plate no. 2920

Portrait of Dmitry Levitzky

oilRococoportraitportraitfiguremanclothingovalbackground figure

what to study here

It shows how a portrait can be held together by close values, temperature shifts and soft edges instead of strong contrast.

Start with the value structure. The picture sits in a narrow middle register with no true blacks or whites. The face is the lightest mass, the coat a distinct intermediate band, and the background a graduated field. Squint and check that this holds. Light comes softly from the left and models the face and the hand held near the cheek. The oval format frames both. The background shifts from warm golden cream at the top to cooler olive-green in the shadowed areas, so temperature does much of the work that contrast would do elsewhere. Study the edges next. Nearly all are soft and diffused, built by gentle blending, and brushstrokes are largely invisible. The hand and coat keep slightly more directional suggestion but never turn hard. A faint second portrait sits behind the figure, upper right. It echoes the composition without competing. The cravat is cream, not pure white, so it stays inside the warm palette. The lesson is restraint: knowing when to stop blending so the light in the face is not flattened.

key decision

The painter kept every value in a narrow middle range and softened nearly all edges, letting the warm-to-cool background shift carry the atmosphere instead of dark-against-light contrast.

recreation guide

Vladimir Borovikovsky’s 1796 portrait of Dmitry Levitzky represents the height of his early fame, characterized by a fusion of classicist structure and sentimental expression (Source 3). As a master of the chamber portrait, Borovikovsky is noted for his ability to convey the inner world of his subjects through subtle emotional expression rather than overt drama (Source 3). The work likely exhibits the textural mastery for which he was renowned, particularly in rendering the softness of fabrics and the brilliance of accessories, consistent with his ceremonial portraits that showcase the 'softness of velvet' and 'sparkle of precious stones' (Source 3). The painting is executed in oil, a medium Borovikovsky utilized to achieve a high degree of illusionistic finish while maintaining the vitality of the painted surface (Source 2). Unlike artists who sought to merely deceive the eye into seeing nature, Borovikovsky’s practice, aligned with the principles of fine art, treats paint as expressive symbols that convey feeling (Source 2). The portrait reflects the Rococo influence prevalent in his era, emphasizing elegance and the ideal of beauty, while demonstrating the artist’s technical command of light and texture (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (artist grade)	Primary medium for painting	—
Linseed oil	Medium to thin paint and ensure proper drying layers	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits
Canvas or panel	Support surface	Linen canvas primed with gesso
Charcoal or thinned paint	Initial sketching of the subject	Vine charcoal or raw umber wash
Paintbrushes (various sizes)	Application of paint, from broad masses to fine details	Hog bristle and sable brushes

preparation

surface prep

The surface should be prepared with a traditional oil ground, likely gesso or oil primer, to provide a stable base for the oil paint. Borovikovsky’s work requires a smooth surface to achieve the high finish and textural subtleties characteristic of his portraiture (Source 3). The preparation must allow for the 'fat over lean' application rule to prevent cracking (Source 7).

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint, as is traditional in oil painting techniques (Source 7). Borovikovsky’s precise rendering of facial expressions and textures suggests a careful initial layout, though specific preparatory methods for this particular work are not detailed in the sources. The drawing should focus on capturing the 'inner world' and emotional significance of the subject, rather than mere scientific accuracy (Source 4).

underpainting

Apply an initial layer of thinned oil paint to establish the basic tones and forms. This layer should be 'lean' (mixed with more solvent than oil) to ensure proper drying and adhesion of subsequent layers (Source 7). The underpainting should capture the broad masses of light and shadow, allowing for later refinement of details (Source 1).

color palette

Flesh tones

Lead white, vermilion, yellow ochre, and raw umber

General use in this artist's palette for rendering skin with subtle emotional expression

Velvet/Textile colors

Ultramarine, alizarin crimson, or other deep pigments

Rendering the softness of velvet and brilliance of fabrics, as noted in his ceremonial portraits (Source 3)

Background tones

Neutral grays or muted earth tones

Creating a chamber setting that emphasizes the subject, consistent with his focus on interior portraits (Source 3)

composition

The composition likely centers on the subject within a chamber setting, a hallmark of Borovikovsky’s work (Source 3). The arrangement should emphasize the subject’s dignity and inner feelings, with a restrained background that does not distract from the portrait’s emotional core (Source 3). Specific compositional details for this painting are not described in the sources, so the artist should rely on Borovikovsky’s general practice of focusing on the subject’s personality and status (Source 3).

