plate no. 6470

Portrait of E. I. Nekludova

oil, canvasRococoportraitportraitfiguredresslandscapehairshawl

recreation guide

Vladimir Borovikovsky’s 'Portrait of E. I. Nekludova' (1798) is a quintessential example of late 18th-century Russian portraiture, characterized by a fusion of classicist structure and sentimental expression. As a leading portraitist of the era, Borovikovsky was renowned for his ability to convey the inner world of his subjects through subtle emotional nuance rather than overt drama (Source 8). His work from this period is dominated by chamber portraits that embody the ideal of beauty of the age, often featuring restrained appearances and interior settings that highlight the dignity and nobility of the sitter (Source 8). While specific visual details of Nekludova’s attire or background are not described in the provided sources, Borovikovsky’s general practice involved a mastery of texture, particularly in rendering the softness of fabrics and the brilliance of ornaments, which suggests a high level of technical finish in the final layers (Source 8).

estimated time

40-60 hours over 8-12 sessions

materials

4 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (White Lead, Ultramarine, Black, Red Ochre, Yellow Ochre)	Primary pigments for underpainting and glazing, consistent with 18th-century practices and Reynolds' cited method.	Titanium White (for safety), Cobalt Ultramarine, Mars Black, Natural Red Ochre, Yellow Ochre
Oil of Copavia (or modern damar/resin medium)	Medium for the first and second paintings to ensure proper drying and transparency, as cited by Sir Joshua Reynolds.	Liquin or a mix of linseed oil and damar varnish
Canvas	Support for the oil painting.	Linen or cotton canvas, primed with gesso
Varnish	For final glazing and protection, mixed with oil for mastery-level glazing.	Damar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a standard gesso ground. While Borovikovsky’s specific ground preparation is not detailed in the sources, the general practice of the period involved a white or light-toned ground to facilitate the glazing techniques described by Reynolds and others. The surface should be smooth to allow for the fine finish characteristic of Borovikovsky’s portraiture (Source 8).

underdrawing

Borovikovsky’s preparatory methods are not explicitly described in the sources. However, given his reputation for precision and the 'chamber portrait' style, a careful underdrawing in charcoal or thinned oil is likely. The artist should focus on accurate proportions and the subtle expression of the sitter, as Borovikovsky is noted for conveying inner feelings through limited emotional expression (Source 8).

underpainting

The underpainting should likely follow the grisaille or monochrome method described by Sir Joshua Reynolds, which was influential in the 18th century. This involves using black, ultramarine, and white with oil of copavia to establish the tonal values and forms before applying color (Source 1). This method allows for the mental extraction of red and yellow tones, leaving a neutral base for subsequent glazing (Source 1).

color palette

White

White Lead (historical) or Titanium White (modern)

Highlights and mixing for flesh tones and fabrics.

Ultramarine

Ultramarine pigment

Shadows and cool tones in the underpainting, as per Reynolds' method.

Black

Ivory Black or Lamp Black

Deep shadows and defining forms in the underpainting.

Red Ochre

Natural Red Ochre

Glazing for flesh tones and warm accents, consistent with the 'red and yellow tones' mentioned in Source 1.

Yellow Ochre

Natural Yellow Ochre

Glazing for flesh tones and warm accents, consistent with the 'red and yellow tones' mentioned in Source 1.

composition

Specific compositional details of 'Portrait of E. I. Nekludova' are not provided in the sources. However, Borovikovsky’s work from this period is characterized by chamber portraits with restrained appearances and interior backgrounds, focusing on the sitter’s dignity and inner world (Source 8). The composition likely emphasizes the sitter’s face and upper body, with careful attention to the texture of clothing and any ornaments, reflecting his mastery of material representation (Source 8).

step by step

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

underdrawing

step 01
Sketch the sitter’s pose and facial features with precision, focusing on the subtle expression that conveys inner feelings.
Tip — Ensure proportions are accurate, as Borovikovsky’s portraits are known for their idealized beauty and dignity.
Underdrawing

underpainting

step 02
Apply a monochrome underpainting using black, ultramarine, and white mixed with oil of copavia to establish tonal values.
Tip — Mentally extract red and yellow tones, focusing on the underlying structure and light/shadow relationships.
Grisaille/Monochrome Underpainting

first pass

step 03
Once the underpainting is dry, begin glazing with transparent coats of red and yellow tones to build up color.
Tip — Apply thin, transparent layers to allow the underlying monochrome to influence the final color, similar to tinting an engraving.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and add highlights, particularly in areas where the underlying painting needs to show through.
Tip — Be cautious with scumbling over darker grounds, as it can tend to coldness; use it to create a grey bloom if desired.
Scumbling

finishing

step 05
Refine the details of the sitter’s face, hands, and clothing, paying attention to the texture of fabrics and the brilliance of any ornaments.
Tip — Borovikovsky’s mastery of texture is evident in his rendering of velvet, satin, and precious stones; aim for a high level of finish.
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping solvents.
Varnishing

critical techniques

Glazing

Used to build up transparent layers of color over a monochrome underpainting, allowing for rich, luminous effects. This technique was widely practiced by old masters and is described by Reynolds as essential for his method (Source 1).

Scumbling

Used to apply semi-opaque paint over the glazes, allowing the underlying layers to show through and create complex tonal effects. This technique helps in achieving the subtle variations in tone and color characteristic of Borovikovsky’s work (Source 1).

Monochrome Underpainting

Establishing the tonal structure of the painting using a limited palette of black, white, and ultramarine. This method allows the artist to focus on form and light before introducing color, a practice endorsed by Reynolds (Source 1).

common pitfalls

→Applying color too opaquely in the early stages, which can obscure the benefits of the glazing technique. The sources emphasize the importance of transparent layers (Source 1).
→Neglecting the monochrome underpainting, which is crucial for establishing the tonal foundation and allowing the glazes to interact with the underlying structure (Source 1).
→Over-modeling or being too tied to the outline, which can result in a stiff appearance. The sources suggest copying works that encourage broader masses and less timidity (Source 4).
→Failing to account for the simultaneous contrast of colors, which can lead to inaccurate color perception and application. The sources highlight the importance of understanding how adjacent colors influence each other (Source 2, Source 5).

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 sitter’s clothing, jewelry, and background in 'Portrait of E. I. Nekludova' are not described in the sources, making it difficult to replicate the exact visual composition.
·Borovikovsky’s specific palette choices for this particular painting are not documented, so the guide relies on general 18th-century practices and Reynolds’ cited method.
·The exact ratio of oil to varnish in the glazing medium is not specified, requiring the artist to experiment to achieve the desired transparency and drying time.

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, glazing, and scumbling techniques
- ON COPYING — applied to Advice on avoiding over-modeling and improving finish
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding color interaction and avoiding perceptual errors