plate no. 8782

Saints Boris and Gleb on the ship

oilArt Nouveau (Modern)religious paintingshipsaintsfiguresseaarchitectureornaments

what to study here

It shows how dense ornament can stay legible through strict value zones, clean edges and a warm focal mass set against cool blue.

This painting is a study in flat, graphic design carried out in oil. The vision guide describes three horizontal zones: a dark blue sky with fortified buildings at both edges, a central red ship with two haloed figures on patterned water, and a border of three ornamental fish below. Look at how the warm brown and tan ship reads as one mass against the cool blue surround. Squint and the ship separates cleanly, with the two flanking structures acting as vertical accents. The sky shifts from deep blue at the top to a cream-white band at the horizon, and the waves alternate light and medium values to set up a rhythm. Edges are clean and sharp with no soft blending, and colors sit side by side as distinct shapes. The ornament (wave crests, fish scales, carvings) is made with steady, repeated linear marks, and the paint surface stays flat and matte with minimal impasto. Study how pattern, edge control and a limited range of values make a busy surface still read clearly.

key decision

The painter kept every edge sharp and every color area flat, with no blending or modeling, so the repeated ornamental patterns read clearly. The warm ship against the cool blue field supplies the focal point.

recreation guide

This recreation guide addresses Ivan Bilibin’s 'Saints Boris and Gleb on the ship,' an oil painting rooted in the Art Nouveau (Modern) style and religious genre. Bilibin’s practice was heavily influenced by his training under Anton Ažbe in Munich and Ilya Repin, as well as his ethnographic research into Russian wooden architecture and folk arts (Source 3). His work is characterized by a synthesis of traditional Japanese prints, Renaissance woodcuts, and Old Russian art, resulting in a distinctive linear clarity and stylized composition (Source 3). While specific visual details of this particular painting are not described in the provided sources, Bilibin’s general approach involves strong graphic lines and a palette informed by his study of color theory and historical Russian aesthetics.

estimated time

20-30 hours over 5-7 sessions

materials

7 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (pigment + drying oil)	Primary medium for the painting	—
Linseed oil	General purpose drying oil for mixing paints and glazing	—
Safflower or Poppyseed oil	For lighter colors like white to prevent yellowing	—
Canvas or Linen support	Surface for oil painting	—
Grisaille underpainting materials (black, ultramarine, white)	Creating the monochrome base layer	—
Varnish	Mixed with oil for glazing/scumbling techniques	—
Copavia oil (historical) or modern resinous medium	Medium for initial oil layers, as noted in Reynolds' method cited in sources	Galkyd or similar alkyd medium

preparation

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).

color palette

White

Lead white (historical) or Titanium Zinc (modern)

General use; historically dominant for opacity and fast drying, though modern equivalents are safer (Source 2)

Ultramarine

Ultramarine pigment

Grisaille underpainting for cool shadows and structure (Source 1)

Black

Ivory Black or Lamp Black

Grisaille underpainting for dark values (Source 1)

Red and Yellow tones

Various red and yellow pigments

Applied via glazing and scumbling over the dry grisaille to add warmth and local color (Source 1)

composition

Bilibin’s compositions are characterized by a synthesis of Art Nouveau fluidity and the structural clarity of woodcuts and Japanese prints (Source 3). While specific compositional elements of 'Saints Boris and Gleb' are not detailed in the sources, his general practice involves organizing visual elements with strong linear paths and defined shapes, consistent with his background in illustration and graphic design (Source 3, Source 4).

