plate no. 7770
Portrait of Y.E. Kustodieva with daughter Irina
Boris Kustodiev, 1908
recreation guide
This artwork, 'Portrait of Y.E. Kustodieva with daughter Irina' (1908), represents Boris Kustodiev’s mature realist style, developed during his training under Ilya Repin and his subsequent travels to France, Spain, and Italy (Source 5). The painting is characterized by a deep study of the human soul and likeness, a skill Kustodiev honed through rigorous portrait studies of contemporaries and assistants to Repin (Source 5). While specific visual details of the subjects' clothing or background are not described in the provided sources, the work likely employs the rich, dense color and layered techniques associated with oil painting’s capacity for 'richer and denser color' and 'layers' (Source 8). The artist’s approach to portraiture emphasizes capturing a recognizable likeness while penetrating the complex emotional state of the sitter, avoiding the common error of reducing female complexions to mere red and white, instead seeking the predominating color of the complexion to ensure beauty and fidelity (Source 2).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linseed oil or Poppy seed oil | Primary binder for oil paints, providing flexibility and rich color density. | Refined linseed oil or cold-pressed poppy oil |
| Turpentine | Thinner for initial layers and cleaning brushes. | Odorless mineral spirits or pure gum turpentine |
| Oil of Copavia (or modern damar resin varnish) | Medium for glazing and scumbling, as referenced in historical methods for transparent coats. | Damar varnish mixed with linseed oil |
| Ultramarine, Black, White | Core pigments for the initial monochrome underpainting (grisaille) as suggested by Reynolds’ method cited in sources. | Ultramarine Blue, Ivory Black, Titanium White |
| Red and Yellow pigments | For glazing and scumbling over the dry underpainting to introduce warmth and flesh tones. | Alizarin Crimson, Cadmium Yellow, or similar transparent/semi-transparent oils |
preparation
surface prep
Prepare a canvas or wood panel with a traditional oil ground. While the specific ground for this 1908 work is not detailed, Kustodiev’s training at the Imperial Academy under Repin (Source 5) implies adherence to rigorous academic standards. The surface should be smooth enough to allow for the fine finish required in portrait studies, which forced the artist to make a 'close study of his model' (Source 5).
underdrawing
Execute a precise underdrawing to establish the likeness. Kustodiev’s work involved 'portrait studies' that required penetrating the 'complex world of the human soul' (Source 5), suggesting a careful, deliberate drawing phase rather than loose improvisation. The drawing should focus on accurate proportions and facial structure to ensure the portrait serves as a 'very good record of their appearance' (Source 4).
underpainting
Create a monochrome underpainting (grisaille) using black, ultramarine, and white, potentially with oil of copavia as a medium, following the method attributed to Sir Joshua Reynolds in the sources (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish form and value without color interference (Source 1). Allow this layer to dry completely before proceeding.
color palette
Ultramarine/Black/White
Ultramarine blue, Ivory black, Titanium white
Underpainting (grisaille) to establish values and forms.
Warm Flesh Tones
Transparent reds and yellows glazed over the grisaille
Complexions, avoiding the 'common error' of using only red and white, instead seeking the predominating color of the complexion (Source 2).
Complementary Accents
Colors opposite to the skin tones on the color wheel
Dress and background to create harmony of contrast and enhance the complexion (Source 2).
composition
The composition likely emphasizes the relationship between the mother and daughter, consistent with Kustodiev’s focus on family records and remembrances (Source 4). The arrangement should facilitate a 'close study of his model' (Source 5), ensuring the subjects are distinct yet harmonious. The background and dress colors should be chosen to contrast with and enhance the complexion, adhering to the principle that a portrait has a 'poor effect when neither the colour of the dress nor of the background have been well chosen' (Source 2).
step by step
underdrawing→underpainting→refining→finishing
underdrawing
step 01
Sketch the figures with precision, focusing on likeness and anatomical accuracy.
Tip — Ensure the drawing captures the 'complex world of the human soul' (Source 5) through expression and posture.
Academic drawing
underpainting
step 02
Apply a monochrome layer using black, ultramarine, and white with oil of copavia.
Tip — Mentally extract red and yellow colors to focus on form and value (Source 1).
Grisaille
refining
step 03
Once the grisaille is dry, glaze and scumble with oil (or varnish and oil mix) to introduce red and yellow tones.
Tip — Apply colors much like tinting an engraving with watercolors, allowing the underlying painting to show through (Source 1).
Glazing and Scumbling
step 04
Adjust complexion tones by finding the predominating color and using complementary colors in the dress/background to enhance it.
Tip — Avoid making the complexion merely red and white; seek the specific beauty of the individual’s skin tone (Source 2).
Harmony of Contrast
finishing
step 05
Refine details and ensure the likeness is recognizable and faithful.
Tip — Check that the portrait serves as a good record of appearance (Source 4).
Realist Finish
critical techniques
Glazing and Scumbling
Used to apply transparent and semi-opaque layers of color over a dry monochrome underpainting, creating depth and richness. This method was practiced by old masters and involves using oil or varnish mixes (Source 1).
Harmony of Contrast
Using complementary or opposed colors in the dress and background to enhance the complexion. This avoids monotony and ensures the portrait has a strong effect (Source 2).
Monochrome Underpainting
Establishing form and value with black, ultramarine, and white before introducing color, allowing for greater control over the final chromatic effect (Source 1).
common pitfalls
- →Reducing female complexions to only red and white, which fails to capture the true beauty and variation of skin tones (Source 2).
- →Applying color before the monochrome underpainting is completely dry, which can muddy the glazes (Source 1).
- →Ignoring the contrast between the complexion and the background/dress, leading to a poor visual effect (Source 2).
- →Darkening colors by adding black, which can cause undesirable hue shifts toward green or blue; instead, use complementary colors to neutralize and darken (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 visual details of the painting (e.g., exact clothing patterns, jewelry, room layout) are not described in the sources.
- ·Kustodiev’s specific palette choices for this 1908 work are not detailed; the guide relies on general oil painting practices and Reynolds’ method cited in the sources.
- ·The exact medium Kustodiev used for glazing (e.g., specific varnish type) is not specified, though oil of copavia is mentioned in the context of historical methods (Source 1).
- ·Preparatory sketches or studies for this specific portrait are not described.
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↗
- Harmony of Contrast — applied to Color selection for complexion and background
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Boris Kustodiev↗
- part 2 — applied to Artist’s training, style, and approach to portraiture
Wikipedia: Portrait painting↗
- part 1 — applied to Purpose and goals of portrait painting
Wikipedia: Color theory↗
- part 6 — applied to Pigment mixing and avoiding hue shifts
Read more about the corpus on the sources page and how the guides are built on the methods page.
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