plate no. 5464
Portrait of Soviet actor Nikolay Monakhov
Boris Kustodiev, 1926
recreation guide
This recreation guide addresses Boris Kustodiev’s 1926 oil portrait of Soviet actor Nikolay Monakhov. Kustodiev, a prominent Russian painter of the Modernist period, is known for his vivid depictions of provincial merchant life and his ability to convey joy and vitality despite his own physical paralysis from tuberculosis of the spine (Source 1, Source 5). While the specific visual details of this particular portrait are not described in the provided sources, Kustodiev’s general practice involved a 'careful study of nature' and a deep penetration of the 'complex world of the human soul,' as noted by his teacher Ilya Repin (Source 6). The artist’s work is characterized by rich coloration and a realist approach that often drew upon his childhood memories and observations of Russian life (Source 1, Source 5).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (pigments) | Primary medium for the portrait | Standard tube oil paints |
| Drying oil (Linseed or Walnut) | Binder for pigments; linseed is general purpose, walnut/poppy for lighter colors to reduce yellowing | Refined linseed oil or walnut oil |
| Canvas or Linen support | Surface for painting; linen is historically common for oil painting | Primed linen canvas |
| Medium (e.g., Oil of Copavia or similar resinous oil) | To manipulate paint characteristics and facilitate glazing/scumbling techniques | Liquin or traditional damar varnish/oil mix |
| White pigment (Lead White historically, Titanium/Zinc White modern) | Opacity and highlights; historically lead white was dominant for its fast drying and opacity | Titanium White (non-toxic equivalent) |
preparation
surface prep
Prepare a linen or canvas support, consistent with the historical use of linen as a support for oil painting (Source 4). The surface should be primed to accept oil paints. While specific ground preparation for this portrait is not detailed, Kustodiev’s training under Ilya Repin and at the Imperial Academy suggests adherence to traditional academic standards for surface preparation (Source 6).
underdrawing
Kustodiev was trained as a draughtsman and studied etching, suggesting a strong foundation in drawing (Source 1, Source 6). However, specific underdrawing techniques for this portrait are not described. It is likely that a careful study of the model was conducted, as Repin noted Kustodiev made a 'careful study of nature' and worked to 'penetrate the complex world of the human soul' in his portraits (Source 6).
underpainting
A grisaille (monochrome underpainting) is recommended, based on traditional oil painting practices described in the sources. This involves extracting red and yellow colors to establish values and forms before applying color (Source 3). This method allows for subsequent glazing and scumbling, techniques associated with old masters and applicable to Kustodiev’s realist style (Source 3).
color palette
Red and Yellow tones
Transparent red and yellow pigments
Glazing and scumbling over the grisaille to build up color, as these colors are mentally extracted in the monochrome stage (Source 3)
White
Lead White (historically) or Titanium White (modern)
Highlights and opacity; historically valued for fast drying and opacity (Source 4)
Black and Ultramarine
Black and Ultramarine pigments
Initial paintings with oil of copavia, as per Reynolds’ method cited in the sources (Source 3)
composition
Specific compositional details of the portrait of Nikolay Monakhov are not provided in the sources. However, Kustodiev’s portraits generally aimed to capture the likeness and inner life of the sitter, often serving as records of contemporaries he considered spiritual comrades (Source 6). His work is characterized by vividness and sharpness of subject matter, as seen in his journal covers and illustrations (Source 5).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Create a careful study of the model, focusing on capturing the likeness and inner character, consistent with Kustodiev’s approach to portraiture.
Tip — Focus on the 'complex world of the human soul' as noted by Repin (Source 6).
Academic drawing
underpainting
step 02
Apply a grisaille (monochrome) underpainting, mentally extracting red and yellow colors to establish values and forms.
Tip — Ensure the grisaille is quite dry before proceeding to glazing (Source 3).
Grisaille
first pass
step 03
Begin glazing and scumbling with oil, applying yellow and red tones as they occur in nature.
Tip — Glazing is a transparent coat of color; scumbling is semi-opaque, allowing the underlying painting to show through (Source 3).
Glazing and Scumbling
refining
step 04
Continue to build up color and form, using a medium such as oil of copavia or a modern equivalent to manipulate paint characteristics.
Tip — Mix paint from the tube with a medium on the palette to achieve desired characteristics (Source 4).
Medium manipulation
finishing
step 05
Refine details and ensure the likeness is recognizable, adhering to the realist tradition of portraiture.
Tip — Aim for a likeness that is recognizable to those who have seen the sitter (Source 8).
Realist detailing
critical techniques
Glazing and Scumbling
Used to build up color over a dry grisaille underpainting. Glazing involves transparent coats of color, while scumbling involves semi-opaque layers that allow the underpainting to show through. This method was practiced by old masters and is applicable to Kustodiev’s realist style (Source 3).
Careful Study of Nature
Kustodiev’s portraits were characterized by a close study of the model to penetrate the subject’s inner life, as noted by Ilya Repin (Source 6).
common pitfalls
- →Failing to let the grisaille underpainting dry completely before glazing, which can lead to muddiness (Source 3).
- →Over-modeling or being too tied down to outlines, which can result in a smallness or lack of vitality. Copying works like Reynolds’ 'Portraits of Two Gentlemen' can help correct this tendency (Source 2).
- →Using linseed oil for lighter colors like white, which may yellow on drying. Walnut or poppyseed oil is preferred for lighter colors to reduce yellowing (Source 4).
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 of Nikolay Monakhov (e.g., clothing, background, pose) are not described in the sources.
- ·Kustodiev’s specific palette choices for this particular painting are not detailed.
- ·The exact medium Kustodiev used for this portrait is not specified, though traditional oils and resins are inferred from general practice.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting — COLOURING A MONOCHROME↗
- COLOURING A MONOCHROME — applied to Underpainting and glazing techniques
The Practice of Oil Painting — ON COPYING↗
- ON COPYING — applied to Correcting tendencies to over-model or smallness
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Boris Kustodiev — part 2↗
- Early career and training — applied to Artist’s approach to portraiture and study of nature
Wikipedia: Oil painting — Oil painting — part 4↗
- Materials and properties — applied to Selection of oils and pigments
Read more about the corpus on the sources page and how the guides are built on the methods page.
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