plate no. 5100

Portrait of S. A. Rayevskaya

oil, canvasRococoportraitportraitfiguredresshairjewelryshawl

recreation guide

Portrait of S. A. Rayevskaya (1813) by Vladimir Borovikovsky represents a shift in the artist’s style during the 1810s, moving away from the sentimental, landscape-backed chamber portraits of the 1790s toward a more restrained, dignified aesthetic that emphasizes citizenship and nobility (Source 6). Unlike his earlier works, this period is characterized by interior backgrounds rather than landscapes, focusing on the sitter’s inner world with limited emotional expression but profound psychological depth (Source 6). The work exemplifies Borovikovsky’s mastery of texture, particularly in rendering fabrics and ornaments, though specific visual details of Rayevskaya’s attire are not described in the provided sources. The painting is executed in oil on canvas, utilizing the flexibility and rich color density inherent to the medium (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 (Ultramarine, Black, White, Red, Yellow)	Primary pigments for underpainting and glazing, consistent with Sir Joshua Reynolds' method cited as influential for old masters (Source 1).	Modern tube oils: Ultramarine Blue, Ivory Black, Titanium White, Cadmium Red/Yellow or Alizarin Crimson/Indian Yellow.
Linseed or Poppy Seed Oil	Binder for pigments; provides flexibility and rich color (Source 5).	Refined Linseed Oil or Stand Oil.
Turpentine	Thinner for initial layers and cleaning brushes (Source 5).	Odorless Mineral Spirits (OMS) or Gamsol.
Canvas	Support for the oil painting (Source 5).	Linen or cotton canvas, primed with gesso.
Varnish (optional for glazing)	Mixed with oil for glazing layers to gain mastery over transparent tones (Source 1).	Dammar Varnish or Alkyd Medium.

preparation

surface prep

The canvas should be primed with a white or light-toned ground to facilitate the glazing and scumbling techniques described. While Borovikovsky’s specific ground preparation is not detailed in the sources, the general practice of oil painting involves preparing a surface that allows for the 'richer and denser color' and layering capabilities of the medium (Source 5).

underdrawing

The sources do not specify Borovikovsky’s underdrawing method. However, given the emphasis on 'sound craftsmanship' and the need to 'reduce thoughts to words' through the medium (Source 4), a careful, precise underdrawing is implied to establish the likeness and composition before applying paint. The artist likely used a charcoal or thinned oil sketch to define the figure and interior setting.

underpainting

A grisaille (monochrome underpainting) is recommended, following the method described in Source 1. This involves painting the composition in neutral tones (black, white, and potentially ultramarine) to establish light and shadow without color. This layer must be completely dry before proceeding to glazing (Source 1). This approach aligns with the 'old masters' practice of separating tone from color.

color palette

Neutral Grays/Blacks

Black, White, Ultramarine

Underpainting (grisaille) to establish form and light/shadow structure (Source 1).

Red and Yellow Tones

Red and Yellow pigments thinned with oil/varnish

Glazing and scumbling over the dry grisaille to introduce color, particularly for flesh tones and fabrics (Source 1).

Flesh Tones

Layered reds and yellows over neutral underpainting

The sitter’s face and hands, requiring careful modulation to avoid 'coldness' from scumbling over dark grounds (Source 1).

composition

The composition likely features an interior background, consistent with Borovikovsky’s shift in the 1810s away from landscape settings (Source 6). The focus is on the sitter’s dignity and nobility, with a restrained appearance (Source 6). Specific compositional elements like wall hangings or furniture are not described in the sources and should not be invented.

step by step

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

underdrawing

step 01
Sketch the composition lightly on the primed canvas, focusing on the likeness and the interior setting.
Tip — Ensure the proportions are accurate, as the final likeness depends on this foundation.
Preparatory Drawing

underpainting

step 02
Create a grisaille using black, white, and ultramarine (or similar neutral tones) to establish the full range of light and shadow.
Tip — Mentally extract red and yellow colors, focusing only on tonal values (Source 1).
Grisaille

first pass

step 03
Allow the grisaille to dry completely. Then, apply transparent glazes of red and yellow tones using oil (or oil/varnish mix) to introduce color.
Tip — Apply glazes thinly, similar to tinting an engraving with watercolors (Source 1).
Glazing

refining

step 04
Use scumbling (semi-opaque painting) to adjust tones and textures, particularly for fabrics and skin.
Tip — Be cautious when scumbling over darker grounds, as it can lead to coldness; adjust with warmer glazes if needed (Source 1).
Scumbling

finishing

step 05
Refine the likeness and textures, paying attention to the 'softness of velvet' and 'brilliance of gilded' elements if present, consistent with Borovikovsky’s mastery of texture (Source 6).
Tip — Avoid over-modeling; maintain the dignity and restraint characteristic of the 1810s style (Source 6).
Detailing

varnishing

step 06
Apply a final varnish to protect the painting and unify the surface sheen.
Tip — Ensure the painting is fully dry before varnishing.
Varnishing

critical techniques

Glazing and Scumbling

Used to separate tone (grisaille) from color (glazes), allowing for rich, luminous effects. This method was practiced by old masters and is recommended for achieving depth and harmony (Source 1).

Texture Rendering

Borovikovsky’s mastery in depicting the softness of fabrics and brilliance of ornaments is a key feature of his ceremonial portraits (Source 6).

Simultaneous Contrast

Understanding how adjacent colors affect each other helps in harmonizing the composition and accurately perceiving flesh tones against backgrounds (Source 2, Source 3).

common pitfalls

→Applying color too opaquely in early layers, which defeats the purpose of the glazing technique (Source 1).
→Scumbling over dark grounds without adjusting for coldness, leading to dull or lifeless tones (Source 1).
→Over-modeling details, which can detract from the dignified, restrained aesthetic of the 1810s style (Source 6).
→Ignoring the effects of simultaneous contrast, leading to inaccurate color perception and harmony (Source 2).

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 sitter’s clothing, jewelry, and facial expression are not described in the sources.
·Borovikovsky’s exact underdrawing materials and methods are not specified.
·The specific interior background elements are not detailed in the sources.
·The exact palette proportions for flesh tones are not provided.

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 (grisaille) and glazing/scumbling techniques.
- ON COPYING — applied to Importance of craftsmanship and avoiding over-modeling.
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and perception of flesh tones.

cross-referenced from

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

Wikipedia bio — Vladimir Borovikovsky↗
- part 2 — applied to Stylistic shift in the 1810s, texture rendering, and interior backgrounds.
Wikipedia: Oil painting↗
- part 1 — applied to General oil painting materials and properties.

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

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