plate no. 0816

Portrait of Ilya Ehrenburg

Martiros Sarian, 1959

oil, canvasExpressionismportraitportraitfiguremanmountainsbuildingslandscape

recreation guide

Martiros Sarian’s *Portrait of Ilya Ehrenburg* (1959) is an Expressionist work that prioritizes the inner essence and character of the subject over photographic realism. Consistent with the artist’s general practice and the Expressionist style, the painting likely employs bold, non-naturalistic color contrasts to convey emotional depth rather than literal likeness. The work serves as a memorial record of a significant cultural figure, adhering to the traditional function of portraiture while subverting strict realism in favor of expressive character study. The artist’s approach aligns with the principle that great portraiture expresses 'character and moral quality' rather than temporary or accidental features.

estimated time

20-30 hours over 5-7 sessions

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (earth tones, ochres, reds, blues)	Primary medium for expressive color application	—
Canvas	Support surface	Linen or cotton canvas, primed
Brushes (various sizes)	Applying broad masses and finer details	—
Palette knife	Mixing colors and applying thick impasto if consistent with Sarian's texture	—
Solvent (turpentine or odorless mineral spirits)	Thinning paint and cleaning brushes	—
Linseed oil	Medium for glazing and extending paint	—

preparation

surface prep

The canvas should be primed with a traditional ground, likely gesso or oil-based primer, to provide a stable surface for oil application. While specific preparatory methods for this 1959 work are not detailed in the sources, standard oil painting practice requires a sound craftsman’s approach to the medium’s capacities (Source 1).

underdrawing

Sarian’s Expressionist style suggests a loose, gestural underdrawing rather than a rigid outline. The artist likely avoided being 'too much tied down to [the] outline' to allow for expressive freedom (Source 1). The drawing would focus on capturing the 'inner significance' of the subject rather than external detail (Source 2).

underpainting

A monochrome or limited-color underpainting may have been used to establish values and composition before applying full color. This aligns with the practice of using earths and ochres for 'broken tones' and fixedness (Source 7). The underpainting would help in perceiving and imitating the modifications of light on the model (Source 4).

color palette

Earth tones (ochres, umbers)

Natural and burnt ochres, umber

General use in this artist's palette for skin tones and shadows, providing fixedness and covering power (Source 7)

Reds and Purples

Red ochre, vermilion, purple lakes

Expressive accents and clothing, leveraging simultaneous contrast to enhance vibrancy (Source 4)

Blues and Greens

Indigo, verdigris, blue enamels

Complementary contrasts to warm tones, creating depth and emotional resonance (Source 4, Source 7)

Whites and Blacks

White lead or titanium white, ivory black

Adjusting lightness and darkness, though used cautiously to avoid hue shifts (Source 3, Source 7)

composition

The portrait likely features a 'head and shoulders' or 'half-length' composition, focusing on the face to convey character through the eyes and eyebrows, which are critical for expressing emotion in portraiture (Source 2). The subject’s head may be in a three-quarter view to reveal more of the facial structure and expression. The composition emphasizes the 'inner essence' of Ilya Ehrenburg, avoiding literal likeness in favor of a representative portrayal of his moral quality (Source 2).

step by step

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

underdrawing

step 01
Sketch the basic proportions and pose of the subject lightly with thinned oil or charcoal, focusing on the eyes and eyebrows as key expressive features.
Tip — Avoid rigid outlines; keep lines fluid to allow for expressive adjustments.
Loose underdrawing

underpainting

step 02
Apply a monochrome underpainting using earth tones to establish values and light modifications.
Tip — Use ochres and umbers for fixedness and easy drying (Source 7).
Monochrome underpainting

first pass

step 03
Block in broad masses of color, focusing on the overall composition and color relationships rather than details.
Tip — Consider simultaneous contrast; adjacent colors will influence each other’s appearance (Source 4).
Broad massing

refining

step 04
Refine the facial features, particularly the eyes and eyebrows, to convey the subject’s character and inner significance.
Tip — Use subtle variations in tone and color to express emotion, avoiding caricature (Source 2).
Expressive detailing

finishing

step 05
Adjust color harmonies and contrasts, ensuring that the colors do not shift in hue when darkened or lightened.
Tip — Use complementary colors to neutralize and darken without hue shifts (Source 3).
Color correction

varnishing

step 06
Apply a final varnish to protect the painting and enhance color depth.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Simultaneous Contrast

Used to enhance the vibrancy of adjacent colors by leveraging the eye’s tendency to see complementary tints (Source 4).

Color Mixing with Complements

Darkening colors by adding their complements rather than black to avoid hue shifts (Source 3).

Expressive Character Portrayal

Focusing on the eyes and eyebrows to convey the subject’s inner essence and moral quality (Source 2).

common pitfalls

→Over-modeling or being too tied down to the outline, which can stifle expressive freedom (Source 1).
→Adding black to darken colors, which can cause unwanted hue shifts (Source 3).
→Focusing on literal likeness rather than the inner significance and character of the subject (Source 2).
→Ignoring the effects of simultaneous contrast, leading to muddy or dull color relationships (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 details of Sarian’s brushwork and texture in this particular painting are not described in the sources.
·The exact color palette used for Ilya Ehrenburg’s clothing and background is not specified.
·The specific preparatory sketches or studies Sarian made for this portrait are not available in the sources.

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 Underdrawing and avoiding rigid outlines (Source 1)
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast and color harmony (Source 4)
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and fixed pigments (Source 7)

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Portrait painting↗
- Portrait painting — part 2 — applied to Focus on inner essence and character through eyes and eyebrows (Source 2)
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing techniques to avoid hue shifts (Source 3)

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

tips & new artworks in your inbox

no spam — unsubscribe anytime.

or to save artworks, chat, and track progress

chat about this artwork

in this vein