plate no. 9951

Portrait of E Temkina

oilRococoportraitportraitfiguredresslandscapejewelryshawl

recreation guide

Vladimir Borovikovsky’s 'Portrait of E Temkina' (1798) is a quintessential example of his late 1790s chamber portraits, which are characterized by a fusion of classicist structure and sentimental style (Source 3). During this period, Borovikovsky gained fame for embodying the ideal of beauty of his era while subtly conveying the inner world of his subjects through limited emotional expression (Source 3). The work likely reflects his mastery of texture, a skill noted in his ceremonial portraits where he rendered the softness of velvet and brilliance of satin, though this specific portrait is a chamber piece rather than a ceremonial one (Source 3). Borovikovsky’s practice was distinct in that he painted with his left hand, a detail that may influence the brushwork directionality in the original, though a right-handed recreator should focus on the resulting texture rather than mimicking the hand itself (Source 3). The painting adheres to the Rococo style’s emphasis on elegance and intimacy, yet Borovikovsky’s approach was grounded in the technical discipline of a 'sound craftsman' who understood the capacities of his medium (Source 1). The recreation should aim for the 'artistic accuracy' that conveys emotional significance rather than mere scientific replication of the model (Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

7 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 'fat over lean' layering	Stand oil or refined linseed oil
Mineral spirits or turpentine	Solvent for thinning initial layers and cleaning brushes	Odorless mineral spirits
Canvas	Support surface	Linen canvas, primed
Charcoal or thinned paint	Initial sketching of the subject	Vine charcoal or raw umber wash
Palette knives and rags	Application and removal of paint layers	Standard palette knives and lint-free cloths
Varnish (optional)	For glazing and final protection	Dammar or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While specific priming recipes for Borovikovsky are not detailed in the sources, traditional oil painting techniques of the period involved preparing a stable surface to prevent cracking (Source 2). The artist’s role as a 'sound craftsman' implies a rigorous preparation of the support to ensure the longevity of the paint film (Source 1).

underdrawing

Traditional oil painting techniques often begin with sketching the subject onto the canvas with charcoal or thinned paint (Source 2). Given Borovikovsky’s emphasis on conveying the 'inner world' and 'diversity of innermost feelings' (Source 3), the underdrawing should focus on capturing the emotional significance and form of the figure rather than mere outline accuracy (Source 7). The drawing should be 'highly finished' to acquire the habit of minute visual expression, allowing the artist to focus on bigger qualities later (Source 7).

underpainting

A grisaille (monochrome underpainting) is recommended, as this method was practised by old masters and involves mentally extracting red and yellow colors to establish form and tone (Source 4). This layer should be allowed to dry completely before glazing. The use of a monochrome underpainting helps in establishing the chiaroscuro and gradation of light, which is essential for the 'true gradation of light' described in color theory (Source 6).

color palette

Flesh tones

Glazes of red and yellow over a neutral grisaille

Skin, to achieve translucency and warmth

Dark tones

Black, ultramarine, and white (as per Reynolds' method cited)

Shadows and background, establishing depth

Bright accents

Pure pigments for highlights

Jewelry or fabric highlights, if applicable to the specific portrait details

Neutral grays

Black and white

Grisaille underpainting and scumbling

composition

Borovikovsky’s work in the late 1790s is dominated by chamber portraits, which are intimate and focused on the subject’s inner life (Source 3). The composition likely features a restrained appearance with a focus on the figure, consistent with his style of conveying 'diversity of innermost feelings' in a limited emotional expression (Source 3). Specific compositional elements like background landscapes or interiors are not detailed in the sources for this specific painting, so the recreation should focus on the figure’s placement and the subtle interplay of light and shadow to create depth (Source 6).

step by step

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

underdrawing

step 01
Sketch the subject onto the canvas using charcoal or thinned paint, focusing on the form and emotional significance rather than rigid outlines.
Tip — Ensure the drawing conveys the 'artistic accuracy' that reflects the artist's feeling, not just scientific precision (Source 7).
Initial sketching

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white to establish the tonal values and form. Extract red and yellow colors mentally to focus on structure.
Tip — Allow this layer to dry completely before proceeding to avoid muddying the colors (Source 4).
Grisaille

first pass

step 03
Apply the first layer of color using oil paint mixed with a lean medium (more solvent than oil). Follow the 'fat over lean' rule to ensure proper drying.
Tip — Each additional layer should contain more oil than the layer below to prevent cracking (Source 2).
Fat over lean

refining

step 04
Glaze and scumble with oil to add red and yellow tones, particularly in the flesh areas. Glazing involves applying a transparent coat of color, while scumbling uses semi-opaque paint.
Tip — Use glazing to adjust translucency and sheen, and scumbling to create coldness or grey blooms over darker grounds (Source 4).
Glazing and Scumbling

finishing

step 05
Refine the textures, particularly if depicting fabrics like velvet or satin, which Borovikovsky was known for rendering with mastery (Source 3). Use palette knives or rags to adjust texture and form.
Tip — Oil paint remains wet longer, allowing for changes in color, texture, or form. Use a rag and turpentine to remove paint if necessary (Source 2).
Texture rendering

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 (Source 2).
Varnishing

critical techniques

Fat over Lean

A basic rule of oil paint application where each additional layer contains more oil than the layer below to allow proper drying and prevent cracking (Source 2).

Glazing and Scumbling

Glazing applies a transparent coat of color, while scumbling uses semi-opaque paint. These techniques were practised by old masters to adjust translucency, sheen, and density (Source 4).

Grisaille Underpainting

A monochrome underpainting that establishes form and tone before color is applied. This method helps in mentally extracting colors to focus on structure (Source 4).

Emotional Accuracy

Drawing and painting should convey the emotional significance of the subject, not just scientific accuracy. This is crucial for capturing the 'inner world' of the portrait (Source 7).

common pitfalls

→Ignoring the 'fat over lean' rule, which can lead to cracking and peeling of the paint film (Source 2).
→Over-modeling or being too tied down to the outline, which can result in a stiff and lifeless portrait. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 1).
→Focusing too much on scientific accuracy rather than artistic accuracy, which fails to convey the emotional significance of the subject (Source 7).
→Applying glazes before the underpainting is completely dry, which can muddy the colors and ruin the transparency (Source 4).

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 in 1798 are not detailed in the sources.
·The exact composition and background details of 'Portrait of E Temkina' are not described in the sources, so the recreation must rely on general knowledge of his chamber portraits.
·Borovikovsky’s specific brushwork techniques for this portrait are not detailed, though his mastery of texture is noted (Source 3).
·The specific lighting conditions and color palette for this particular portrait are not provided, requiring inference from his general style.

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 copying works to correct weaknesses and the importance of being a sound craftsman (Source 1).
- COLOURING A MONOCHROME — applied to Techniques of glazing, scumbling, and grisaille underpainting (Source 4).
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to The concept of artistic accuracy versus scientific accuracy in drawing and painting (Source 7).
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Understanding chiaroscuro and the gradation of light in juxtapositions (Source 6).

cross-referenced from

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

Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Traditional oil painting techniques, including 'fat over lean', glazing, and the use of solvents (Source 2).
Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Borovikovsky’s style, period, and mastery of texture in portraits (Source 3).

Read more about the corpus on the sources page and how the guides are built on the methods page.

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