Portrait of Dmitry Levitzky

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).

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).