plate no. 9951

Portrait of E Temkina

oilRococoportraitportraitfiguredresslandscapejewelryshawl

what to study here

It shows clearly how a strict three-zone value plan and soft edges keep a face as the single dominant shape.

The main lesson here is how the face is isolated by value. The vision read describes three zones: near-white light on the face, neck and upper chest; mid-tones in the dress and arms; and a background that drops to near black. Squint and the face reads as one bright shape against deep shadow. Light comes from the upper left. Edges are soft throughout, and the face-to-background boundary is modeled rather than drawn as a line. Look at how the handling changes by area. Hair gets directional strokes with highlights over darker underpainting. The cream dress uses broader, flatter strokes that suggest folds without rendering each crease. The deep-red shawl over the right shoulder is a warm mid-dark that moves the eye without competing with the face. A small landscape vignette in the upper left, in cool greens and blues, is handled more loosely than the portrait. Study how finish is concentrated at the face and relaxed elsewhere. The warm ochre-based shadows on the neck and chest are also worth a careful look.

key decision

The painter confined the brightest lights to the face, neck and upper chest and set them against a near-black background. Soft, modeled edges and subordinate mid-dark shawl and dress keep the face the structural focus.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Light streams from the upper left, striking the subject's face and neck as the brightest focal point while the background recedes into deep shadow. The figure is positioned three-quarter length, with her body angled slightly, creating dynamic movement despite the static pose. The eye lands first on the luminous face, then travels down the cream-colored dress and across the striking deep-red shawl draped over the right shoulder. A small landscape vignette appears in the upper left corner—cool greens and blues that anchor the composition without competing with the portrait.

value structure

The painting divides into three distinct value zones: the brightest lights concentrate on the face, neck, and upper chest (nearly white); mid-tones occupy the dress and arms; the background plunges to very dark darks (near black). The red shawl sits as a warm mid-dark that creates visual rhythm without disrupting the hierarchy. When squinted, the face reads as an isolated bright shape against deep shadow—this separation is the structural keystone.

observed palette and mixes

#090000
Ivory black, possibly with burnt umber
Deepest background shadows, far right and upper corners
#411305
Burnt umber with ultramarine or raw umber
Mid-dark background, shadows in hair and dress folds
#786640
Yellow ochre with burnt umber and white
Warm mid-tones in background, shadow modeling on neck and décolletage
#97906e
Yellow ochre with ultramarine and white
Cooler background areas, foliage in landscape vignette
#cfbd89
Titanium white with yellow ochre and cadmium red (small amount)
Dress fabric, highlights on face and neck
#d4513a
Cadmium red with burnt umber
Shawl, provides warm accent and draws eye through composition

edges and brushwork

Edges are consistently soft throughout—the boundary between face and background shows barely perceptible modeling rather than a line. Hair receives directional strokes following form and movement, with highlights applied over darker underpainting. The dress fabric uses broader, flatter strokes that suggest folds without rendering every crease; the shawl similarly shows visible directional brushwork that follows drapery without becoming fussy. The landscape corner employs looser, sketchier handling that contrasts with the refined finish of the portrait.

a working sequence

01
Establish structure and values
Lightly sketch the head position and shoulders, noting the slight three-quarter turn. Block in three value zones: reserve the face/neck area as your lightest shape, establish the mid-tone dress, and indicate the dark background. Use burnt umber and white to map these zones as a monochrome underpainting.
02
Develop the atmospheric background
Paint the background from dark to medium, establishing depth around the head. Leave the upper left lighter and cooler for the landscape. Use ivory black with ultramarine, burnt umber, and touches of ochre to create atmospheric variation—avoid uniform flatness by adding subtle warmth to shadows near the figure and cooler tones toward the edges.
03
Block the dress and shawl
Establish the cream dress mass with titanium white warmed by yellow ochre and a whisper of cadmium red. Paint the shawl in cadmium red mixed with burnt umber to achieve its rich, deep-red tone—resist making it too bright. Note where blue ribbons accent the dress neckline and shoulder; these should be ultramarine with white, applied thinly over the dried cream base.
04
Establish the head and face shape
Block in the basic face shape using titanium white, yellow ochre, and cadmium red mixed to a warm peachy-ochre. Pay attention to the width of the face relative to its height and the angle of the jawline. Map the halftones and shadows using burnt umber with white, keeping the entire face lighter than the background even in shadow areas. Note the reddish-brown hair color (burnt umber with cadmium red).
05
Refine facial features and likeness
Carefully place the eyes, nose, and mouth, ensuring proportions match the reference. The eyes should be the most defined feature—use cooler darks (ultramarine mixed with burnt umber) in the pupils, with warm whites (ochre-tinted) in the highlights. Model the nose and cheeks with warm halftones, allowing the ochre-based shadow color to define form. Keep edges soft by blending with a dry brush where face meets background.
06
Develop hair and headpiece
Layer the hair using burnt umber and cadmium red, building from shadow to light. Follow the growth direction and form; the hair frames the face and rises into an ornate tiara or jeweled headpiece. Keep hair shadow transparent rather than opaque—let the background show through slightly. The tiara should read as a delicate accent, suggested with highlights of white and gold rather than laboriously rendered.
07
Add jewelry and refine drapery
Suggest the gold chain at the neck and any bracelet with warm ochre and titanium white highlights applied over the dried flesh tones. Refine the dress folds by deepening shadows with yellow ochre mixed with burnt umber, allowing the form underneath to guide the fold direction. The shawl drapery should show directional brushwork that follows the fabric's drape—use the red and its shadows to create depth and volume.
08
Integrate and finish
Step back and assess the overall value structure—the face should remain the brightest, most engaging shape. Refine any transitions between the face, neck, and dress, softening harsh edges where needed. Add the small landscape vignette in the upper left corner with muted greens and blues. Finally, add the smallest highlights on jewelry and dress ribbons, and ensure the focal point (the face) has the crisping of edges and sharpness of detail.

where studies of this painting go wrong

Painting the shawl too bright—it should be a rich, deep red-brown, not vibrant crimson; mix it with burnt umber and allow it to feel substantial rather than ornamental.
Making the background transition too sharp around the head; this is a Rococo portrait relying on soft, atmospheric edges, not linear boundaries.
Rendering the dress folds too literally—suggest them with value changes and directional brushwork rather than carving every crease; excessive detail competes with the face.
Losing the likeness through symmetry or idealization; the face shape and proportions are specific to this subject; measure relationships carefully and trust asymmetries.
Underestimating the warmth needed in skin tones—use ochre and red generously in the face and neck to achieve the luminosity visible in the work; pure white reads as chalky.
Neglecting the small landscape corner; though minor, it provides spatial context and compositional balance—leave it loose and cool to push the figure forward.

measured difficulty