plate no. 8098
Portrait of Maxim Gorky
Nikolay Bogdanov-Belsky, 1940
recreation guide
This recreation guide addresses the painting of a portrait in the style of Nikolay Bogdanov-Belsky, specifically referencing the 1940 work 'Portrait of Maxim Gorky'. As a realist painter, Bogdanov-Belsky’s approach relies on the disciplined observation of light and form, consistent with the academic traditions of his time. The process emphasizes the structural integrity of the figure through careful underdrawing and the nuanced application of oil paint to achieve likeness and depth. The technique described here draws upon standard oil painting practices of the early 20th century, particularly the use of monochrome underpainting (grisaille) followed by transparent glazing to build color richness without muddying the tones.
estimated time
40-60 hours over 6-8 weeks (allowing for drying times between layers)
materials
7 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Canvas or wood panel | Support for the painting | Linen canvas primed with gesso |
| Charcoal or thinned paint | Initial sketching of the subject | Vine charcoal or raw umber thinned with solvent |
| Linseed oil | Medium to bind pigment and adjust drying time | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning paint and cleaning brushes | Odorless mineral spirits |
| Oil paints (Black, Ultramarine, White, Red Ochre, Yellow Ochre) | Primary palette for grisaille and glazing | Artist-grade oil paints |
| Paintbrushes | Application of paint | Hog bristle and sable brushes |
| Palette knives and rags | Scraping and blending | Standard palette knives and lint-free cloths |
preparation
surface prep
The surface should be prepared to accept oil paint. While specific preparation for this 1940 portrait is not detailed in the sources, traditional practice involves priming the canvas to create a stable ground. The artist likely used a white or neutral ground to facilitate the layering techniques described in the sources.
underdrawing
Begin by sketching the subject onto the canvas using charcoal or thinned paint. This foundational step is crucial for establishing the likeness and proportions of the portrait. The sources note that traditional oil painting techniques often begin with this sketch to guide the subsequent layers of paint (Source 2).
underpainting
Create a monochrome underpainting, known as a grisaille. This layer should establish the values and forms of the portrait without color. The sources suggest using black, ultramarine, and white for this initial painting, mixed with oil of copavia or linseed oil (Source 1). This step allows the artist to focus on the structural accuracy of the face and clothing before introducing color complexity.
color palette
Black
Ivory black or lamp black
Grisaille underpainting and shadows
Ultramarine
Ultramarine blue
Grisaille underpainting and cool shadows
White
Lead white or titanium white
Grisaille underpainting and highlights
Red Ochre
Natural red ochre
Glazing warm tones and flesh colors
Yellow Ochre
Natural yellow ochre
Glazing warm tones and highlights
composition
The composition focuses on the likeness of the sitter, Maxim Gorky. While specific compositional details are not described in the sources, the goal of portrait painting is to achieve a recognizable likeness that serves as a record of the subject's appearance (Source 4). The artist likely positioned the subject to capture their character and expression, consistent with the realist tradition.
step by step
underdrawing→underpainting→drying→refining→finishing→glazing→scumbling
underdrawing
step 01
Sketch the subject's features and posture using charcoal or thinned paint. Focus on accurate proportions and likeness.
Tip — Ensure the drawing is secure but not too dark, as it will be covered by subsequent layers.
Initial sketching
underpainting
step 02
Apply a monochrome layer using black, ultramarine, and white. Mix with oil to create a smooth, even application. This grisaille establishes the light and shadow structure.
Tip — Work from general masses to specific details, ensuring the values are correct before adding color.
Grisaille
drying
step 03
Allow the grisaille to dry completely. This may take several days to weeks, depending on the thickness of the paint and environmental conditions.
Tip — Do not proceed to glazing until the underpainting is fully dry to prevent cracking.
Oxidation drying
refining
step 06
Continue to build up layers, adhering to the 'fat over lean' rule. Each subsequent layer should contain more oil than the previous one to ensure proper drying and prevent cracking.
Tip — Monitor the consistency of the paint to maintain a stable film.
Fat over lean
finishing
step 07
Make final adjustments to the likeness and details. Use brushes, palette knives, or rags to refine textures and edges.
Tip — Step back frequently to assess the overall effect and likeness.
Final detailing
glazing
step 04
Apply transparent layers of red and yellow tones over the dry grisaille. Use oil or a mix of varnish and oil as a medium. This technique adds color depth and warmth without obscuring the underlying values.
Tip — Think of this as tinting an engraving with watercolors; the underlying painting should remain visible through the transparent color.
Glazing
scumbling
step 05
Use semi-opaque paint to adjust tones and add highlights. Scumbling over darker areas can create a grey bloom or coolness, adding atmospheric depth.
Tip — This technique allows for subtle adjustments to the color temperature and texture.
Scumbling
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to build richness and depth. This method was practiced by old masters and is essential for achieving the luminous quality seen in realist portraits.
Scumbling
Using semi-opaque paint to modify tones and create atmospheric effects, particularly over darker grounds to introduce coolness or grey blooms.
Fat over Lean
Ensuring each layer of paint contains more oil than the one below it to prevent cracking and peeling. This is a fundamental rule for the longevity of oil paintings.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which can lead to cracking and muddying of the colors.
- →Violating the 'fat over lean' rule by applying leaner paint over richer layers, causing the paint film to fail.
- →Over-modeling or becoming too tied to the initial outline, which can result in a stiff or unnatural appearance. The sources suggest copying works by Reynolds or Velazquez to check tendencies toward smallness or over-modeling (Source 3).
- →Ignoring the simultaneous contrast of colors, which can lead to inaccurate color perception and application. The eye is susceptible to fatigue and complementary color effects, so frequent breaks and reference checks are necessary (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 Maxim Gorky's appearance in the 1940 portrait (e.g., exact clothing, background elements) are not described in the sources and must be referenced from the original artwork or historical photographs.
- ·The exact medium Bogdanov-Belsky used for his glazes (e.g., specific varnish types) is not detailed, though oil and varnish mixes are suggested as traditional options.
- ·The specific palette of colors used for this particular portrait is not listed, so the guide relies on general realist palettes and the pigments mentioned 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 Glazing and scumbling techniques, grisaille underpainting
- ON COPYING — applied to Advice on avoiding over-modeling and improving finish
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding color perception and simultaneous contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, fat over lean rule, drying times, initial sketching
Wikipedia: Portrait painting↗
- Portrait painting — part 1 — applied to Goal of achieving likeness in portraiture
Read more about the corpus on the sources page and how the guides are built on the methods page.
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