plate no. 7892

Portrait of F. A. Borovsky

oil, canvasRococoportraitportraitfiguremilitaryfurbackground landscapeornaments

recreation guide

Vladimir Borovikovsky’s *Portrait of F. A. Borovsky* (1799) represents the height of his fame as a portraitist in the late 1790s, a period characterized by chamber portraits that subtly convey the inner world of the subject with limited emotional expression (Source 7). The work is situated within a fusion of classicist and sentimental styles, typical of Borovikovsky’s output during this era (Source 7). While specific visual details of this particular canvas 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 vestments, suggesting a high level of finish and attention to material reality (Source 7). The artist, who notably painted with his left hand, was known for his ability to capture the dignity and nobility of his sitters, transitioning from landscape backgrounds to interior settings in his later works (Source 7).

estimated time

40-60 hours over 8-12 sessions

materials

7 items

steps

7 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigments)	Primary medium for the painting	Standard tube oil paints
Drying oil (Linseed, Poppy, or Walnut)	Binder for pigments; provides flexibility and rich color	Stand oil or refined linseed oil
Turpentine	Thinner for initial layers and cleaning	Odorless mineral spirits or pure gum turpentine
Varnish (Oil of Copavia or resin-based)	Medium for glazing and final protection; Sir Joshua Reynolds noted using oil of copavia	Dammar varnish or synthetic resin varnish
Canvas	Support surface	Linen canvas, primed
Black, Ultramarine, White	Core palette for underpainting and tonal structure, as cited by Reynolds for old master methods	Ivory black, Ultramarine blue, Titanium or Lead White
Red and Yellow earths/ochres	For glazing and scumbling flesh tones and drapery	Venetian Red, Yellow Ochre, Raw Sienna

preparation

surface prep

The canvas should be prepared with a ground suitable for oil painting. While Borovikovsky’s specific ground recipe is not detailed in the sources, the general practice of the period and the 'old masters' involved preparing a surface that could support multiple layers of glazing and scumbling (Source 1). A neutral or slightly warm ground is likely beneficial to facilitate the extraction of red and yellow tones in the glazing stage (Source 1).

underdrawing

Borovikovsky’s preparatory drawing methods are not explicitly described in the sources. However, given the emphasis on 'sound craftsmanship' and the ability to 'reduce thoughts to words' through the medium (Source 5), a precise underdrawing is implied. The artist likely established the composition and proportions carefully before applying paint, consistent with the academic training of the era, though he did not teach at the Imperial Academy himself (Source 7).

underpainting

The underpainting should likely be a monochrome grisaille. Source 1 describes a method where the artist mentally extracts red and yellow colors, painting the remaining tones (blues, blacks, whites) to establish form and light. This grisaille serves as the structural foundation. Sir Joshua Reynolds, cited in Source 1, used black, ultramarine, and white for his first and second paintings, suggesting a cool-toned underlayer that allows warm glazes to vibrate on top.

color palette

Black

Ivory Black or Lamp Black

Underpainting shadows and defining forms in the grisaille stage (Source 1)

Ultramarine

Natural Ultramarine

Underpainting mid-tones and shadows, providing a cool base for warm glazes (Source 1)

White

Lead White or Titanium White

Highlights in the grisaille and mixing with other colors for scumbling (Source 1)

Red Tones

Vermilion, Red Ochre, or Lake pigments

Glazing flesh tones and drapery; these are applied transparently over the dry grisaille (Source 1)

Yellow Tones

Yellow Ochre, Raw Sienna

Glazing highlights and warm areas; applied transparently over the dry grisaille (Source 1)

composition

Specific compositional details of *Portrait of F. A. Borovsky* are not provided in the sources. However, Borovikovsky’s work from this period is characterized by chamber portraits with limited emotional expression, focusing on the inner world of the sitter (Source 7). In the 1810s, he moved toward interior backgrounds, but in 1799, he may have still utilized landscape or neutral backgrounds. The composition likely emphasizes the dignity and nobility of the subject, consistent with his style of conveying citizenship and nobility (Source 7).

step by step

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

underdrawing

step 01
Transfer the design to the prepared canvas. Ensure proportions are accurate, as the artist is expected to be a 'sound craftsman' (Source 5).
Tip — Focus on the structural accuracy of the face and hands, as these are critical for conveying the 'inner world' (Source 7).
Drawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white. Mentally extract red and yellow colors, painting only what remains (Source 1).
Tip — Ensure the grisaille is completely dry before proceeding. This layer establishes the light and shadow structure.
Grisaille

first pass

step 03
Apply glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially (Source 1).
Tip — Glazing is a transparent coat of color. It allows the underlying grisaille to show through, creating depth and richness.
Glazing

refining

step 04
Use scumbling to adjust tones. Scumbling is a semi-opaque painting technique that allows the underlying layer to be felt (Source 1).
Tip — Be cautious when scumbling over darker grounds, as it can tend toward coldness. Use it to soften transitions or add highlights.
Scumbling
step 05
Pay attention to the simultaneous contrast of colors. Adjust tones based on how adjacent colors affect each other (Source 2).
Tip — The lightest tone will be lowered and the darkest heightened by adjacent colors. Adjust flesh tones relative to the background and clothing.
Simultaneous Contrast

finishing

step 06
Render textures such as velvet or satin with mastery, as Borovikovsky was known for depicting the softness of velvet and brilliance of vestments (Source 7).
Tip — Use varied brushwork to distinguish between different materials. The 'brush's mastery' is a key feature of his ceremonial and chamber portraits (Source 7).
Texture Rendering

varnishing

step 07
Apply a final varnish. Reynolds used a mixture of varnish and oil for later stages (Source 1).
Tip — Ensure the painting is completely dry. Varnish protects the work and enhances the depth of the glazes.
Varnishing

critical techniques

Glazing and Scumbling

Glazing involves applying transparent coats of color over a dry underpainting. Scumbling involves semi-opaque layers. This method was practiced by old masters and allows for rich, luminous colors (Source 1).

Simultaneous Contrast

Understanding how adjacent colors affect each other’s perception. The painter must appreciate modifications of tone and color caused by contiguous colors (Source 2).

Texture Mastery

Borovikovsky’s portraits show a mastery of texture, particularly in rendering velvet, satin, and precious stones (Source 7).

common pitfalls

→Applying glazes before the underpainting is completely dry, which can muddy the colors (Source 1).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and disharmony (Source 2).
→Over-modeling or being too tied to the outline, which can result in a stiff appearance. Copying works like Reynolds’s 'Portraits of Two Gentlemen' can help check this tendency (Source 5).
→Using scumbling over dark grounds without caution, which can result in an unwanted coldness (Source 1).

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 visual details of *Portrait of F. A. Borovsky* (e.g., exact clothing, background, pose) are not described in the sources.
·Borovikovsky’s specific palette choices for this painting are not detailed; the palette is inferred from general old master practices and Reynolds’s methods.
·The exact ground preparation used by Borovikovsky is not specified.
·The specific underdrawing technique (e.g., charcoal, chalk, ink) is not mentioned.

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
- THE PRACTICE OF OIL PAINTING — applied to General craftsmanship and copying old masters

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

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