventions.
·Makovsky’s personal studio habits regarding drying times between layers are not explicitly detailed, though general oil painting practices are referenced.

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, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and simultaneous contrast management
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of oil paint as expressive medium rather than mere illusion

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Character portrayal, expression, and compositional focus on eyes/eyebrows
Wikipedia: Oil painting↗
- Oil painting — part 1 — applied to General properties of oil paint and materials

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

An elderly man with a full gray beard faces the viewer in a three-quarter pose, head slightly tilted. Warm light from the upper left saturates the face and hair, making them the luminous focal point against a dark, cool background. The eye is drawn immediately to the face—particularly the direct gaze and the complex modeling of the beard's texture. The composition is tightly cropped at the shoulders, with just the black jacket, white shirt collar, and dark bow tie visible below, anchoring the figure without distraction.

value structure

Extreme value separation: the face and hair occupy the light zone (cream and warm tan), while the background, clothing, and shadows drop into near-black. Within the face itself, subtle value transitions define form—the eye sockets and cheek planes are cooler and slightly deeper, while the forehead and beard catch full light. Squint and you see three distinct value groups: bright face/beard, mid-tone background, and near-black clothing. The white shirt collar is a crucial value anchor that reads as intentional, not accidental.

observed palette and mixes

#c4aa8c
Yellow ochre + Titanium white + touch of Alizarin crimson
Core face tones, forehead, and the lit portions of the beard
#7a6255
Burnt sienna + Ultramarine blue (grayed warm brown)
Shadow planes on the face, cheeks, beard shadows, and eye sockets
#3b383a
Ultramarine + Burnt umber + touch of Titanium white
Mid-tone background, creating atmospheric separation from the face
#0c0b0c
Ivory black + minute touch of Burnt sienna (warm black)
The jacket, deepest beard shadows, and the darkest recesses
#252226
Ultramarine + Burnt umber
Lower background and transition zones

edges and brushwork

Edges are uniformly soft throughout—there are no hard lines anywhere in this painting. The beard shows visible brushwork with feathery, directional strokes that suggest texture without becoming fussy; the hair is rendered with longer, looser sweeps. The face uses smoother blending but still retains structural clarity—soft transitions between light and shadow without dissolving into an undifferentiated mass. The background-to-head boundary is deliberately lost in places (particularly around the hair on the right side), enhancing the sense of light and atmosphere.

a working sequence

01
Underpaint the value structure
Block in the entire composition with a thin wash: warm flesh tone (ochre + white) for the head, a neutral dark gray-brown for the background, and near-black for the clothing. This establishes the fundamental light-versus-dark framework. Keep edges soft and overlapping.
02
Establish facial anatomy
With a medium tone (darker than your base flesh), lightly indicate the eye sockets, cheekbones, and jaw structure. These shadows define the underlying skull. Keep this layer thin—you're establishing landmarks, not modeling yet.
03
Model the face with warm-cool pairs
The face catches warm light; the shadows are cooler. Build the cheeks and temple with your warm tan, then refine the eye sockets and shadow planes with a cooler, slightly darker tone (ochre + ultramarine blue). The forehead should remain relatively light and warm. Work around the eyes carefully—they anchor likeness and are visible in the painting as dark, attentive forms.
04
Render the eyes and expression
The eyes are small but crucial. Paint them as dark ellipses with a touch of reflected light. The gaze is slightly downward and contemplative. Notice how the upper eyelids cast a shadow on the eye itself—this gives the penetrating quality. Don't make them symmetrical; the right eye (from the viewer's perspective) is slightly lower and more shadowed.
05
Build the beard in layers
The beard is not one tone. Underpaint with your medium-dark warm brown, leaving the outer edges softer. Then layer in the light passages with warm cream (ochre + lots of white), following the directional growth of the hair. The beard's right side (viewer's left) is in deeper shadow. Use longer, slightly directional strokes to suggest texture; avoid circular blending.
06
Refine hair and head contours
The hair is rendered with long, soft strokes in light cream and warmer tan. Let your brush follow the direction of growth. The top and right side of the head are lighter; the left side catches less direct light. Keep transitions soft—no outline. The texture should be suggested by directional brushwork, not by hatching or stippling.
07
Darken and unify the background
The background should recede by being darker and cooler than the face. Use your neutral gray-brown, allowing subtle value variation without distraction. Make sure the background-to-head boundary is softer on the right; let the light hair almost disappear into the dark background in places. This atmospheric loss enhances the sense of light on the face.
08
Final refinement and soft edges
Step back frequently. Soften any edges that feel too hard, particularly where the face meets the background. Add final highlights to the forehead and cheekbones with a warm, light tone. The white shirt collar should be the only truly bright accent below the head. A final glaze of warm tone over cooler shadow areas in the face can unify the color temperature while maintaining modeling.

where studies of this painting go wrong

Making the background pure black—it's actually a warm, dark gray-brown that recedes because it's darker and cooler than the face, not because it's black. A pure black background will flatten the painting.
Over-blending the face into a featureless, plasticky surface. The beard and face need structural clarity even with soft edges; allow some subtle brushwork to show, particularly in the beard's texture and the cheek planes.
Rendering the beard as a uniform gray. It contains warm golden and cream tones in the light, shifting to cooler, darker browns in the shadows. Temperature variation makes it read as real hair.
Placing the eyes incorrectly or making them too symmetrical. The gaze is subtly downward and contemplative; this introspective quality is essential to the portrait's character. Spend time observing their exact placement and the slight asymmetry.

measured difficulty