step by step

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

underdrawing

step 01
Sketch the subject’s pose and facial features using charcoal or thinned paint.
Tip — Focus on capturing the emotional significance of the subject rather than strict anatomical accuracy (Source 4).
Initial layout

underpainting

step 02
Apply a lean layer of thinned oil paint to establish basic tones and forms.
Tip — Ensure this layer is thin to allow proper drying and prevent cracking (Source 7).
Fat over lean

first pass

step 03
Build up the mid-tones and shadows, focusing on broad masses of light and shadow.
Tip — Avoid getting too detailed too early; focus on the overall structure and emotional tone (Source 1).
Blocking in

refining

step 04
Add details to the face, hands, and clothing, paying attention to the texture of fabrics and skin.
Tip — Use the law of simultaneous contrast to harmonize colors and enhance the illusion of depth (Source 5).
Glazing and scumbling

finishing

step 05
Refine the highlights and shadows, ensuring the final layer is 'fat' (more oil than solvent).
Tip — Check for consistency in the 'fat over lean' rule to ensure the painting’s longevity (Source 7).
Final glazing

varnishing

step 06
Apply a varnish to protect the painting and enhance the depth of colors.
Tip — Wait until the painting is fully dry (typically two weeks or more) before varnishing (Source 7).
Varnishing

critical techniques

Fat over lean

Each subsequent layer of paint should contain more oil than the previous layer to ensure proper drying and prevent cracking (Source 7).

Simultaneous contrast of colors

Use color contrasts to harmonize the composition and enhance the perception of light and texture (Source 5).

Textural rendering

Mimic Borovikovsky’s mastery in rendering the softness of velvet and the brilliance of fabrics, as seen in his ceremonial portraits (Source 3).

common pitfalls

→Over-modeling or becoming too tied to the outline, which can result in a stiff appearance (Source 1).
→Ignoring the 'fat over lean' rule, leading to cracking and peeling of the paint layers (Source 7).
→Focusing too much on scientific accuracy rather than emotional expression, which can detract from the artistic impact (Source 4).
→Attempting to deceive the eye into seeing nature rather than expressing feeling through painted symbols (Source 2).

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 subject’s clothing, jewelry, or background in the 1796 portrait of Dmitry Levitzky are not described in the sources.
·Borovikovsky’s exact palette for this specific painting is not documented; the suggested palette is based on general period practices and his known style.
·The specific preparatory methods (e.g., use of cartoons or detailed underdrawings) for this work are not detailed in the sources.

grounded in

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

The Practice of Oil Painting↗
- ON COPYING — applied to Advice on avoiding over-modeling and focusing on broad masses (Source 1).
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the role of oil paint as an expressive medium rather than a mere imitation of nature (Source 2).
- FROM A STUDY BY BOTTICELLI — applied to Emphasis on emotional accuracy over scientific accuracy in drawing (Source 4).
Laws of Contrast of Colour↗
- 315. As to the advantages the painter will find in it when it is required — applied to Use of color contrast to harmonize the composition (Source 5).

cross-referenced from

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

Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Information on Borovikovsky’s style, fame, and mastery of texture (Source 3).
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to General oil painting techniques, including 'fat over lean' and drying times (Source 7).

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

Soft directional light from the left delicately models the face and hand, creating a gentle focal point framed by the oval format. The background transitions from warm golden cream at the top to cooler olive-greens in the shadowed regions, with a ghostly secondary portrait barely visible behind—a compositional echo rather than a competing element. The figure's three-quarter pose and hand-to-face gesture draw the eye upward into the contemplative expression, while the brownish coat grounds the figure against the atmospheric background.

value structure

This painting lives in a narrow, refined middle register—there are no true blacks or stark whites. The lightest values concentrate in the face and upper background; the deepest darks anchor the hair and the shadow side of the coat. When you squint, the face reads as one soft luminous mass, the coat as a distinct intermediate band, and the background as a graduated field. The key is the restraint: every transition is gentle, almost imperceptible at arm's length.

