plate no. 9651

Portrait of M.I.Lopukhina

oil, canvasRococoportraitportraitfiguredresslandscapetreesflowers

what to study here

It shows how soft edges, a warm value-modeled white dress, and a loosely handled dark background can hold a face as the focal point.

Start with the face and dress as one light mass. Squint and they float forward against a dark, cohesive field of trees. The face holds the lightest values, and the figure separates cleanly from the background. Then look at the dress. It is not pure white. Warm ochre shadows model the folds, so the cool white note stays inside the warm palette. Study the edges next. The face has almost invisible transitions between light and shadow, which builds volume. The hair is crisper where curls catch light and soft where they recede. The background foliage is looser and more fractured, so it reads as atmosphere and does not compete with the face. Light comes from the upper left and the gaze is downcast, which draws attention inward. The palette is mostly ochres and burnt siennas, with deep darks in the upper left. Copy the value grouping before the color: brilliant lights in the face, warm mid-tones in dress and hair, deep darks behind. Note that the face is a balanced warm ochre, not pink.

key decision

The painter modeled the white dress with warm ochre shadows instead of pure white, and kept the face as the lightest value against a dark, loosely brushed background. This ties figure and setting into one warm palette.

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

cross-referenced from

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

Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Artist’s style, texture mastery, and period context

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

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

Warm light from the upper left bathes the figure's face and upper body, creating a luminous focal point against a dark atmospheric background. The three-quarter pose is contemplative and intimate, with the subject's downcast gaze drawing the viewer inward. Golden foliage in the upper background and rose blooms in the lower right frame the composition. The white empire-waist dress anchors the lower half of the painting in a cool note, while her burnished auburn hair and the landscape's golden tones dominate chromatically.

value structure

The face and neck contain the painting's lightest values, creating sharp separation from the dark brown trees and shadowed foliage behind her. The dress is surprisingly varied in value—warm ochre shadows model its folds rather than pure white. Mid-tone ochres and burnt siennas dominate the hair and background vegetation. A distinct value grouping emerges: brilliant lights (face), warm mid-tones (dress, hair), and deep darks (background trees and shadows). Squinting reveals the face and dress float forward as a unified light mass against a cohesive dark field.

observed palette and mixes

#d3bfa9
titanium white + yellow ochre + small cadmium red, warmed with burnt sienna
face highlights, neck, upper chest, dress light areas
#a89d7f
yellow ochre + white + burnt umber + hint of cadmium red
mid-tone modeling on face, cheek warmth, dress shadow transitions
#7f6e38
burnt sienna + yellow ochre + ultramarine blue
hair base tone, background foliage, warm shadows in dress
#58380a
burnt umber + ultramarine blue + cadmium red
deep shadow folds in dress, hair definition
#241f17
burnt umber + ultramarine blue + alizarin crimson
background tree foliage, darkest shadow passages upper left
#3b280d
raw umber + ultramarine blue + touch of cadmium red
intermediate dark tones, background depth

edges and brushwork

The face exhibits masterful soft edges—skin tones blend seamlessly with almost invisible transitions between light and shadow, creating volumetric form. Hair shows crisp edge work where individual curls catch light, while remaining soft where they recede into shadow. The dress folds are rendered with semi-soft edges, letting warm and cool shadow values model the form without hard contours. The background foliage is looser and more visible in handling, suggesting atmosphere through fractured brushwork that contrasts with the refined modeling of the face.

a working sequence

01
Establish underpainting and value structure
Using dilute burnt umber, block in the figure's major masses: the oval of the head, the wedge shape of the dress, and the background zones. Define where the darkest darks of the background trees will sit (upper left corner, behind the head). Keep this monochromatic layer loose—it's a roadmap for values only, not details.
02
Build the atmospheric background
Paint the background foliage using warm mixtures of yellow ochre, burnt sienna, and ultramarine blue. The upper left should be darkest (burnt umber + ultramarine). Work lighter, warmer tones into the left side where sky shows. Keep edges soft and diffused—this isn't sharp botanical detail. Let the brushwork suggest foliage masses.
03
Block the white dress with warm shadows
Paint the entire dress form using titanium white mixed with small touches of yellow ochre and burnt sienna to keep it warm. Model the folds immediately using these same warm ochre shadows—the dress is never pure white. Pay attention to how shadows fall along the right side and where the fabric gathers at the waist.
04
Paint the face with careful color modeling
Begin with a mid-tone wash of yellow ochre + white + cadmium red, establishing the face's overall warmth. Model the planes: forehead and upper cheek are brighter (more white), lower jaw and shadow side are warmer (more burnt sienna and ochre). Keep edges soft. The face is the technical heart—work slowly and blend thoroughly. Leave highlights on the left side of the face brightest.
05
Render the hair with golden-auburn layers
Lay in the hair using burnt sienna + yellow ochre, keeping it warm. Define individual curls with a slightly darker tone (add ultramarine blue to the mixture for richness, never black). The hair catches light from above, so leave the crown brighter. Use crisp edges on curls that catch light; soft edges where hair recedes into shadow.
06
Paint features and hands with precision
Work the eyes as soft almond shapes with a gentle downward gaze—don't overstate them. The mouth is a soft warm line. Render the hands with the same care as the face: they're proportionally correct and show anatomical understanding. Model the right hand resting on the table with warm ochre shadows on the underside. Pay attention to how light catches the fingers.
07
Add the turquoise scarf and gold jewelry
Paint the draped turquoise scarf using ultramarine blue + cadmium yellow, slightly grayed to harmonize with the warm palette. It should read as a cool accent, not a shock. The gold bracelet on the wrist should be subtle—use ochre + burnt sienna with bright highlights on the upper curve. These elements frame and support the hand.
08
Suggest roses and refine edges
Loosely paint the flowers in the lower right using warm browns and ochres with touches of cadmium red for rose blooms. They should be out of sharp focus—soft and suggestive, not photographic. Soften the edges between the figure and background where needed. Step back and check that the face remains the brightest, warmest focal point.

where studies of this painting go wrong

Making the face too pink or too saturated—this face reads as a carefully balanced warm ochre with subtle modeling, not rosy or artificial
Turning the white dress into pure white instead of modeling its form with warm ochre shadows—the dress needs internal value variation to read as fabric
Overstatement of the eyes or mouth—they should be delicate and understated; the power comes from the overall modeling and gaze direction
The turquoise scarf becoming too vibrant or jarring—it must stay muted enough to harmonize with the warm earth-tone palette
Losing the atmospheric quality of the background by rendering foliage too sharply or with too much detail—suggest depth and light, don't paint every leaf
Making the hair too orange or too uniform in tone—it needs warm-cool variation and subtle gradation from crown to shadow

measured difficulty