Saints Boris and Gleb on the ship

surface prep

Prepare a linen or canvas support, as linen is a traditional support for oil painting derived from the flax plant (Source 2). Given Bilibin’s interest in woodcuts and graphic clarity, a smooth ground is likely preferred to allow for precise line work, though specific ground recipes for this piece are not detailed in the sources.

underdrawing

Bilibin’s work is known for its strong linear quality, influenced by woodcuts and Japanese prints (Source 3). While specific underdrawing methods for this painting are not described, his graphic style suggests a careful initial drawing phase to establish the composition’s structural lines before applying paint.

underpainting

The sources describe a technique of creating a grisaille (monochrome underpainting) using black, ultramarine, and white, mentally extracting red and yellow tones to establish value structure (Source 1). This method, attributed to Sir Joshua Reynolds but noted as practiced by old masters, involves painting the first and second layers with oil of copavia (or a modern equivalent) to build form before adding color (Source 1).

Grisaille Underpainting

Creating a monochrome base with black, ultramarine, and white to establish form and value before adding color. This method is described as a practice of old masters and is useful for separating value structure from color decisions (Source 1).

Glazing and Scumbling

Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint to let the underpainting show through. These techniques allow for rich color depth and texture, particularly when adding red and yellow tones over a neutral base (Source 1).

Graphic Linearity

Bilibin’s style is influenced by woodcuts and Japanese prints, emphasizing clear, defined lines and shapes. This approach should guide the initial drawing and overall composition (Source 3).