plate no. 0167

Portrait of Catherine Vasilevny Torsukovoy

oilRococoportraitportraitfiguredresshairlandscapetrees

recreation guide

Vladimir Borovikovsky’s *Portrait of Catherine Vasilevny Torsukovoy* (1795) exemplifies the artist’s dominance in Russian portraiture at the turn of the 19th century, characterized by a fusion of classicist structure and sentimental intimacy (Source 2). As an academician appointed in 1795, Borovikovsky was known for his mastery of texture, particularly in rendering the softness of velvet, the brilliance of satin, and the sparkle of precious stones, which are likely prominent in this ceremonial or semi-ceremonial depiction (Source 2, Source 3). The work reflects the 'chamber portrait' style that defined his fame, where he subtly conveyed the inner world of his sitters through limited emotional expression and refined detail (Source 2). Unlike his later, more restrained works, this period aligns with his peak popularity, where he balanced aristocratic dignity with the Rococo-influenced elegance expected by the imperial court and aristocracy (Source 2, Source 3).

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, Red, Yellow earth tones)	Primary medium for glazing and scumbling as per traditional oil practice.	Artist-grade oil paints
Linseed oil or Oil of Copavia	Medium for thinning paint and creating glazes; historically used by Reynolds and likely by Borovikovsky for transparent layers.	Stand oil or refined linseed oil
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso
Charcoal or Thinned Paint	For initial sketching and underdrawing.	Vine charcoal or raw umber wash
Varnish	For final glazing layers and protection, consistent with old master techniques.	Dammar or synthetic resin varnish

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting, likely a white or light-toned gesso to facilitate the glazing techniques described in traditional oil practice. Borovikovsky’s work involves significant layering, so a stable, non-absorbent ground is essential to prevent cracking, adhering to the 'fat over lean' principle (Source 7).

underdrawing

Begin with a sketch using charcoal or thinned paint to establish the composition and proportions (Source 7). Borovikovsky’s precise rendering of textures suggests a careful initial drawing phase, though specific preparatory methods are not detailed in the sources. The drawing should focus on the 'broad masses' before moving to finish, as advised for craftsmen (Source 1).

underpainting

Employ a grisaille (monochrome underpainting) to establish values and forms. This technique involves painting in black, white, and ultramarine (or similar neutral tones) to create a tonal foundation. Once dry, this layer serves as the basis for glazing and scumbling, a method practiced by old masters and recommended for achieving depth and color harmony (Source 6).

color palette

Ultramarine

Pure ultramarine pigment

Underpainting and cool shadows, consistent with Reynolds’ method cited in traditional practice (Source 6).

White

Lead white or modern titanium/zinc white

Highlights and mixing for flesh tones and satin textures.

Red and Yellow Earth Tones

Vermilion, ochre, sienna

Glazing over the grisaille to create warm flesh tones and rich fabric colors, translating the 'red and yellow colours' extracted in the monochrome stage (Source 6).

Black

Ivory black or lamp black

Defining shadows and outlines in the underpainting (Source 6).

composition

Borovikovsky’s portraits from this period are characterized by an intimate, chamber style that focuses on the sitter’s inner world rather than grandiose backgrounds (Source 2). The composition likely emphasizes the sitter’s face and upper body, with careful attention to the texture of clothing and jewelry to convey status and dignity (Source 2). Avoid overly complex backgrounds; instead, focus on the 'limited emotional expression' and subtle conveyance of feelings typical of his sentimental portraits (Source 2).

step by step

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

underdrawing

step 01
Sketch the composition lightly with charcoal or thinned paint, focusing on accurate proportions and the placement of key elements like the face and hands.
Tip — Ensure the drawing is secure but not too dark, as it will be covered by subsequent layers.
Initial sketching

underpainting

step 02
Create a grisaille underpainting using black, white, and ultramarine to establish the tonal values and forms of the portrait.
Tip — Focus on the 'broad masses' and correct values before adding color. This layer should be completely dry before proceeding.
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille to build up flesh tones and warm colors. Use oil as a medium to ensure transparency.
Tip — Apply thin layers to allow the underlying tonal structure to show through, enhancing depth and luminosity.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust highlights and cool tones, particularly in shadows and fabric folds. This technique allows the underlying layer to influence the final color.
Tip — Be cautious with scumbling over darker grounds to avoid unintended coldness; use it to refine textures like velvet and satin.
Scumbling

finishing

step 05
Add final details to jewelry, eyes, and fabric textures, emphasizing the 'sparkle of precious stones' and 'softness of velvet' characteristic of Borovikovsky’s work.
Tip — Use fine brushes for intricate details, ensuring each layer follows the 'fat over lean' rule to prevent cracking.
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface sheen, consistent with traditional oil painting practices.
Tip — Allow the painting to dry completely for several weeks before varnishing to ensure proper oxidation.
Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and texture over a monochrome underpainting, allowing for depth and luminosity. This method was common among old masters and is recommended for achieving the rich textures seen in Borovikovsky’s portraits.

Fat Over Lean

Each subsequent layer of paint should contain more oil than the previous one to ensure proper drying and prevent cracking. This is a fundamental rule in oil painting.

Texture Rendering

Borovikovsky’s mastery in depicting the softness of velvet, brilliance of satin, and sparkle of jewels requires careful layering and attention to light reflection.

common pitfalls

→Over-modeling or being too tied to the outline, which can result in a stiff appearance. Copying works like Reynolds’ 'Portraits of Two Gentlemen' can help check this tendency (Source 1).
→Applying thick paint over thin layers, violating the 'fat over lean' rule, which can lead to cracking and peeling (Source 7).
→Ignoring the simultaneous contrast of colors, which can lead to inaccurate color perception and muddy tones. Be mindful of how adjacent colors affect each other (Source 4).
→Attempting too much detail too early. Focus on broad masses first, then refine details, as advised for skilled craftsmanship (Source 1).

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 Borovikovsky are not detailed in the sources; modern equivalents are suggested based on general oil painting practices.
·The exact composition and visual details of *Portrait of Catherine Vasilevny Torsukovoy* are not described in the sources, so the guide relies on general characteristics of Borovikovsky’s style.
·Borovikovsky’s specific underdrawing techniques are not documented, so standard charcoal or thinned paint sketching is recommended.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — ON COPYING↗
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses.
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Understanding color interactions and avoiding muddy tones.
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- COLOURING A MONOCHROME — applied to Techniques of glazing and scumbling over grisaille.

cross-referenced from

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

Wikipedia bio — Vladimir Borovikovsky — part 2↗
- Biography and Style — applied to Description of Borovikovsky’s mastery of texture and sentimental style.
Wikipedia bio — Vladimir Borovikovsky — part 1↗
- Biography — applied to Context of Borovikovsky’s career and appointment as academician.
Wikipedia: Oil painting↗
- Oil painting — applied to General oil painting techniques, including 'fat over lean' and drying times.