plate no. 0856

Portrait of an Art Historian and Restorer Alexander Anisimov

Boris Kustodiev, 1915

oil, cardboardRealismportraitportraitfigurelandscapeskybuildingsriver

recreation guide

This recreation guide addresses Boris Kustodiev’s 1915 portrait of Alexander Anisimov, executed in oil on cardboard. Kustodiev is historically noted for his vibrant, realistic depictions of Russian merchant life and his ability to convey joy and vitality despite his own physical suffering from tuberculosis and eventual paralysis (Source 7). While the specific visual details of this particular portrait are not described in the provided sources, Kustodiev’s general practice involved a rich, luminous palette and a mastery of oil painting that emphasized the 'vitality possessed by the medium' rather than mere photographic deception (Source 2). The artist’s work is characterized by a 'carefree and cheerful' impression, achieved through meticulous attention to color and light, even when working from memory or limited physical mobility (Source 7).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints	Primary medium for color application and glazing	High-quality tube oils (e.g., Winsor & Newton, Gamblin)
Cardboard	Support surface, as specified in the artwork metadata	Heavyweight illustration board or primed cardboard
Oil of Copavia (or modern substitute)	Medium for glazing and scumbling, as referenced in historical practice	Linar oil or stand oil for slow-drying glazes
Black, Ultramarine, White	Core pigments for the initial monochrome underpainting (grisaille)	Ivory Black, Ultramarine Blue, Titanium White
Red and Yellow tones	For glazing and scumbling over the dry underpainting to achieve final color	Alizarin Crimson, Cadmium Yellow, or similar transparent/semi-transparent hues

preparation

surface prep

The artwork is on cardboard. While Kustodiev’s specific preparation for cardboard is not detailed in the sources, standard practice for oil on porous supports involves sizing and priming to prevent oil absorption. Given the artist’s focus on the 'vitality possessed by the medium' (Source 2), the surface should be prepared to allow for both opaque application and transparent glazing without excessive tooth that might disrupt the smooth transitions characteristic of his realism.

underdrawing

The sources do not specify Kustodiev’s underdrawing method for this portrait. However, general drawing principles suggest that 'minute visual expression' should be acquired through hard application, allowing subtleties to become instinctive (Source 4). A light, accurate underdrawing is recommended to establish the 'construction' of the figure, ensuring the 'three dimensions' are correctly rendered before color application (Source 8).

underpainting

A monochrome underpainting (grisaille) is recommended, consistent with the historical method cited in the sources. Sir Joshua Reynolds’ method, quoted in the text, involves initial paintings with oil of copavia using black, ultramarine, and white (Source 6). This establishes the tonal values and form before color is introduced, allowing the artist to 'mentally extract the red and yellow colours' and focus on structure (Source 6).

color palette

Black, Ultramarine, White

Pure pigments mixed with oil medium

Initial monochrome underpainting to establish form and value

Red and Yellow tones

Transparent reds and yellows

Glazing and scumbling over the dry grisaille to introduce warmth and local color

Vivid, Rich Colors

Kustodiev’s characteristic bright palette

General use in this artist’s palette, known for 'vividness' and 'colorful paintings' (Source 7)

composition

Specific compositional details of this portrait are not described in the sources. However, Kustodiev’s work is generally associated with 'realism' and a focus on 'contemporary themes' (Source 7). The composition likely emphasizes the sitter’s character and presence, consistent with the portrait genre’s aim to convey 'emotional significance' rather than just scientific accuracy (Source 4).

step by step

underdrawing→underpainting→refining→finishing

underdrawing

step 01
Sketch the figure lightly, focusing on the 'construction' and 'three dimensions' of the form.
Tip — Ensure the underlying structure is sound to support the subsequent layers.
Anatomical construction

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white with oil of copavia (or substitute).
Tip — Focus on tonal values and form, mentally excluding red and yellow hues.
Grisaille

refining

step 03
Allow the underpainting to dry completely.
Tip — Patience is required to prevent mixing wet layers.
Drying

finishing

step 04
Glaze and scumble with red and yellow tones over the dry grisaille.
Tip — Use transparent coats for glazing and semi-opaque layers for scumbling to allow the underlying painting to show through.
Glazing and Scumbling
step 05
Refine details, ensuring the work remains 'in tune to the emotional idea' and does not become a 'meretricious attempt to deceive the eye.'
Tip — Remember that art is an 'expression of feeling' and not a substitute for nature.
Artistic Accuracy

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to modify hue and value without obscuring form.

Scumbling

A semi-opaque painting technique where the underlying layer shows through, often used to create texture or cool tones.

Monochrome Underpainting

Establishing form and value in black and white (or limited palette) before introducing full color.

common pitfalls

→Attempting to achieve 'actual illusion of natural appearances' at the expense of the medium's vitality, which leads to a 'meretricious attempt to deceive the eye' (Source 2).
→Over-modeling or being 'too much tied down to your outline,' which can result in a stiff, lifeless portrait (Source 1).
→Neglecting the 'construction' of the human figure, leading to a lack of solidity and three-dimensionality (Source 8).
→Applying glazes before the underpainting is completely dry, which can ruin the tonal foundation (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 visual details of the portrait (clothing, background, facial expression) are not described in the sources.
·Kustodiev’s specific brushwork style for this particular portrait is not detailed.
·The exact proportions and pose of Alexander Anisimov are not provided.
·The specific lighting conditions depicted in the portrait are not described.

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 and glazing techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium and artistic accuracy
- FROM A STUDY BY BOTTICELLI — applied to Artistic accuracy vs. scientific accuracy
The Human Figure↗
- DRAWING THE HUMAN FIGURE — applied to Underdrawing and anatomical construction