plate no. 9651

Portrait of M.I.Lopukhina

oil, canvasRococoportraitportraitfiguredresslandscapetreesflowers

recreation guide

Vladimir Borovikovsky’s 'Portrait of M.I. Lopukhina' (1797) is a quintessential example of late 18th-century Russian portraiture, characterized by a fusion of classicist structure and sentimental expression. As noted in biographical records, Borovikovsky gained fame in the late 1790s for chamber portraits that embodied the ideal of beauty of his era, subtly conveying the inner world of his subjects through limited emotional expression (Source 8). The work likely exhibits the artist’s documented mastery of texture, particularly in rendering the softness of fabrics and the brilliance of ornaments, which are hallmarks of his ceremonial and chamber portraits (Source 8). While specific visual details of Lopukhina’s attire or pose are not described in the provided sources, the painting belongs to a period where Borovikovsky was appointed an academician, indicating a high level of technical proficiency consistent with Imperial Academy standards.

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, Black, Red Ochre, Yellow Ochre)	Primary pigments for underpainting and glazing, consistent with historical palettes and Reynolds' method cited in sources.	Titanium White (for safety), Cobalt Ultramarine, Mars Black, Natural Red Ochre, Yellow Ochre
Linseed Oil or Oil of Copavia	Medium for mixing paints, specifically mentioned by Reynolds for the first and second paintings.	Stand Oil or refined Linseed Oil
Canvas	Support for the oil painting.	Linen canvas, primed with rabbit skin glue and lead white gesso
Varnish	Used in later stages for glazing and finishing, as suggested by the practice of mixing varnish with oil for mastery.	Dammar Varnish or Synthetic Resin Varnish
Charcoal or Conté Crayon	For underdrawing, allowing for correction and tonal establishment.	Vine charcoal or compressed charcoal

preparation

surface prep

The canvas should be prepared with a traditional ground, likely involving rabbit skin glue sizing and multiple layers of lead white gesso to create a smooth, bright surface suitable for the luminous glazing techniques associated with the period. While the sources do not explicitly describe Borovikovsky’s specific ground, the use of oil painting techniques involving glazing and scumbling (Source 1) implies a stable, non-absorbent, and light-reflective ground to maximize the optical effects of transparent layers.

underdrawing

The underdrawing should be executed with charcoal or a similar dry medium, focusing on accurate proportions and the subtle expression characteristic of Borovikovsky’s sentimental style (Source 8). Given the artist’s focus on conveying inner feelings through limited expression, the drawing phase must capture the nuanced anatomy of the face and hands. The sources suggest that copying works by masters like Reynolds or Van Dyck can help refine drawing skills and avoid being 'too tied down to outline' (Source 5), implying a fluid, confident approach to the initial sketch.

underpainting

A grisaille (monochrome underpainting) is recommended, using black, ultramarine, and white mixed with oil of copavia, as described by Sir Joshua Reynolds (Source 1). This layer establishes the tonal values and forms without color, allowing the artist to mentally extract red and yellow tones for later glazing (Source 1). This technique aligns with the 'old masters' practice mentioned in the sources, which was common among skilled portraitists of the era.

color palette

Lead White

Pure white pigment

Highlights and mixing for flesh tones and fabrics, essential for the 'brilliance' noted in Borovikovsky’s work (Source 8).

Ultramarine

Blue pigment

Shadows and cool tones in the grisaille underpainting (Source 1).

Black (Ivory or Lamp Black)

Black pigment

Defining shadows and contours in the underpainting (Source 1).

Red Ochre / Vermilion

Red earth or mineral pigment

Glazing flesh tones and adding warmth, as red tones are extracted in the grisaille and added later (Source 1).

Yellow Ochre

Yellow earth pigment

Glazing highlights and warm areas, completing the color spectrum after the monochrome base (Source 1).

Vermilion / Cinnabar

Red mineral pigment

Adding brilliance to fabrics or jewelry, consistent with the artist’s mastery of texture and sparkle (Source 8).

composition

While specific compositional details of 'Portrait of M.I. Lopukhina' are not described in the sources, Borovikovsky’s chamber portraits typically feature a restrained appearance with a focus on the sitter’s inner world (Source 8). The composition likely emphasizes the subject’s face and upper body, with careful attention to the contrast between the flesh tones and the background or drapery. The artist’s later shift towards interior backgrounds (Source 8) suggests that if this portrait has a background, it may be subdued to highlight the sitter.

step by step

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

underdrawing

step 01
Sketch the portrait using charcoal, focusing on accurate proportions and the subtle expression of the sitter. Avoid rigid outlines; aim for a fluid representation of form.
Tip — Study copies of Reynolds or Van Dyck to improve handling of broad masses and finish (Source 5).
Freehand drawing

underpainting

step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia. Establish all tonal values, mentally excluding red and yellow hues.
Tip — Ensure the grisaille is completely dry before proceeding to glazing (Source 1).
Grisaille

first pass

step 03
Apply transparent glazes of red and yellow tones over the dry grisaille. Use oil as a medium initially, mimicking the tinting of an engraving with watercolors.
Tip — Observe how the underlying monochrome affects the color, creating depth and luminosity (Source 1).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and add highlights, particularly in areas where the glaze is too dark or cool. Be mindful of the 'grey bloom' effect when scumbling over darker grounds.
Tip — Scumbling tends to coldness over dark grounds; use it judiciously to maintain warmth in flesh tones (Source 1).
Scumbling

finishing

step 05
Refine details such as jewelry, fabric textures, and facial features. Apply varnish mixed with oil for final glazes if necessary, ensuring the brilliance of materials like velvet or satin is captured.
Tip — Focus on the 'sparkle of precious stones' and 'softness of velvet' as noted in Borovikovsky’s mastery (Source 8).
Varnish Glazing

varnishing

step 06
Apply a final protective varnish to unify the surface and enhance the depth of the glazes.
Tip — Allow sufficient drying time between layers to prevent cracking or muddiness.
Final Varnishing

critical techniques

Glazing and Scumbling

Used to build up color and luminosity over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque highlights. This method was practiced by old masters and is essential for achieving the depth and richness seen in Borovikovsky’s work.

Grisaille Underpainting

A monochrome base using black, ultramarine, and white to establish form and value before color is introduced. This allows for precise control over lighting and shadow.

Texture Rendering

Borovikovsky’s mastery in depicting the softness of velvet, brilliance of satin, and sparkle of gems requires careful layering and contrast management.

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddiness and cracking (Source 1).
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Study copies of masters like Reynolds to avoid this (Source 5).
→Ignoring the effects of simultaneous contrast, where adjacent colors influence each other’s perception. This can lead to inaccurate color mixing if not accounted for (Source 2).
→Using too much scumbling over dark grounds, which can create an unwanted 'grey bloom' and 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 the portrait (e.g., exact clothing, jewelry, background) are not described in the sources, so the recreation must rely on general stylistic knowledge of Borovikovsky’s chamber portraits.
·The exact pigment palette used by Borovikovsky is not specified, though historical conventions and Reynolds’ methods are used as proxies.
·The specific underdrawing technique (e.g., use of grid, transfer methods) is not detailed in the sources.

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 Drawing and refining skills
Laws of Contrast of Colour↗
- 315-318 — applied to Color theory and contrast management