plate no. 6825
Self portrait
Vladimir Makovsky, 1905
recreation guide
Vladimir Makovsky’s 1905 self-portrait is a work of Russian Realism, executed in oil on canvas. As a realist painter, Makovsky’s approach prioritizes the faithful representation of the sitter’s appearance and psychological state, requiring a mastery of human anatomy and the subtle asymmetries of the face (Source 6). The artwork likely reflects the artist’s commitment to the material vitality of oil paint, using its capacity for rich, dense color and flexible layering to create an illusion of natural appearance without losing the integrity of the medium (Source 5, Source 7). The process involves careful observation of light modifications and color contrasts, ensuring that the portrait captures the specific essence of the sitter rather than a generic ideal (Source 3, Source 6).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (various pigments) | Primary medium for building color, tone, and texture. | — |
| Linseed oil or poppy seed oil | Binder and medium to adjust paint consistency and drying time. | Stand oil or refined linseed oil |
| Turpentine | Thinner for initial layers and cleaning brushes. | Odorless mineral spirits |
| Canvas | Support for the painting. | Linen or cotton canvas, primed |
| Varnish (optional, for glazing) | To mix with oil for transparent glazes, as practiced by old masters. | Dammar varnish or resin varnish |
preparation
surface prep
The canvas should be prepared with a ground suitable for oil painting. While specific details of Makovsky’s ground are not in the sources, standard practice for this period involves a white or neutral ground to allow for the full range of light to dark values (Source 5). The artist must respect the material’s capacity, avoiding attempts to deceive the eye into forgetting it is a painting, but rather using the medium’s vitality to express the subject (Source 7).
underdrawing
The sources do not specify Makovsky’s exact underdrawing method. However, portraitists often make a drawing of the face to establish proportions and likeness before completing the rest (Source 6). A light, flexible underdrawing is recommended to allow for adjustments in the asymmetrical features of the face (Source 6).
underpainting
A monochrome underpainting (grisaille) is a traditional technique supported by the sources. The artist should create a dry grisaille base, mentally extracting red and yellow tones to establish form and value (Source 2). This preparation allows for subsequent glazing and scumbling of color, a method practiced by old masters to achieve depth and realism (Source 2).
color palette
Neutral Grays/Browns
Black, ultramarine, white, and earth tones
Underpainting and establishing values, as suggested by Reynolds’ method (Source 2).
Flesh Tones
Reds, yellows, and whites, adjusted with complements
Glazing over the grisaille to capture skin tones without hue shifts (Source 2, Source 4).
Clothing/Background Colors
Various pigments depending on the specific attire
General use in the artist’s palette, ensuring harmony through simultaneous contrast (Source 3).
composition
The composition should focus on the sitter’s facial expression and posture to reveal their emotional and physical state (Source 6). The artist must capture the likeness faithfully, including any asymmetries, to convey the sitter’s essence (Source 6). Specific compositional details like background objects are not described in the sources, so the focus remains on the figure’s presence and the interplay of light and color on the face (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the face lightly, focusing on proportions and asymmetrical features.
Tip — Ensure the likeness is recognizable, capturing the sitter’s essence (Source 6).
Anatomical study
underpainting
step 02
Create a grisaille underpainting using black, ultramarine, and white to establish values.
Tip — Mentally extract red and yellow tones to focus on form (Source 2).
Grisaille
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille.
Tip — Use oil or varnish mixed with oil to tint the engraving-like base (Source 2).
Glazing
refining
step 04
Adjust colors using simultaneous contrast principles, ensuring adjacent colors influence each other correctly.
Tip — Be aware of mixed contrast effects from previous colors viewed (Source 3).
Simultaneous contrast
finishing
step 05
Refine details, ensuring the paint retains its material vitality and does not merely deceive the eye.
Tip — Avoid meretricious attempts to deceive; keep the painting as a painted symbol (Source 7).
Material expression
critical techniques
Glazing and Scumbling
Used to build color and depth over a monochrome base, a method common among old masters (Source 2).
Simultaneous Contrast
Applied to harmonize colors and accurately perceive light modifications on the model (Source 3).
Anatomical Accuracy
Essential for capturing the sitter’s likeness and asymmetrical facial features (Source 6).
common pitfalls
- →Darkening colors by adding black can cause hue shifts toward green or blue; use complements instead (Source 4).
- →Lightening colors by adding white can cause hue shifts toward blue; correct with adjacent colors (Source 4).
- →Over-modeling or being too tied to the outline can result in a stiff portrait; use glazing to soften edges (Source 1).
- →Ignoring the materiality of the paint can lead to a deceptive but lifeless image (Source 7).
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 Makovsky’s 1905 self-portrait composition, such as clothing, background, and pose, are not described in the sources.
- ·Makovsky’s specific palette preferences for this period are not detailed in the sources.
- ·The exact number of sittings or time spent on this specific work is unknown.
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
Laws of Contrast of Colour↗
- 315-318 — applied to Color harmony and contrast adjustments
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Material vitality and avoiding deception
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Portrait painting↗
- part 4 — applied to Portrait process and anatomical accuracy
Wikipedia: Color theory↗
- part 6 — applied to Color mixing pitfalls
Read more about the corpus on the sources page and how the guides are built on the methods page.
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