step by step

underdrawing→underpainting→first pass→refining→finishing

underdrawing

step 01
Sketch the composition with strong, clear lines, emphasizing the graphic quality typical of Bilibin’s woodcut-influenced style.
Tip — Focus on the structural integrity of the figures and ship, avoiding muddy transitions.
Graphic line work

underpainting

step 02
Create a grisaille underpainting using black, ultramarine, and white mixed with a medium like copavia oil (or modern equivalent).
Tip — Mentally extract red and yellow colors, focusing on value and form as if these colors were not present (Source 1).
Grisaille

first pass

step 03
Allow the grisaille to dry completely before proceeding.
Tip — Ensure the underpainting is fully dry to prevent mixing with subsequent glazes.
Drying

refining

step 04
Apply red and yellow tones using glazing and scumbling techniques. Glaze with transparent oil colors; scumble with semi-opaque paint to allow the underlying grisaille to show through.
Tip — Treat the process like tinting an engraving with watercolors, building up color gradually (Source 1).
Glazing and Scumbling

finishing

step 05
Refine details and adjust values, using varnish mixed with oil for deeper glazes if needed.
Tip — Be cautious of coldness when scumbling over darker grounds; adjust warmth as needed (Source 1).
Varnish glazing

critical techniques

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).

common pitfalls

→Applying color before the grisaille is completely dry, which can muddy the underpainting and disrupt the glazing effect (Source 1).
→Overusing scumbling over dark grounds, which can lead to an unintended coldness in the tone (Source 1).
→Ignoring the graphic, linear quality of Bilibin’s style, resulting in a composition that lacks the structural clarity characteristic of his work (Source 3).
→Using linseed oil for white pigments, which may yellow over time; safflower or poppyseed oil is preferred for lighter colors (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 visual details of 'Saints Boris and Gleb on the ship' (e.g., exact poses, clothing patterns, ship design) are not described in the sources.
·Bilibin’s specific palette choices for this particular painting are not detailed; the guide relies on general oil painting practices and his known influences.
·The exact medium Bilibin used for this oil painting is not specified; the guide suggests historical equivalents like copavia oil based on general practices described in the sources.

grounded in

The technical procedure in this guide traces to the following classical art-instruction texts.

The Practice of Oil Painting — COLOURING A MONOCHROME↗
- Glazing and Scumbling — applied to Underpainting and color application techniques

cross-referenced from

Named facts about this artwork and artist were checked against these reference pages.

Wikipedia: Oil painting↗
- Materials and Techniques — applied to Selection of drying oils and pigments
Wikipedia bio — Ivan Bilibin↗
- Early life and Influences — applied to Stylistic characteristics and compositional approach

Read more about the corpus on the sources page and how the guides are built on the methods page.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

The composition divides into three clear horizontal zones: a dark blue sky with two fortified architectural structures flanking the edges, a central ship with two haloed figures positioned on stylized blue-and-white patterned water, and a border of three ornamental fish below. Light falls from above-left, creating a gradient from deep blue at the top of the sky to a warm cream-white band at the horizon. The eye enters at the central red ship with its complex rigging and ornamental hull details, held in place by the symmetrical architecture on either side.

value structure

Three distinct value zones: the darkest navy in the upper sky and deep water, a mid-tone range in the warm browns and tans of the ship, sails, and architecture, and a light range of cream-white crests and architectural highlights. The wave pattern creates visual rhythm by alternating light and medium values. When you squint, the ship emerges as a warm central mass against the cool blue surround, with the two flanking structures reading as vertical accents.

observed palette and mixes

#303942
Prussian blue + ultramarine + touch of raw umber
Upper sky, deep water shadows, darkest lines and details throughout
#724c3a
Burnt sienna + ultramarine, slightly desaturated
Primary ship hull color, base of the red sails
#956b4a
Raw sienna + burnt umber + ochre
Architectural shadows, ornamental carved details on ship and buildings, mid-tone wood
#c5b99c
Yellow ochre + titanium white + touch of raw sienna
Sail highlights, the cream-white sky band at horizon, wave crests, architectural light-struck surfaces
#a3906e
Raw umber + ochre + ultramarine
Water mid-tone between wave crests, architectural recesses, shadow areas in decorative patterns
#61665d
Ultramarine + raw umber + touch of cadmium yellow
Wave pattern shadows, decorative architectural inlays, fish scale details

edges and brushwork

All edges are clean and sharply defined, with no soft blending—colors sit distinctly next to each other, reinforcing the flat, graphic illustration style. The brushwork is precise and linear, especially visible in the ornamental patterns (wave crests, fish scales, architectural carvings, and ship details), where repetitive geometric marks are rendered with consistent pressure and steady lines. There is minimal impasto; the paint surface remains flat and matte, allowing the decorative patterning to read clearly without surface texture competing.

