plate no. 0352
Self-portrait
Konstantín Korovin, 1938
recreation guide
Konstantin Korovin’s 1938 Self-Portrait is a work rooted in his long-standing Impressionist practice, characterized by a focus on light, atmosphere, and the optical mixing of color rather than hard linear definition. Korovin, a member of the Mir iskusstva group and influenced by his travels to the North and France, often employed a 'delicate web of shades' and an etude-like spontaneity (Source 5). This self-portrait likely reflects his mature style, where the artist prioritizes the modification of light on the model and the harmonization of inherent flesh tones with chosen background elements (Source 2, Source 3). The work would not rely on rigid contouring but rather on the interplay of complementary colors and tonal gradations to create depth and volume.
estimated time
20-30 hours over 5-7 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. | Stand oil or refined linseed oil |
| Turpentine | Thinner for initial layers and glazing mediums. | Odorless mineral spirits (OMS) |
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red Lead) | Core palette for grisaille underpainting and subsequent glazing/scumbling. | Titanium White, Ultramarine Blue, Ivory Black, Yellow Ochre, Cadmium Red |
| Canvas | Support for the oil painting. | Linen or cotton duck canvas, primed |
| Varnish (optional for glazing) | Mixed with oil for transparent glazes to enhance depth without muddying colors. | Dammar varnish or alkyd medium |
preparation
surface prep
The canvas should be prepared with a traditional oil ground. While specific priming details for this 1938 work are not explicitly detailed in the sources, Korovin’s adherence to old master techniques suggests a stable, absorbent ground that allows for the layering of glazes and scumbles described in Source 1. A neutral or warm-toned ground may be beneficial to facilitate the 'grisaille' underpainting method.
underdrawing
Korovin’s Impressionist style suggests a minimal or non-existent hard underdrawing. Instead of precise linear sketches, the artist likely relied on tonal blocking-in. Source 7 notes that portraitists often study the subject for expression and posture, but Korovin’s 'etude style' (Source 5) implies a more direct, painterly approach where form is established through color and light rather than line.
underpainting
The process likely begins with a monochrome underpainting (grisaille). Source 1 describes a method where the artist mentally extracts red and yellow colors, painting the underlying structure in black, ultramarine, and white (or similar cool neutrals) to establish values. This 'grisaille' serves as the foundation for subsequent color layers, allowing the artist to focus on value relationships before introducing hue.
color palette
Cool Neutrals (Greys/Blues)
Ultramarine, White, Black
Underpainting (grisaille) to establish form and value without chromatic interference.
Warm Flesh Tones
Yellow and Red tones (e.g., Yellow Ochre, Vermilion) glazed over the grisaille
Flesh areas, applied via glazing and scumbling to capture the 'modifications of the light on the model' (Source 2).
Complementary Backgrounds
Colors chosen to contrast with flesh tones (e.g., cool blues/greens if flesh is warm)
Background and clothing, selected to harmonize the composition through simultaneous contrast (Source 2, Source 3).
composition
Specific compositional details of the 1938 Self-Portrait are not described in the sources. However, consistent with Korovin’s practice, the composition likely emphasizes atmospheric unity over distinct object separation. The artist would have chosen background colors not inherent to the model but selected to harmonize with the flesh tones, utilizing the law of simultaneous contrast to enhance the vibrancy of the portrait (Source 2, Source 3).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Create a grisaille underpainting using black, ultramarine, and white (or similar cool neutrals) to establish the values and forms of the face and body. Mentally extract red and yellow hues, focusing on what remains in nature if those colors were absent.
Tip — Ensure the underpainting is quite dry before proceeding to avoid muddying subsequent layers.
Grisaille
first pass
step 02
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially. This mimics tinting an engraving with watercolors, allowing the underlying values to show through.
Tip — Glazing is a transparent coat of color; keep layers thin to maintain luminosity.
Glazing
refining
step 03
Use scumbling (semi-opaque painting) to adjust tones and create 'grey blooms' or coldness where needed, particularly over darker grounds. This allows the underlying painting to make itself felt.
Tip — Scumbling tends to coldness when employed over a darker ground; use this to enhance atmospheric depth.
Scumbling
step 04
Adjust colors based on simultaneous contrast. Ensure that adjacent colors enhance each other; for example, if the background is cool, the flesh tones may appear warmer. Correct any hue shifts caused by adding white or black by using complementary colors or adjacent hues.
Tip — Be aware that the eye may perceive colors inaccurately due to mixed contrast; take breaks to reset visual perception.
Simultaneous Contrast
finishing
step 05
Finalize the portrait by ensuring the 'great effects' are prominent, allowing smaller details to result spontaneously from the contrast of tone and color. Avoid over-working small details that may detract from the overall harmony.
Tip — Focus on the gradation of light and the inherent nature of the object (flesh, eyes, hair) while choosing accessories/backgrounds for harmonic effect.
Chiaro-oscuro / Harmonization
critical techniques
Glazing and Scumbling
Used to build color and depth over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture and tone. This method was practiced by old masters and is relevant to Korovin’s layered approach.
Simultaneous Contrast
Applied to harmonize colors in the composition. The artist must perceive how adjacent colors modify each other, ensuring that the flesh tones and background colors interact to create a unified visual experience.
Chiaro-oscuro
Used to create gradation of light and depth. By juxtaposing tones, the artist enhances the perception of volume and form without relying on hard lines.
common pitfalls
- →Muddying colors by applying wet glazes over an underpainting that is not sufficiently dry (Source 1).
- →Shifting hues unintentionally when darkening colors with black or lightening with white; use complements or adjacent colors to correct hue shifts (Source 4).
- →Over-working small details, which can detract from the 'great effects' and spontaneous harmony achieved through contrast (Source 3).
- →Visual fatigue leading to inaccurate color perception due to mixed contrast; take breaks to reset the eye (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 the 1938 Self-Portrait (e.g., exact pose, clothing, background elements) are not described in the sources.
- ·Korovin’s specific palette choices for this particular year are not detailed; the guide relies on general Impressionist and old master techniques attributed to his style.
- ·The exact medium ratios (oil to varnish) used by Korovin are not specified; the guide suggests standard practices.
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 (grisaille), glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony, simultaneous contrast, and correcting visual perception errors.
- 6, 324 — applied to Chiaro-oscuro, gradation of light, and harmonizing inherent vs. chosen colors.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Color theory↗
- part 6 — applied to Mixing pigments, avoiding hue shifts when darkening/lightening.
Wikipedia bio — Konstantín Korovin↗
- part 2 — applied to Artist’s style, etude approach, and use of delicate shades.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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