observed palette and mixes

#d6b478
lead white + raw sienna + small touch of lemon yellow
background highlights, upper background, face highlights, and the cream-colored cravat
#be965f
lead white + burnt sienna + ochre + touch of cadmium yellow
lighter coat passages, warm midtones in coat and face
#9a8059
raw sienna + burnt sienna + lead white
primary coat color, warm shadow tones throughout
#826442
burnt sienna + ultramarine + touch of lead white
shadow modeling on face, deep tones in coat, neck shadow
#52563b
ultramarine + raw sienna + lead white
background cool greens, shadowed background areas, tones behind the figure
#343629
ultramarine + burnt sienna + touch of lead white
hair, deepest shadows, darkest accents in folds

edges and brushwork

Nearly every edge is soft and diffused, achieved through gentle blending and layering rather than visible gestural marks. The face shows subtle volumetric modeling through soft value transitions, while the background is atmospheric and loose—brushstrokes are largely invisible, creating an illusion of atmosphere rather than texture. The hand and coat retain slightly more directional suggestion but never become hard or graphic; the entire effect prioritizes optical softness over tactile brushwork.

a working sequence

01
Establish oval format and value map
Lightly draw the oval shape at your working scale. Map the three major value zones: the light face, the intermediate coat, and the darker background. Mark where the warm background transitions to cooler olive tones—roughly at the eye line of the figure.
02
Underpainting—background and recession
Block in the entire background with warm cream-gold at the top, gradually cooling toward sage-green and muted olive lower and to the sides. Keep this loose and blended; this layer sets the atmospheric stage. The transitions should be imperceptible—no visible demarcation lines.
03
Sketch the figure and composition
Lightly establish the head oval, the line of the shoulder, the gesture of the hand near the face, and the position of the faint secondary portrait in the background upper right. Pay attention to the slight turn of the head and the hand's intimate proximity to the cheek.
04
Establish skin tone base and shadow structure
Lay in the face with a warm, muted cream-ochre base (mix of lead white, raw sienna, and a touch of yellow). Place warm shadow tones on the right side of the face and under the chin, using soft strokes. The goal is warm luminosity, not modeling yet—keep values close and subtle.
05
Model the face with soft transitions
Gently blend shadow into light on the face, focusing on the cheekbone, the temple, and the delicate transition under the eye. The modeling should feel atmospheric rather than sculptural. Add subtle warm tones to the lips and soft definition to the eye without hardening the edge. The hand should receive the same soft treatment—it supports the gesture without sharp detail.
06
Paint coat, collar, and clothing folds
Block the coat in warm ochre-tan, allowing slightly deeper warm-brown shadows to define folds on the far side. The white cravat is cream-colored, not pure white—it should sit comfortably in the warm palette. Keep all edges soft; clothing folds dissolve into shadow rather than remaining graphic.
07
Render hair with directional softness
The hair is dark (ultramarine + burnt sienna) but not flat—let warmer medium tones suggest form on the lit side, deepening to cool shadow on the far side. Use loose, directional strokes that follow the head's structure, then blend these to near-invisibility. The hair should feel like it has air around it, not a hard silhouette.
08
Add background figure and final atmospheric softening
Suggest the faint second portrait in the background upper right as a pale, barely perceptible wash of cooler tone—almost like a ghost or memory. It should require effort to notice. Then stand back and soften any remaining edges, strengthen subtle transitions, and glaze if needed to unify the whole into one atmospheric whole.

where studies of this painting go wrong

Overworking the edges through excessive blending—this painting's delicacy lies in knowing when to stop. Too much blending kills the light and flattens the face.
Making the background figure too distinct or insistent—it is a shadow suggestion, almost subliminal; if viewers notice it immediately, it's too dark or clear.
Losing the warm golden glow of the background while pursuing cool tones in shadow areas—the warmth is essential to the Rococo mood; cool tones should be subtle accents, not dominant.
Rendering the face too pink or saturated—this portrait's refinement comes from restrained, warm-muted tones; excessive color kills the aristocratic calm.
Making the hand gesture too prominent or anatomically perfect—it should feel soft and intimate, supporting the psychological reading without demanding technical precision.
Allowing the hair to become a dark, opaque mass instead of a form with light and shadow—some luminosity should suggest the texture and mass without harsh edges.

measured difficulty