a working sequence

01
Underdrawing and composition blocking
Using pencil, lightly establish the horizon line dividing sky from water roughly one-third down. Sketch the two fortified cities on the left and right edges—these are tall, vertical masses with ornate domes and towers. Position the ship centrally between them, establishing its hull outline and the two figures standing on deck. Mark the wave band as a distinct horizontal stripe below the water area, and reserve the bottom band for the three repeating fish.
02
Sky and atmospheric underpainting
Block in the sky with dark navy (the #303942 mix) across the upper two-thirds. As you move toward the horizon, transition to the cream-white band (#c5b99c). Keep this transition horizontal and relatively even—the sky should feel flat, not atmospheric. The transition should occur roughly at the ship's mast height.
03
Water zone and wave pattern base
Paint the deep water area (below the horizon line, above the wave border) with the same dark navy as the sky. Once dry, begin indicating the wave pattern with the cream-white (#c5b99c), using the geometric, repetitive spiral-wave forms visible in the painting. Keep the waves orderly and patterned rather than naturalistic—they should read as a decorative band, not turbulent water.
04
Ship hull and structural forms
Establish the ship hull with the burnt sienna-based red-brown (#724c3a), covering the main body and sails. Block in the blue sections (the cabin/structure) as dark navy. Lay in the brown trim and ornamental details (#956b4a) where you see carved or decorated areas along the hull's edges. Don't refine details yet—focus on the large color masses and the distinct color blocks that define the ship's form.
05
Architectural elements left and right
Paint the two fortified cities, which are complex but broadly composed of cream-white walls with brown-red roofing, green window accents, and dark blue shadowed areas. The left building is taller with more prominent domes; the right has more rocky, naturalistic surroundings. Use the mid-tone brown (#956b4a) for architectural shadows and recesses. Keep these shapes flat and avoid creating false depth—they should sit as graphic shapes against the sky, not as three-dimensional structures.
06
Figures, halos, and ship ornament refinement
Paint the two saint figures on deck with simplified flesh tones (ochre + white), then add their blue garments and cruciform gestures. Render their gold halos with bright yellow-ochre. Move to the ship's ornamental medallion (the large circular carved detail on the hull's side)—this has intricate spiral and geometric patterns that require careful brushwork. Use the fine detail brushes to define the carvings with alternating light and shadow tones.
07
Fish border and fine decorative details
Paint the three repeating fish at the bottom, establishing their golden-tan bodies (#c5b99c) and dark scale patterns (#61665d). Each fish should be identical in pose and decoration, creating a rhythmic border. Their scales are rendered as geometric overlapping shapes with dark outlines. Add fine detail brushwork throughout the painting—ornamental lines on the ship's railings, the architectural carvings, and any remaining small decorative marks.
08
Edge definition and final balance
With a fine brush and dark navy, go around the composition defining crisp edges where elements meet, especially where the sky meets architecture, the water meets the ship, and all ornamental boundaries. Step back frequently to ensure the overall value balance reads correctly—the dark blue should frame the warm ship warmly, and the cream accents should sparkle without overwhelming. Make any final refinements to ensure the flat, graphic quality is maintained throughout.

where studies of this painting go wrong

The ship is dense with ornamental detail; resist the urge to refine patterns before establishing the overall color blocks and structure, or you'll lose proportion and get trapped in details.
The architectural elements are fantastical and complex—their flat, folk-art quality is easily destroyed by adding shadows or attempting false perspective; keep them as graphic silhouettes.
The wave pattern is geometric and repetitive; if you waver on the spacing or let lines become too sketchy, it will look accidental rather than decorative—use a ruler if needed for consistency.
The figures (saints) are small but iconographically specific with halos and formal gestures; their simplification can easily read as unfinished if you don't render the halos and key garment colors deliberately.
The overall flat, illustration style can be undermined by blending colors or adding modeling; maintain crisp edges and discrete color areas throughout to preserve the intended graphic quality.

measured difficulty