plate no. 8418

Portrait of S.Hudenkov

oilRomanticismportraitportraitfiguremanbookchairdrapery

recreation guide

Konstantin Makovsky’s 'Portrait of S. Hudenkov' (1890) is a work rooted in the late 19th-century Russian academic tradition, which often blended realistic detail with Romantic sensibilities. While the specific visual details of S. Hudenkov’s attire or expression are not described in the provided sources, Makovsky’s general practice as a historical and portrait painter involved a rigorous adherence to craft and material stability. The recreation of this work relies on the foundational principles of oil painting technique, specifically the 'fat over lean' rule to ensure the longevity of the paint film (Source 2). The process emphasizes the artist’s role as a 'sound craftsman' who must master the medium’s capacities before attempting expressive nuance (Source 1).

estimated time

40-60 hours over 6-8 weeks (allowing for drying times between layers)

materials

6 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Linseed oil	Primary medium for mixing paints to ensure proper binding and drying; essential for the 'fat over lean' rule.	Refined linseed oil
Mineral spirits or Turpentine	Solvent for thinning initial layers and cleaning brushes; allows for faster drying in early stages.	Odorless mineral spirits (OMS) or Gamsol
Charcoal	For the initial sketching of the subject onto the canvas.	Vine charcoal or compressed charcoal
Oil paints (Earth tones, Whites, Blacks)	For the monochrome underpainting (grisaille) and final color layers. Earths like ochres are noted for their fixedness and covering power.	Titanium White, Ivory Black, Yellow Ochre, Burnt Umber
Palette knives and Rags	For scraping off errors while wet or applying thick impasto; rags are used for wiping and blending.	Standard artist palette knives and lint-free cotton rags
Varnish (optional for glazing)	Mixed with oil for glazing to adjust translucency and sheen, as practiced by old masters.	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be primed with a ground that allows for the 'fat over lean' application. While specific priming recipes for Makovsky are not detailed in the sources, traditional practice involves a stable ground that does not interfere with the oxidation of the oil paint. The surface must be prepared to accept the initial charcoal sketch without smudging excessively.

underdrawing

Begin by sketching the subject onto the canvas using charcoal or thinned paint (Source 2). This step establishes the composition and proportions. The artist must be careful not to attempt more than the medium is capable of doing, recognizing that oil paint has a 'vast capacity' but also specific limitations (Source 6).

underpainting

Create a monochrome underpainting (grisaille) using black, white, and potentially ultramarine or earth tones. This layer establishes the value structure (chiaroscuro) of the portrait. The sources suggest that this preparation involves mentally extracting red and yellow colors to focus on form and light (Source 3). This layer must be completely dry before proceeding to color glazing.

color palette

White

White lead or Titanium White

Highlights and mixing lighter tones; essential for the grisaille and final layers.

Black

Ivory black or Lamp black

Shadows and defining forms in the grisaille; also used in the final layer for depth.

Yellow Ochre

Natural ochre

General use in the palette; noted for its fixedness and ability to cover well (Source 5).

Red Ochre/Burnt Sienna

Red ochre or burnt umber

Flesh tones and warm shadows; part of the 'red and yellow tones' added via glazing (Source 3).

Ultramarine

Ultramarine blue

Cool shadows and atmospheric effects; mentioned in Reynolds’ method for initial paintings (Source 3).

composition

The composition likely adheres to the principles of simultaneous contrast, where colors are chosen to harmonize with the inherent nature of the object (Source 4). Makovsky, as a historical painter, would have selected draperies and backgrounds to complement the flesh tones, ensuring that the 'great effects' of light and shadow are prioritized over small, distracting details (Source 4). The arrangement aims to produce a 'true gradation of light' through the juxtaposition of tones (Source 4).

step by step

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

underdrawing

step 01
Sketch the portrait of S. Hudenkov onto the prepared canvas using charcoal or thinned paint.
Tip — Ensure the proportions are correct before applying any paint, as corrections are easier at this stage.
Initial Sketch

underpainting

step 02
Apply a monochrome layer (grisaille) using black, white, and ultramarine or earth tones to establish the light and shadow structure.
Tip — Mentally extract red and yellow colors to focus on form. Ensure this layer is completely dry before proceeding.
Grisaille

first pass

step 03
Begin glazing and scumbling with oil paint, adding yellow and red tones to the dried grisaille.
Tip — Glazing involves applying a transparent coat of color, while scumbling is semi-opaque. This mimics the tinting of an engraving.
Glazing and Scumbling

refining

step 04
Apply subsequent layers of paint, ensuring each layer contains more oil than the previous one ('fat over lean').
Tip — If a layer contains less oil, the painting may crack and peel. Use linseed oil to increase the oil content in upper layers.
Fat over Lean

finishing

step 05
Refine details and adjust colors based on the law of simultaneous contrast, ensuring that adjacent colors enhance each other.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; step back frequently to assess the true color.
Simultaneous Contrast

varnishing

step 06
Once the painting is fully dry (typically two weeks or more), apply a varnish to protect the surface and unify the sheen.
Tip — Ensure the painting is completely dry to prevent trapping solvents, which could lead to cracking.
Varnishing

critical techniques

Fat over Lean

A basic rule of oil painting where each additional layer contains more oil than the layer below to allow proper drying and prevent cracking. This is crucial for the longevity of the portrait.

Glazing and Scumbling

Glazing applies a transparent coat of color, while scumbling applies a semi-opaque layer. These techniques allow the underlying grisaille to influence the final color, creating depth and luminosity.

Simultaneous Contrast

Understanding that adjacent colors affect each other’s perception. The artist must adjust colors to harmonize with the inherent nature of the objects, such as flesh tones and draperies.

common pitfalls

→Applying lean layers over fat layers, which can cause the paint to crack and peel (Source 2).
→Over-modeling or being too tied down to the outline, which can result in a stiff appearance. Copying works like Reynolds’ 'Portraits of Two Gentlemen' can help correct this tendency (Source 1).
→Ignoring the law of simultaneous contrast, leading to colors that appear dull or inaccurate due to the influence of adjacent hues (Source 8).
→Attempting to achieve a deceptive illusion of nature rather than expressing the feeling through the medium, which can result in a 'meretricious' effect (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 S. Hudenkov’s clothing, jewelry, or facial expression are not described in the sources.
·Makovsky’s exact palette for this specific painting is not detailed; the guide relies on general 19th-century practices and the sources provided.
·The specific background elements of the portrait are not described, so the guide focuses on general compositional principles rather than specific visual details.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting↗
- ON COPYING — applied to Emphasis on craft and correcting tendencies like over-modeling.
- COLOURING A MONOCHROME — applied to Grisaille underpainting and glazing/scumbling techniques.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Principles of chiaroscuro and color harmony.
- 315. As to the advantages... — applied to Simultaneous contrast and color perception.
The Science of Painting↗
- CHAPTER V. COLOURING SUBSTANCES — applied to Use of earth tones and fixed pigments.
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Understanding the medium’s capacity and avoiding deceptive illusion.