plate no. 4599
Portrait of I. Zolotarevsky
Boris Kustodiev, 1922
recreation guide
Boris Kustodiev’s 'Portrait of I. Zolotarevsky' (1922) is a work executed in oil on canvas, adhering to the Realist tradition of portrait painting. As a genre, portrait painting aims to represent a specific human subject, often serving as a record of appearance or a reflection of the subject's inner essence and character rather than mere literal likeness (Source 3, Source 7). Kustodiev, working in the early 20th century, would have utilized the flexibility and rich color density inherent to oil painting, which allows for a wide range from light to dark and the use of layered techniques (Source 4). The artwork likely employs methods consistent with the 'old masters' tradition of glazing and scumbling, where transparent and semi-opaque layers are built up over a monochrome underpainting to achieve depth and luminosity, a practice noted as common among historical painters despite modern prejudice against it (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
6 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (various pigments) | Primary medium for painting | Professional grade tube oils |
| Linseed oil or Poppy seed oil | Binder and medium for thinning paints and creating glazes | Refined linseed oil or cold-pressed poppy oil |
| Turpentine | Thinner for initial layers and cleaning | Odorless mineral spirits or pure gum turpentine |
| Canvas | Support surface | Linen or cotton canvas, primed |
| Varnish (optional, for glazing) | Mixed with oil for advanced glazing techniques | Dammar varnish or synthetic resin varnish |
| Earth pigments (ochres, umbers) | Creating broken tones and underpainting | Yellow Ochre, Raw Umber, Burnt Sienna |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific preparation for this exact canvas is not detailed in the sources, oil painting traditionally involves a rigid support (canvas, wood, or copper) prepared to accept oil binders (Source 4). Given the reference to 'old masters' techniques in Source 1, a traditional white or warm-toned gesso ground is likely appropriate to facilitate the glazing process described.
underdrawing
The sources do not explicitly describe Kustodiev’s specific underdrawing method for this portrait. However, general advice for copying and mastering craft suggests that a sound craftsman must first master the 'alphabet' of the art (Source 6). It is likely that a light, flexible underdrawing was made to establish proportions, allowing for the 'broad masses' mentioned in Source 6, without being overly tied down to rigid outlines which can hinder the fluidity of oil application.
underpainting
A monochrome underpainting (grisaille) is highly recommended based on the techniques described in Source 1. The artist should create a grisaille that mentally extracts red and yellow colors, translating what would be left in nature if these colors were absent. This layer must be allowed to dry completely before proceeding. This technique allows for the subsequent application of glazes and scumbles to build up color and depth, a method practiced by old masters (Source 1).
color palette
Earth tones (Ochres, Umbers)
Yellow Ochre, Raw Umber, Burnt Sienna
General use in underpainting and broken tones; Source 5 notes that earths, ochres, and marls are sufficient for broken tones and have the quality of covering well and drying easily.
Red and Yellow tones
Vermilion, Cadmium Yellow, or historical equivalents like Cinnabar and Orpiment
Glazing and scumbling over the grisaille to introduce warmth and local color, as described in Source 1.
Blues and Whites
Ultramarine, White Lead (or Titanium White)
Initial oil painting stages as per Reynolds' method cited in Source 1, and for highlighting and cooling tones.
composition
The sources do not provide specific details about the composition of 'Portrait of I. Zolotarevsky' (e.g., pose, background, lighting). Therefore, specific compositional moves cannot be described. Generally, portrait painting aims for a likeness recognizable to those who have seen the subject, often focusing on the head and shoulders or half-length to capture character and moral quality (Source 3, Source 7). The expression is likely serious or neutral, as historical portraits often feature a 'serious, closed lip stare' to convey inner essence rather than fleeting emotion (Source 7).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Lightly sketch the proportions of the sitter on the prepared canvas. Focus on broad masses rather than fine details to avoid being 'too tied down to your outline' (Source 6).
Tip — Ensure the drawing is light enough to be covered by subsequent layers.
Proportional sketching
underpainting
step 02
Apply a monochrome grisaille layer. Mentally extract red and yellow colors, painting only the values that would remain if those colors were absent. Use black, ultramarine, and white as suggested by Reynolds' method (Source 1).
Tip — Ensure this layer is completely dry before proceeding to avoid muddying the glazes.
Grisaille
first pass
step 03
Begin glazing and scumbling. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) using oil as a medium. Introduce yellow and red tones as they occur in the subject (Source 1).
Tip — Glazing is a transparent coat; scumbling is semi-opaque. Scumbling over a darker ground tends to coldness, which can be used to create grey blooms (Source 1).
Glazing and Scumbling
refining
step 04
Refine the likeness by paying attention to simultaneous contrast. Be aware that colors appear different when viewed next to complementary colors. Adjust tones to harmonize the composition, ensuring the lightest tones are not lowered and darkest tones are not heightened incorrectly (Source 2).
Tip — The eye is susceptible to fatigue and mixed contrast; take breaks to see colors accurately (Source 2).
Simultaneous Contrast
finishing
step 05
Focus on the eyes and eyebrows to convey character and moral quality, as these areas provide the most reliable information about the subject (Source 7). Ensure the expression is representative rather than caricatured (Source 7).
Tip — Avoid temporary or fleeting expressions; aim for inner significance (Source 7).
Character portrayal
varnishing
step 06
Once the painting is fully dry, apply a varnish for protection and to unify the sheen. Oil may be boiled with resin to create varnish (Source 4).
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Glazing and Scumbling
Glazing involves applying a transparent coat of color, while scumbling is a semi-opaque painting through which the underlying layer shows. This method was practiced by old masters to build up color and depth, particularly using red and yellow tones over a grisaille (Source 1).
Simultaneous Contrast
Understanding that colors appear different when placed next to each other, especially complementary colors. This helps the painter accurately perceive and imitate the modifications of light and color on the model (Source 2).
Character Portrayal
Focusing on the eyes and eyebrows to convey the inner essence and moral quality of the subject, rather than just physical likeness. The expression should be serious and representative, avoiding fleeting emotions (Source 7).
common pitfalls
- →Being too tied down to the outline, which can lead to a timid or over-modeled appearance (Source 6).
- →Ignoring simultaneous contrast, leading to inaccurate color perception and application (Source 2).
- →Attempting to deceive the eye with mere illusion rather than expressing the vitality of the medium and the inner significance of the subject (Source 8).
- →Applying glazes before the underpainting is completely dry, which can ruin the transparency and cause muddiness (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 details of the sitter's appearance, clothing, and background in 'Portrait of I. Zolotarevsky' are not described in the sources.
- ·Kustodiev's specific palette choices for this particular painting are not detailed; general earth tones and glazing colors are inferred from period techniques.
- ·The exact pose and composition of the portrait are not specified in the provided texts.
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 (grisaille), glazing, and scumbling techniques.
- ON COPYING — applied to Advice on avoiding rigid outlines and focusing on broad masses.
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory, simultaneous contrast, and accurate color perception.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth pigments and historical palette context.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of using the medium's vitality rather than mere illusion.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- part 1 and part 2 — applied to Genre context, purpose of portraiture, and expression/character portrayal.
Wikipedia: Oil painting↗
- part 1 — applied to Materials, medium properties, and varnishing.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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