plate no. 6987

Portrait of the Young Lady in Russian Costume

oilRomanticismportraitportraitfiguredressjewelrychairclothing

recreation guide

Konstantin Makovsky’s 'Portrait of the Young Lady in Russian Costume' (1880) represents a pivotal moment in his career, marking a transition from strict realism toward a style that emphasizes color and shape, influenced by his travels to North Africa and Serbia (Source 4). As a member of the Peredvizhniki (Wanderers), Makovsky sought to depict Russian life with an idealized yet realistic touch, often focusing on historical costumes and social narratives (Source 4). The work is executed in oil, a medium Makovsky mastered through rigorous academic training at the Imperial Academy of Arts, where he learned to balance technical precision with emotional expression (Source 4, Source 7). The painting likely employs the principles of simultaneous contrast to harmonize the inherent colors of the subject’s costume with the chosen background, creating a unified visual effect rather than a mere photographic record (Source 3).

estimated time

40-60 hours over 8-12 sessions

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (traditional palette)	Primary medium for color application	—
Linseed oil	Drying oil medium for mixing paints and glazing	Refined linseed oil
Varnish (e.g., copal or damar)	For glazing and finishing, as suggested by historical practices of the old masters	Artist-grade resin varnish
Canvas or linen support	Standard support for oil painting of this period	Primed linen canvas
Charcoal or graphite	For underdrawing and initial composition	—

preparation

surface prep

The surface should be prepared with a ground suitable for oil painting, likely a white or light-toned gesso to allow for the luminous effects Makovsky achieved. While specific preparation details for this exact painting are not in the sources, Makovsky’s academic background implies a standard, smooth ground to facilitate the detailed rendering of costume and facial features (Source 4, Source 7).

underdrawing

Makovsky’s academic training suggests a precise underdrawing to establish the composition and proportions of the figure and costume. The drawing should be accurate but not overly rigid, allowing for the 'emotional significance' of the subject to emerge during the painting process (Source 8).

underpainting

A grisaille (monochrome underpainting) is recommended, consistent with the techniques of the old masters and the advice in Source 2. This involves painting the composition in neutral tones (black, white, and perhaps ultramarine) to establish values and forms before applying color. This method allows the artist to focus on light and shadow without the distraction of color, facilitating the later application of transparent glazes (Source 2).

color palette

Reds and Yellows

Transparent reds (e.g., vermilion, cadmium red) and yellows (e.g., yellow ochre, cadmium yellow)

Glazing and scumbling to add warmth and vitality to the costume and skin tones, as per the method of extracting these colors in the grisaille and adding them later (Source 2).

Blues and Greens

Ultramarine, cerulean, viridian

Background and costume details, used to create contrast with the warm tones of the figure (Source 3).

Neutrals (Greys, Browns)

Burnt umber, raw umber, black, white

Establishing the grisaille underpainting and shadows (Source 2).

composition

Makovsky’s composition likely emphasizes the harmony of form and color, rather than just literal representation. The arrangement of the figure and costume should be designed to create a balanced visual effect, using the principles of simultaneous contrast to enhance the perceived intensity of colors (Source 3, Source 5). The focus is on the 'poetry of sight,' where the subject matter serves the overall aesthetic harmony (Source 5).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition lightly with charcoal, focusing on the proportions of the figure and the flow of the costume.
Tip — Ensure the drawing captures the 'emotional significance' of the subject, not just scientific accuracy (Source 8).
Academic drawing

underpainting

step 02
Create a grisaille underpainting using black, white, and ultramarine to establish values and forms. Leave out reds and yellows.
Tip — This step mentally extracts red and yellow, allowing for clearer value judgment (Source 2).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Apply transparent red and yellow tones to areas where they occur in nature.
Tip — Glazing adds depth, while scumbling adds texture and semi-opaque highlights (Source 2).
Glazing and Scumbling

refining

step 04
Refine the colors by considering simultaneous contrast. Adjust adjacent colors to enhance their visual impact, ensuring harmony between the costume and background.
Tip — Colors will appear more intense when placed next to their complements or contrasting tones (Source 3).
Simultaneous Contrast

finishing

step 05
Add final details and highlights, ensuring the painting retains its quality as a 'painted symbol' rather than a mere deception of reality.
Tip — Avoid over-modeling; keep the brushwork expressive and true to the medium’s vitality (Source 7).
Finishing touches

critical techniques

Glazing and Scumbling

Used to build up color layers transparently, allowing the underlying grisaille to influence the final hue. This method was common among old masters and helps achieve luminosity (Source 2).

Simultaneous Contrast

Applied to harmonize colors in the composition, ensuring that the inherent colors of the costume and the chosen background interact to create a unified visual effect (Source 3).

Academic Realism

Makovsky’s training emphasizes technical precision and emotional expression, balancing detailed rendering with the overall aesthetic impact (Source 4, Source 8).

common pitfalls

→Over-modeling details, which can lead to a 'smallness' that detracts from the overall effect (Source 1).
→Ignoring the principles of simultaneous contrast, resulting in a flat or disharmonious color scheme (Source 3).
→Attempting to deceive the eye with mere photographic accuracy, rather than expressing the emotional significance of the subject (Source 7, Source 8).
→Using opaque paint too early, which can muddy the colors and reduce luminosity (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 details of the costume patterns and jewelry are not described in the sources, so the artist must rely on historical references or imagination for these elements.
·The exact background setting is not specified, leaving room for interpretation based on Makovsky’s general style.
·The specific pigments used by Makovsky in 1880 are not detailed, so modern equivalents are suggested.

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↗
- 6. Put beside each other two flat tints... — applied to Color harmony and simultaneous contrast
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Drawing and emotional expression
- XX MATERIALS — applied to Use of oil paint as a medium