plate no. 9676

Portrait of Yuri Korvin-Krukovsky

Boris Kustodiev, 1926

oilRealismsketch and studyportraitfiguremanheadshouldersclothing

recreation guide

This recreation guide addresses Boris Kustodiev’s 1926 oil sketch, 'Portrait of Yuri Korvin-Krukovsky.' Kustodiev is renowned for his vibrant, realistic depictions of Russian merchant life, often characterized by rich color and joyful genre scenes, even though he suffered from paralysis later in life (Source 3). As a sketch and study from 1926, this work likely reflects his mature style, which balanced detailed observation with expressive brushwork. The artist’s practice involved working from memory and imagination when physical constraints limited direct observation, yet he maintained a rigorous commitment to visual realism and compositional harmony (Source 3). The technique emphasizes the use of oil paint’s capacity for illusion while retaining the vitality of the medium, avoiding mere deception in favor of expressive symbol (Source 8).

estimated time

20-30 hours over 5-7 sessions

materials

5 items

steps

6 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, Black, White, Red, Yellow)	Primary pigments for grisaille underpainting and subsequent glazing/scumbling as per traditional methods.	Standard tube oils; Ultramarine Blue, Ivory Black, Titanium White, Cadmium Red/Yellow or Alizarin Crimson/Chrome Yellow.
Oil of Copavia (or modern linseed/stand oil)	Medium for the first and second paintings to ensure proper flow and drying, as recommended by Reynolds and cited in traditional practice.	Stand oil or refined linseed oil.
Varnish	Mixed with oil for later glazing stages to increase transparency and depth.	Dammar varnish or modern painting medium.
Canvas or Panel	Support for the oil painting.	Linen canvas primed with gesso.
Brushes (various sizes)	For broad masses and fine details, adapting to the artist's need to balance outline and finish.	Hog bristle for impasto, sable for glazing.

preparation

surface prep

Prepare a neutral ground. While Kustodiev’s specific ground preparation for this sketch is not detailed, traditional oil painting practice often involves a toned ground to assist with value judgment. The artist’s work suggests a mastery of handling light and shade, implying a prepared surface that allows for both opaque application and transparent glazing (Source 5).

underdrawing

Kustodiev’s style, rooted in realism and influenced by his training, likely involved a careful initial outline or massing of forms. Traditional practice emphasizes that the outline basis holds the picture together, even as edges are fused later (Source 5). For a sketch, this may be loose but structurally sound, focusing on the 'large sense of design' rather than minute detail (Source 5).

underpainting

Begin with a monochrome underpainting (grisaille). Mentally extract red and yellow colors, painting only what remains (blues, blacks, whites) to establish form and value. This step is crucial for building a solid foundation before introducing color, as described in traditional oil painting practice (Source 1). Use oil of copavia (or stand oil) as a medium for this stage (Source 1).

color palette

Ultramarine

Pure Ultramarine Blue

Part of the initial grisaille underpainting to establish shadows and cool tones.

Black

Ivory Black or Lamp Black

Deep shadows and contrast in the grisaille stage.

White

Lead White or Titanium White

Highlights and mixing with ultramarine/black for mid-tones in the underpainting.

Red

Vermilion or Alizarin Crimson

Applied later via glazing and scumbling to add warmth and flesh tones, as these colors were mentally extracted in the grisaille stage.

Yellow

Chrome Yellow or Cadmium Yellow

Applied later via glazing and scumbling to add light and warmth, consistent with the traditional method of reintroducing these hues.

composition

Kustodiev’s compositions are characterized by a strong sense of design and harmony, often balancing line, mass, and color (Source 7). While specific details of this portrait’s composition are not described in the sources, his general practice involved meticulous attention to the arrangement of elements to create visual interest and emotional appeal. The artist likely used contrast of tone and color to produce chiaroscuro effects, enhancing the realism and depth of the portrait (Source 2).

step by step

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

underdrawing

step 01
Sketch the basic forms and proportions of the portrait using charcoal or thin wash. Focus on the large masses and structural integrity of the composition.
Tip — Ensure the outline holds the picture together, as it is the foundation for subsequent layers (Source 5).
Outline basis

underpainting

step 02
Apply a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia. Mentally exclude red and yellow tones to establish value and form.
Tip — This step is critical for building a solid foundation; do not rush it (Source 1).
Grisaille

first pass

step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Introduce red and yellow tones transparently over the underpainting, similar to tinting an engraving with watercolors.
Tip — Glazing adds depth and richness, while scumbling can create semi-opaque effects that allow the underlying painting to show through (Source 1).
Glazing and Scumbling

refining

step 04
Refine the details, paying attention to the contrast of color and tone. Use juxtapositions of different tones to produce chiaroscuro and enhance the realism of the portrait.
Tip — Be mindful of how adjacent colors affect each other; this can heighten or enfeeble tones, creating a true gradation of light (Source 2).
Simultaneous Contrast

finishing

step 05
Add final touches, ensuring that the emotional intention of the artist is expressed through the painted symbols. Avoid over-modeling or becoming too tied to the outline.
Tip — Remember that the goal is not merely to deceive the eye but to express feeling through the medium (Source 8).
Visual Realization

varnishing

step 06
Apply a final varnish to protect the painting and enhance the depth of the glazes. Use a mixture of varnish and oil if desired, as per traditional practice.
Tip — Ensure the painting is completely dry before varnishing to avoid trapping moisture.
Varnishing

critical techniques

Glazing and Scumbling

Used to introduce color transparently over a monochrome underpainting, adding depth and richness. This method was practiced by old masters and is essential for achieving the luminous quality seen in Kustodiev’s work.

Simultaneous Contrast

Exploiting the interaction of adjacent colors and tones to enhance realism and create chiaroscuro effects. This principle helps in harmonizing the composition and producing spontaneous details.

Outline Basis

Maintaining a strong structural foundation through initial outlines, which holds the picture together even as edges are fused and details are added.

common pitfalls

→Over-modeling or becoming too tied to the initial outline, which can lead to a stiff and unnatural appearance (Source 4).
→Neglecting the importance of the underpainting, which can result in a lack of depth and structural integrity in the final painting (Source 1).
→Focusing too much on mimicking nature rather than expressing the emotional intention through the medium, leading to a 'meretricious attempt to deceive the eye' (Source 8).
→Ignoring the principles of simultaneous contrast, which can result in flat and unharmonious color relationships (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 portrait’s subject, such as clothing patterns, jewelry, or facial expressions, are not described in the sources and should not be invented.
·The exact proportions and layout of the portrait are not provided, so the artist must rely on general compositional principles and reference images if available.
·Kustodiev’s specific brushwork techniques for this particular sketch are not detailed, so the guide relies on general traditional practices and his known style.

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
- ON COPYING — applied to Advice on avoiding over-modeling and improving finish
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints — applied to Color contrast and chiaroscuro
The Practice and Science of Drawing↗
- STUDY BY WATTEAU — applied to Importance of outline basis and visual realization
- XX MATERIALS — applied to Role of medium in artistic expression
Composition (visual arts)↗
- part 1 — applied to General compositional elements
Composition↗
- PRINCIPLES OF COMPOSITION — applied to Harmony and design principles