plate no. 8427

Portrait of Grand Duke Konstantin Pavlovich

oil, canvasRococoportraitportraitfiguremilitaryclothingskylandscape

recreation guide

Vladimir Borovikovsky’s 'Portrait of Grand Duke Konstantin Pavlovich' (1795) is a quintessential example of late 18th-century Russian portraiture, blending the elegance of the Rococo style with the emerging realism of the Neoclassical period. While the specific visual details of the Grand Duke’s attire and expression are not described in the provided sources, the painting is executed in oil on canvas, a medium that offers 'greater flexibility, richer and denser color, the use of layers, and a wider range from light to dark' (Source 6). The work likely employs the sophisticated layering techniques characteristic of the 'old masters,' who frequently used glazing and scumbling to achieve depth and luminosity, rather than relying solely on opaque mixing (Source 1).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Lead White, Ultramarine, Earth tones)	Primary pigments for underpainting and glazing	Titanium White (for safety, though Lead White is historically accurate), Synthetic Ultramarine, Ochres
Linseed or Poppy Seed Oil	Binder for pigments; provides flexibility and drying time control	Cold-pressed linseed oil or walnut oil
Turpentine	Thinner for initial washes and cleaning brushes	Odorless mineral spirits or pure gum turpentine
Canvas	Support for the oil painting	Linen canvas, primed with gesso
Varnish (optional for glazing)	Mixed with oil for final glazing layers to increase transparency	Dammar varnish or resin-based glazing medium

preparation

surface prep

The canvas should be prepared with a ground that allows for the 'use of layers' inherent to oil painting (Source 6). Historically, a white or light-toned ground was common to facilitate the glazing techniques described by Reynolds, who used white as a primary component in his initial stages (Source 1). The surface should be smooth to allow for the fine finish typical of portrait painting.

underdrawing

While specific preparatory drawings for this portrait are not detailed in the sources, the artist likely employed a careful underdrawing to establish the 'broad masses' before moving to finish (Source 4). The underdrawing should be light and non-interfering, allowing the subsequent monochrome underpainting to define the forms.

underpainting

The process likely begins with a grisaille or monochrome underpainting. Sir Joshua Reynolds, a contemporary influence, established his method using 'black, ultramarine, and white' for the first and second paintings (Source 1). This monochrome layer establishes the chiaroscuro and volume, 'mentally extracting the red and yellow colours' to focus on form and light (Source 1).

color palette

White

Lead White (historically) or Titanium White

Highlights and mixing with ultramarine/black for the monochrome underpainting

Ultramarine

Natural or Synthetic Ultramarine

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

Black

Ivory Black or Lamp Black

Deep shadows and defining contours in the underpainting

Red/Yellow Tones

Red Ochre, Yellow Ochre, Vermilion

Glazing and scumbling over the dry monochrome to introduce flesh tones and warmth

Earth Tones

Burnt Sienna, Umber

General use in the palette for broken tones and covering well, as noted in historical practice

composition

The composition likely adheres to the principles of simultaneous contrast, where the colors of the draperies and background are chosen to harmonize with the inherent colors of the flesh and eyes (Source 3). The artist would have considered how 'contiguous colours' modify the perception of tone, ensuring that the lightest tones are not lowered and the darkest are not heightened in a way that disrupts the natural appearance (Source 2).

step by step

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

underdrawing

step 01
Lightly sketch the figure on the prepared canvas, focusing on the correct proportions and placement of the Grand Duke.
Tip — Keep lines light to avoid interfering with subsequent layers.
Preparatory Drawing

underpainting

step 02
Apply a monochrome layer using black, ultramarine, and white to establish the full range of light and shadow values.
Tip — Focus on the 'modifications of the light on the model' without worrying about local color yet.
Grisaille

first pass

step 03
Allow the underpainting to dry completely. Then, begin glazing with transparent red and yellow tones over the monochrome.
Tip — Apply thin, transparent coats of color, similar to tinting an engraving with watercolors.
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and create 'grey blooms' or coldness where needed, particularly over darker grounds.
Tip — Ensure the underlying painting 'makes itself felt' through the semi-opaque layer.
Scumbling

finishing

step 05
Refine the flesh tones and details, paying attention to the 'simultaneous contrast' between the skin and the clothing/background.
Tip — Check for color modifications caused by contiguous colors to ensure natural appearance.
Color Harmony

varnishing

step 06
Apply a final varnish to protect the painting and unify the sheen of the different layers.
Tip — Use a resin-based varnish to provide protection and texture.
Varnishing

critical techniques

Glazing

A transparent coat of color applied over a dry underpainting to build up depth and luminosity, a method 'practised by the old masters far more generally' than modern painters might assume (Source 1).

Scumbling

A semi-opaque painting technique used to modify tones and create subtle effects like 'grey blooms,' allowing the underlying layer to influence the final appearance (Source 1).

Simultaneous Contrast

Understanding that colors appear different when placed next to each other, the artist must adjust tones to compensate for these optical effects, ensuring the 'modifications of tone and of colour' are accurately represented (Source 2).

common pitfalls

→Attempting to mix all colors opaquely from the start, which can lead to a 'muddy' appearance and lack of depth. The sources emphasize the importance of layering transparent glazes over a monochrome base (Source 1).
→Ignoring the effects of simultaneous contrast, which can cause colors to appear inaccurate if the artist does not account for how adjacent colors modify each other (Source 2).
→Over-modeling or becoming 'too much tied down to your outline,' which can result in a stiff, unnatural portrait. The sources suggest copying works by Van Dyck or Velazquez to check this tendency (Source 4).
→Using a palette that is too limited or too chaotic without understanding the 'laws of colouring,' which can lead to chemical reactions or unstable mixtures (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 Grand Duke's attire, jewelry, and facial expression are not described in the sources, so the artist must rely on reference images of the actual painting.
·The exact proportions and pose of the figure are not detailed, requiring the artist to study the original artwork for compositional accuracy.
·The specific background elements and their colors are not described, so the artist must determine these from the original painting or historical context.
·The precise drying times and medium ratios used by Borovikovsky are not specified, so the artist must experiment with traditional oil painting practices.

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 Color harmony and simultaneous contrast in refining stages
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Palette selection and historical pigment use