plate no. 8938
Portrait of Alexei Ivanovitch Strelkovsky
Vladimir Makovsky, 1889
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.
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