plate no. 8625
Red sunset
Arkhyp Kuindzhi, 1908
recreation guide
Arkhyp Kuindzhi’s 'Red Sunset' (1908) is a landscape that exemplifies his mature period’s aspiration to capture the 'most expressive illuminative aspect of the natural condition' through 'intense colors shown in main tones' and the 'illusion of illumination' (Source 2). Unlike earlier works with social associations, his later works are noted for their 'decorative effects of color building' (Source 2). The painting likely employs a high horizon and panoramic view, consistent with his use of 'composite receptions' to create expansive landscapes (Source 2). The work reflects Kuindzhi’s lifelong interest in the study of light, color, and perception, influenced by his friendship with chemist Dmitri Mendeleev (Source 2). While the specific visual details of 'Red Sunset' are not described in the provided sources, the artist’s general practice suggests a focus on the optical interaction of colors rather than physical mixing, aiming for maximum luminosity (Source 6).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glazes
materials
6 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red, Yellow) | Primary pigments for underpainting and glazing | — |
| Oil of Copavia or Linseed Oil | Medium for the first and second paintings, as per Reynolds' method cited in Source 1 | Stand oil or walnut oil |
| Varnish | Mixed with oil for later glazing stages to increase transparency and flow | Dammar varnish |
| Charcoal | For initial drawing and shading, allowing for easy correction | — |
| Turpentine | Thinner for initial washes and cleaning | — |
| Canvas or Panel | Support for the oil painting | — |
preparation
surface prep
The surface should be prepared to accept oil glazes. While specific preparation for 'Red Sunset' is not detailed, Kuindzhi’s use of glazing implies a smooth, non-absorbent ground. Traditional oil painting practice involves sizing and priming the canvas with gesso or oil ground to ensure the transparency of subsequent glazes (Source 1).
underdrawing
Begin with a charcoal drawing to establish the composition. Kuindzhi’s landscapes often feature a 'high horizon' and 'panoramic views' (Source 2). Use charcoal to sketch the basic forms of the landscape, including the sky, land, and any significant features. Correct errors at this stage, as charcoal offers little resistance to a brush and can be easily removed with bread (Source 8).
underpainting
Create a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia (Source 1). This step involves 'mentally extracting the red and yellow colours' to establish the tonal structure without color interference (Source 1). This grisaille should be allowed to dry completely before proceeding to color glazes.
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and cool tones in the sky and shadows
White
Lead white or titanium white
Highlights and mixing with ultramarine for the grisaille
Black
Ivory black or lamp black
Darkening tones in the grisaille underpainting
Red
Vermilion or cadmium red
Glazing to create the 'red sunset' effect and intense illumination
Yellow
Yellow ochre or cadmium yellow
Glazing to enhance the warmth and luminosity of the sunset
composition
Kuindzhi characteristically used 'composite receptions (high horizon, etc.), creating panoramic views' (Source 2). The composition likely emphasizes the sky and the interplay of light, with the landscape elements arranged to support the 'illusion of illumination' (Source 2). The specific arrangement of elements in 'Red Sunset' is not detailed in the sources, but the general approach suggests a focus on the atmospheric and luminous qualities of the scene.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the composition in charcoal, focusing on the high horizon and panoramic view.
Tip — Correct errors now; charcoal is easily removable.
Charcoal drawing
underpainting
step 02
Apply a grisaille underpainting using black, ultramarine, and white with oil of copavia.
Tip — Mentally extract red and yellow to focus on tonal values.
Monochrome underpainting
first pass
step 03
Allow the grisaille to dry completely.
Tip — Ensure the surface is dry to prevent muddiness in glazes.
Drying
refining
step 04
Glaze with red and yellow tones using oil and varnish mixed.
Tip — Apply transparent coats to build up color intensity.
Glazing
step 05
Scumble semi-opaque layers over darker grounds to create coldness or grey blooms.
Tip — Use this technique to adjust the temperature and texture of the light.
Scumbling
finishing
step 06
Adjust the intensity of colors by surrounding them with complementary tones.
Tip — Place blue tones next to orange to enhance the orange, and green next to red to enhance the red.
Simultaneous contrast
varnishing
step 07
Apply a final varnish to protect the painting and unify the surface.
Tip — Use a high-quality varnish to enhance the depth of the glazes.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build up luminosity and depth. Kuindzhi’s practice likely involved this method to achieve the 'illusion of illumination' (Source 2).
Scumbling
Applying semi-opaque paint over a darker ground to create coldness or grey blooms. This technique helps in adjusting the temperature and texture of the light (Source 1).
Simultaneous Contrast
Placing complementary colors next to each other to enhance their intensity. For example, surrounding red with green tones to make it appear redder (Source 5).
common pitfalls
- →Mixing colors on the palette instead of allowing them to interact optically on the canvas, which can reduce luminosity (Source 6).
- →Applying glazes before the underpainting is completely dry, leading to muddiness and loss of transparency (Source 1).
- →Overusing black to darken colors, which can cause hue shifts towards green or blue (Source 7).
- →Ignoring the importance of complementary colors in enhancing the intensity of the main hues (Source 5).
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 'Red Sunset' such as the exact landscape features, presence of figures, or specific color distribution are not described in the sources.
- ·The exact ratio of oil to varnish in Kuindzhi’s glazing medium is not specified.
- ·The specific pigments used by Kuindzhi in 1908 are not detailed, though general period practices are inferred.
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
- PAINTING FROM LIFE — applied to Underdrawing and correction techniques
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Color theory and simultaneous contrast
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Arkhyp Kuindzhi↗
- part 2 — applied to Artist’s style, compositional habits, and interest in light
Wikipedia: Divisionism↗
- Divisionism — part 1 — applied to Optical mixing and luminosity
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Color mixing and 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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