plate no. 6898

Portrait of Katarine Saryan

Martiros Sarian, 1963

oil, canvasExpressionismportraitportraitfigurestill lifefruitmaskjar

recreation guide

Martiros Sarian’s 'Portrait of Katarine Saryan' (1963) is an oil-on-canvas work situated within the Expressionist tradition. As a portrait, its primary intent is to represent a specific human subject, aiming not merely for a literal likeness but for the 'inner essence' or character of the sitter, consistent with the historical evolution of the genre where artists strive to reveal moral quality rather than temporary appearances (Source 2, Source 6). Sarian’s approach likely involves an 'artistic accuracy' that prioritizes emotional significance and vivid form over scientific, photographic precision, allowing the artist to record sensations produced by the subject rather than just their commonplace appearance (Source 4). The work serves as a remembrance, fitting the traditional role of portraiture as a record of the individual, while employing the expressive capacities of oil paint to convey this inner reality (Source 2).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (various earths, ochres, and modern equivalents)	Primary medium for color application and texture	Professional grade oil paints (e.g., cadmiums, earths, whites)
Canvas	Support surface for the oil paint	Primed linen or cotton canvas
Brushes (various sizes)	Application of paint, from broad masses to finer details	Hog bristle and synthetic brushes
Solvents and mediums (linseed oil, turpentine)	Thinning paint and adjusting drying times	Odorless mineral spirits and stand oil
Drawing materials (charcoal or graphite)	Initial underdrawing to establish form and composition	Vine charcoal or graphite sticks

preparation

surface prep

The canvas should be primed with a standard oil ground (gesso) to provide a stable, slightly absorbent surface for the oil paints. While Sarian’s specific priming habits are not detailed in the sources, the general practice of oil painting requires a sound craftsman’s approach to the medium, ensuring the surface can hold the paint without chemical reaction or failure (Source 1, Source 5).

underdrawing

Begin with a drawing that is 'highly finished' in its structural accuracy to acquire the habit of minute visual expression, which becomes instinctive and allows the mind to focus on bigger emotional qualities later (Source 4). The drawing should not aim for 'scientific accuracy' like a weighing machine, but rather 'artistic accuracy' that conveys the emotional significance of the subject’s form (Source 4). For a portrait, this involves establishing the likeness and the 'inner essence' of the sitter, paying particular attention to the eyes and eyebrows, which carry the most reliable information about the subject’s character (Source 6).

underpainting

Apply a monochrome or limited-color underpainting to establish values and basic forms. This step helps in determining the laws of coloring and allows the artist to work with 'broken tones' and earths, which are substantial and dry easily (Source 5). This foundational layer aids in perceiving and imitating the modifications of light on the model promptly and surely (Source 8).

color palette

Earth tones (ochres, umbers)

Natural and burnt ochres, brown earths

General use in this artist's palette; suitable for broken tones and skin undertones, as earths are substantial and cover well (Source 5).

Whites and Tints

White lead or titanium white mixed with parent colors

Lightening colors. Note: Adding white can shift hues (e.g., reds towards blue), so correct with adjacent colors (e.g., add orange to red-white mix) (Source 3).

Complementary Colors

Pairs such as purplish-red and yellowish-green

Darkening colors without shifting hue, or neutralizing colors to create grays/shadows (Source 3).

Vibrant Accents

Cinnabar, indigo, verdigris, or modern equivalents

Adding brilliance and emotional stimulus, consistent with Expressionist practice to present form in a more vivid manner than ordinary nature (Source 4, Source 5).

composition

The composition likely focuses on the head and shoulders or half-length view, as is common in portraiture to emphasize the subject’s character (Source 6). The artist should aim to present the 'inner significance' of the subject, avoiding mere external detail in favor of emotional truth (Source 6). The arrangement should facilitate the viewer’s perception of the subject’s 'moral quality' and character, with the eyes and eyebrows serving as the focal points for expression (Source 6).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the portrait with a focus on 'artistic accuracy' rather than scientific precision, capturing the emotional significance of the subject’s form.
Tip — Ensure the drawing is finished enough to make subtle details instinctive, freeing the mind for emotional expression later (Source 4).
Artistic Drawing

underpainting

step 02
Apply a thin layer of earth tones or monochrome paint to establish values and basic forms, using substances that cover well and dry easily.
Tip — Use earths and ochres for broken tones, as they are substantial and fixed (Source 5).
Monochrome Underpainting

first pass

step 03
Begin applying color, paying attention to simultaneous contrast. Observe how contiguous colors affect each other, ensuring the lightest tones are lowered and darkest heightened as needed.
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; rest eyes or look at neutral tones to reset perception (Source 8).
Simultaneous Contrast

refining

step 04
Refine the likeness, focusing on the eyes and eyebrows to convey character and moral quality. Adjust hues when lightening or darkening colors to prevent unwanted shifts (e.g., adding orange to red-white mixes).
Tip — Correct hue shifts caused by adding white or black by using adjacent or complementary colors (Source 3).
Color Correction

finishing

step 05
Finalize the portrait, ensuring the 'inner essence' of the subject is clear. Check for any tendency to 'smallness' or over-modeling, aiming for broad masses where appropriate.
Tip — Avoid being too tied down to outlines; depart from them if necessary to capture the emotional stimulus (Source 1, Source 4).
Broad Masses

critical techniques

Artistic Accuracy

Prioritizing emotional significance and vivid form over scientific, photographic precision. This allows the artist to record sensations and convey the 'inner essence' of the subject.

Simultaneous Contrast

Understanding that colors appear differently when placed next to each other. The artist must perceive and imitate these modifications to harmonize the composition.

Color Mixing and Correction

Using complementary colors to darken without shifting hue, and adjacent colors to correct hue shifts when lightening with white. This maintains color integrity.

common pitfalls

→Shifting hues when lightening colors with white (e.g., reds shifting blue) or darkening with black (e.g., yellows shifting green). Correct by using adjacent or complementary colors (Source 3).
→Over-modeling or being too tied down to outlines, which can lead to a lack of emotional expression. Aim for broad masses and depart from strict outlines if necessary (Source 1).
→Ignoring simultaneous contrast, leading to inaccurate color perception and disharmonious composition. Be aware of how contiguous colors affect each other (Source 8).
→Focusing on scientific accuracy rather than artistic accuracy, resulting in a lifeless portrait that fails to convey the subject’s inner essence (Source 4, Source 6).

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 Katarine Saryan’s appearance (clothing, jewelry, exact facial features) are not described in the sources, so the artist must rely on reference photos or imagination for these specifics.
·Sarian’s specific brushwork techniques (e.g., impasto, glazing) are not detailed in the sources, though general oil painting practices are discussed.
·The exact color palette used by Sarian for this specific portrait is not provided, so the artist must infer based on general Expressionist practices and the sources’ advice on color theory.

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 Advice on avoiding over-modeling and smallness, and the importance of being a sound craftsman.
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Concept of artistic vs. scientific accuracy and the importance of emotional significance in drawing.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earths and ochres for broken tones and their practical benefits.
Laws of Contrast of Colour↗
- 315-318 — applied to Principles of simultaneous and mixed contrast in color perception and application.

cross-referenced from

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

Wikipedia: Portrait painting↗
- Portrait painting — part 1 & 2 — applied to Definition of portrait intent, focus on inner essence/character, and the role of eyes/eyebrows in expression.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Techniques for mixing colors, correcting hue shifts, and using complements.

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