plate no. 7263

Portrait of Paul I

oil, canvasRococoportraitportraitfigureclothinghathistorical figurejewelry

recreation guide

Vladimir Borovikovsky’s *Portrait of Paul I* (1796) represents the artist’s mastery during his rise to fame as a leading portraitist in the late 18th century. While the specific visual details of this particular canvas are not described in the provided sources, Borovikovsky’s work from this period is characterized by a fusion of classicist and sentimental styles, often focusing on the inner world and dignity of the subject (Source 5). His ceremonial portraits from this era demonstrate a sophisticated command of texture, particularly in rendering the softness of velvet, the brilliance of gilded vestments, and the sparkle of precious stones (Source 5). The artist, who notably painted with his left hand, was known for his ability to convey subtle emotional depth within a restrained, chamber-like setting, even when depicting imperial figures (Source 5).

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, earth tones, vermilion)	Primary medium for the portrait, allowing for rich color density and layering.	High-quality tube oil paints; historically, pigments were ground by the artist.
Linseed or poppy seed oil	Binder for the pigments, providing flexibility and drying time control.	Refined linseed oil or walnut oil.
Turpentine	Thinner for initial layers and cleaning brushes.	Odorless mineral spirits or pure gum turpentine.
Canvas	Support for the oil painting.	Linen canvas, primed with gesso.
Varnish (optional, for glazing)	Used in conjunction with oil for glazing techniques to deepen tones.	Dammar varnish or synthetic resin varnish.

preparation

surface prep

The canvas should be prepared with a traditional oil ground, likely gessoed and sized, consistent with 18th-century European practices. Borovikovsky worked within the Imperial Academy tradition, which favored stable, long-lasting supports. The surface should be smooth to allow for the fine finish characteristic of his portraiture, though some texture may be retained to enhance the rendering of fabrics (Source 7).

underdrawing

While specific preparatory drawings for this portrait are not described, Borovikovsky’s academic training suggests a careful initial sketch. Given his focus on precise texture and likeness, a light charcoal or thinned oil underdrawing would likely be used to establish proportions and key features before applying paint. The artist’s left-handedness might influence the direction of his initial strokes, but this is a general observation rather than a documented technique for this specific work (Source 5).

underpainting

A grisaille (monochrome underpainting) is a likely preparatory step, consistent with the practices of old masters and the advice given in contemporary painting manuals. This involves painting the composition in neutral tones (black, white, and perhaps ultramarine) to establish light and shadow before applying color glazes (Source 6). This method allows for greater control over the final tonal values and helps in harmonizing the colors of the flesh and drapery (Source 6).

color palette

Lead White

Pure lead white

Highlights in flesh tones, white elements of clothing, and mixing tints.

Ultramarine

Pure ultramarine

Shadows and cool tones, particularly in the grisaille underpainting and deep shadows in the final layers.

Vermilion/Cinnabar

Red ochre and vermilion

Flesh tones, lips, and red elements in the imperial vestments.

Yellow Ochre

Natural yellow ochre

Warm mid-tones in flesh and gold accents.

Black (Ivory or Lamp Black)

Pure black

Deep shadows and defining outlines in the grisaille.

composition

Borovikovsky’s portraits from this period often feature a restrained appearance with a focus on the dignity and nobility of the subject. The background is likely simple or interior-focused, allowing the viewer to concentrate on the sitter’s expression and attire. The composition would emphasize the verticality of the figure, consistent with ceremonial portraiture, and the placement of the subject would be central to convey authority (Source 5).

step by step

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

underdrawing

step 01
Sketch the basic proportions of the figure on the prepared canvas using charcoal or thinned oil. Focus on the correct placement of the head, shoulders, and hands.
Tip — Ensure the proportions are accurate, as corrections are difficult in later stages.
Initial layout

underpainting

step 02
Apply a grisaille underpainting using black, white, and ultramarine. Establish the light and shadow structure of the face and clothing.
Tip — Work broadly to capture the main masses of light and dark. This layer should be completely dry before proceeding.
Grisaille

first pass

step 03
Begin applying color glazes over the dry grisaille. Use transparent layers of red and yellow tones for the flesh, and appropriate colors for the clothing.
Tip — Apply thin, transparent layers to build up depth and richness. Avoid mixing colors on the palette too much; let the layers interact optically.
Glazing

refining

step 04
Refine the details of the face, hands, and clothing. Pay attention to the texture of the velvet and the brilliance of the gilded vestments.
Tip — Use scumbling (semi-opaque painting) to soften edges and create subtle transitions. Glaze to deepen shadows and enhance the sparkle of jewels.
Scumbling and Glazing

finishing

step 05
Add final highlights and details. Ensure the harmony of colors by checking the simultaneous contrast between adjacent areas.
Tip — Be mindful of how colors affect each other. Adjust tones to ensure the flesh colors remain natural and the clothing colors are vibrant.
Color Harmony

varnishing

step 06
Once the painting is completely dry, apply a protective varnish to unify the surface and enhance the depth of the colors.
Tip — Use a high-quality varnish to protect the painting from dust and UV light.
Varnishing

critical techniques

Glazing

Used to build up transparent layers of color over a dry underpainting, creating depth and richness. This was a common practice among old masters and is recommended for achieving the luminous quality seen in Borovikovsky’s work.

Scumbling

Applied as a semi-opaque layer over darker tones to create soft transitions and subtle color shifts, particularly useful for rendering the softness of velvet and skin.

Simultaneous Contrast

Understanding how adjacent colors affect each other is crucial for harmonizing the composition. This principle helps in adjusting tones to ensure the flesh colors remain natural and the clothing colors are vibrant.

common pitfalls

→Over-mixing colors on the palette, which can lead to muddy tones. Instead, use glazing and scumbling to build color depth.
→Ignoring the drying time of the underpainting, which can cause cracking or mixing of layers.
→Failing to account for simultaneous contrast, leading to unnatural color shifts in adjacent areas.
→Over-modeling the face, which can detract from the subtle emotional expression characteristic of Borovikovsky’s style.

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 the clothing and jewelry in *Portrait of Paul I* are not described in the sources, so the recreation must rely on general knowledge of imperial attire from the period.
·The exact pigments used by Borovikovsky are not specified, so modern equivalents are suggested based on historical practices.
·The specific compositional layout of this portrait is not detailed, so the guide assumes a standard ceremonial portrait composition.

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 and glazing techniques
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Color harmony and adjustment

cross-referenced from

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

Wikipedia: Vladimir Borovikovsky↗
- Biography and Style — applied to Artist’s style, texture rendering, and historical context
Wikipedia: Oil painting↗
- Materials and Techniques — applied to General oil painting practices and materials

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

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