plate no. 7892

Portrait of F. A. Borovsky

oil, canvasRococoportraitportraitfiguremilitaryfurbackground landscapeornaments

what to study here

It shows how a strong light-dark structure and varied edge handling keep the face dominant over fur, embroidery, medals and background.

The main lesson here is how a portrait is organized by value. The vision analysis describes a three-quarter view of an older man looking left, with the background stepping from warm brown on the left to nearly black on the right. Light comes from the upper left and hits the forehead and cheekbones, while the right side of the face stays subtly shadowed. Squint and the background reads as two value zones, with the face higher in value than anything behind it. The cream fur collar is the other light note and helps establish the light. Study the edges: the face meets the dark ground with sharp, almost silhouetted edges, while the fur is soft and blended, with fine directional lines laid over the base. The gold embroidery on the uniform is handled with precise linear strokes and bright highlights, and the medals sit in the lower third. A distant battle landscape on the left is kept warm and atmospheric so it stays behind the figure. Copy the face-to-ground edge and the fur treatment separately, and compare how much precision each area gets.

key decision

The painter kept the face lighter than everything behind it and set it against a background that darkens from warm brown to near black, with hard edges at the face and soft ones at the fur.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A three-quarter portrait of an older gentleman gazes leftward against a dramatically darkened background that graduates from warm brown on the left to nearly black on the right. Strong raking light from the upper left floods the face with warm luminosity, catching sharply on the forehead and cheekbones while leaving the right side of the face subtly shadowed. The eye travels immediately to the face—the lightest and most precisely rendered element—anchored by a cream fur collar that occupies nearly a quarter of the composition's lower half. Behind the figure on the left, a distant landscape battle scene sits almost hidden in atmospheric warm tones, while military regalia with gleaming gold embroidery and red medals command the lower third.

value structure

The painting pivots on extreme contrast: near-black darks dominate the right background and upper corners, while the face and fur collar sit in the light zone. A distinct midtone layer—warm browns and ochres—creates the transition between light and shadow. The background values are critical; squinting reveals just two value zones in the background (warm-mid on left, very dark on right), but the face sits distinctly higher in value than anything behind it. This value hierarchy is what gives the portrait its commanding presence.

observed palette and mixes

#c39e7a
Titanium white + yellow ochre + cadmium red (warm undertone)
Face—forehead, cheekbones, and bridge of nose where light strikes directly
#8f694b
Burnt umber + raw sienna + touch of ultramarine blue (shadow)
Midtones throughout the face, shadowed side of jaw, and upper background
#5e4029
Burnt umber + raw sienna (warm brown base)
Left background landscape and mid-value transitions
#1d160d
Ivory black + burnt umber (very dark brown)
Hair, upper left background shadow areas, uniform shadows
#0c0c06
Ivory black + trace ultramarine (near pure black)
Right background, deepest folds in uniform, eye sockets
#f5f0e8
Titanium white + touch of yellow ochre (warm white)
Fur collar and white shirt front—crucial for establishing light

edges and brushwork

The face meets the background with sharp, deliberate edges that read almost silhouetted—this hardness is essential and creates the portrait's dramatic presence. The fur collar, by contrast, is rendered with soft, blended brushwork that suggests form and direction with layered strokes rather than defined edges; individual fur markings are suggested with fine, directional lines over the blended base. The uniform's gold embroidery shows precise linear brushwork with bright highlights catching metallic shine, while the face itself uses smooth blending in the flesh tones but retains subtle modeling lines around the eyes and mouth.

a working sequence

01
Block in composition and proportions
Lightly sketch the figure's position: three-quarter pose with the head at roughly two-thirds height. Mark the shoulder width, the angle of the head (tilted slightly down and to the left), and the major value zones—face, fur, uniform, background. Don't detail; just establish where each element sits.
02
Lay the background foundation
Mix and block in the background in two main values. Use warm burnt umber + raw sienna for the left side, transitioning to nearly black (ivory black + touch of ultramarine) on the right. Keep this layer loose and atmospheric; the background should feel like a backdrop, not a competing element.
03
Establish the flesh tone underpainting
Block the entire face and neck with a warm mid-value flesh tone (yellow ochre + cadmium red + white). This is your anchor; don't worry about shadows yet. Keep it flat and even, covering completely. This warm undertone is critical to the portrait's character.
04
Model the face with value and shadow
While the underpainting is wet or semi-wet, scumble darker midtones (burnt umber + raw sienna + cooler undertones) into the shadow side of the face, particularly around the right temple, jaw, and under the chin. Keep the forehead and cheekbones in light. Model the eye sockets with careful shadow work—this is where expression begins.
05
Paint and texture the fur collar
Block the fur in warm white (titanium white + tiny touch of yellow ochre). Once dry enough, layer directional strokes to suggest fur movement—upward and outward from the shoulders. Don't try to paint individual hairs; instead, build the illusion of texture with varied brushwork and subtle shadow lines (using diluted burnt umber). The fur should feel soft but structured.
06
Render the uniform and military details
Paint the dark navy uniform (ultramarine blue + ivory black) around the figure. Now add the gold embroidery with a warm yellow ochre or cadmium yellow, building highlights with white. Paint the medals and ribbons: reds (cadmium red + touch of ultramarine for depth), gold accents, and white highlight dots. These details anchor the military identity but should not overwhelm—suggest rather than slavishly detail.
07
Refine facial features and edges
With a small brush, sharpen edges where the face meets the background—this creates the silhouette strength. Define the eyes with careful shadow work and a highlight in each iris. Adjust lip color with a mix of cadmium red + burnt sienna, keeping it subtle. Refine the jawline and cheekbone definition with selective shadow and light.
08
Add the background landscape vignette
In the left background, suggest the distant battle scene with very loose, atmospheric brushwork—warm greens, ochres, and hints of figures and structures, all kept soft and far back. Don't detail it; the goal is to add visual interest without competing with the portrait. A few muted warm tones and vague forms suffice.
09
Glaze, integrate, and final touches
Step back and assess value relationships—the face should sing against the dark background. If needed, apply a thin glaze of diluted color to unify transitions. Soften any harsh edges that feel false (except where the profile is intentionally silhouetted). Add final highlights to the fur collar and medals. Check that the far background recedes and doesn't compete.

where studies of this painting go wrong

The face must remain lighter than the background at all times—this value relationship is what makes the composition work. If you push the background too light, the portrait loses spatial impact and reads as flat.
Fur texture is easily overworked; aim for the suggestion of direction and form through layered strokes and selective shadows rather than painting every hair. Overly detailed fur looks artificial and stops reading as soft.
The military details (embroidery, medals, ribbons) can become too fussy and distracting. These must be convincing in value and color but remain subordinate to the face—avoid rendering them with more precision than the features.
The flesh tones depend on warm undertones throughout; using too much cool color in shadows will make the face read as sickly or unfinished. Subtle cool notes are fine, but the overall temperature must stay warm.
The landscape background vignette is easy to either ignore or overemphasize. Keep it atmospheric and small—it's a narrative detail, not a secondary composition.

measured difficulty