plate no. 1645
Self-portrait (in yellow shirt)
Pyotr Konchalovsky, 1943
recreation guide
Pyotr Konchalovsky’s 1943 self-portrait represents a return to Realism after his earlier avant-garde experiments with Fauvism and Cézannism. While the specific visual details of this particular canvas (such as the exact shade of the yellow shirt or background elements) are not described in the provided sources, the work is grounded in Konchalovsky’s established practice of oil painting. The artwork likely utilizes traditional oil techniques, including the use of drying oils like linseed or safflower oil to bind pigments (Source 1). Konchalovsky’s style during this period emphasizes solid form and direct observation, consistent with his training at the Imperial Academy of Arts and his later rejection of pure abstraction in favor of a more tangible, realistic representation of the self.
estimated time
20-30 hours over 5-7 sessions
materials
7 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linen canvas | Support for the oil painting; linen is a traditional support derived from the flax plant, compatible with oil paints. | Primed linen canvas |
| Linseed oil | General-purpose drying oil for mixing paints and creating glazes; it provides a strong paint film. | Refined linseed oil |
| Safflower or Poppyseed oil | Used for lighter colors like white to prevent yellowing on drying, though they dry more slowly. | Safflower oil or Poppyseed oil |
| Titanium White or Zinc White | Modern safe alternatives to historical Lead White, which was dominant for centuries but is now restricted due to toxicity. | Titanium White (opaque) or Zinc White (transparent) |
| Yellow Pigments (e.g., Cadmium Yellow, Yellow Ochre) | To create the yellow shirt and warm tones; historical lead-tin yellow is no longer common due to toxicity. | Cadmium Yellow Light/Medium or Hansa Yellow |
| Brushes (Hog bristle and Sable) | Hog bristle for applying thick impasto and initial layers; sable for finer details and glazing. | Synthetic bristle brushes are also acceptable |
| Palette Knife | For mixing paints and applying thick layers of paint, consistent with Konchalovsky’s textured style. | Standard palette knife |
preparation
surface prep
The canvas should be primed with a traditional oil ground or acrylic gesso to ensure proper adhesion of the oil paint. Konchalovsky, trained in the Imperial Academy, would have used a standard white or off-white ground to allow for full color range. The surface should be smooth but not overly glossy to allow for brushwork texture.
underdrawing
Konchalovsky’s early training involved rigorous drawing studies. For a self-portrait, a light underdrawing using charcoal or thinned oil paint (imprimatura) is likely to establish proportions and facial features. The sources do not specify his exact underdrawing method for this 1943 work, but his academic background suggests a careful initial sketch to ensure likeness.
underpainting
A grisaille (monochrome underpainting) may be employed to establish values before applying color. Source 2 discusses the technique of creating a grisaille and then glazing with oil to add color, a method practiced by old masters and potentially relevant to Konchalovsky’s realist approach. This helps in managing the contrast and tone before introducing the vibrant yellow of the shirt.
color palette
Yellow
Cadmium Yellow, Yellow Ochre, mixed with Linseed Oil
The shirt, as indicated by the title 'Self-portrait (in yellow shirt)'. The yellow should be vibrant but grounded, avoiding the yellowing issues associated with some oils by using appropriate mediums.
White
Titanium White mixed with Safflower Oil
Highlights on the face and shirt. Safflower oil is preferred for whites to prevent yellowing over time (Source 1).
Earth Tones (Umber, Sienna)
Burnt Umber, Raw Sienna
Shadows and skin tones, providing a realistic base for the portrait.
Black/Dark Blue
Ivory Black or Ultramarine Blue
Deep shadows and background elements, if present. Source 2 mentions Reynolds using black and ultramarine in early stages.
composition
The composition is a self-portrait, focusing on the artist’s likeness. Konchalovsky’s realist style suggests a direct, frontal or slightly angled pose to engage the viewer. The yellow shirt serves as a focal point, creating a strong color contrast with the likely darker or neutral background. The composition likely emphasizes the solidity of the figure, consistent with his Cézanne-influenced period, but rendered with realistic detail.
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the basic proportions of the head and shoulders on the primed canvas using charcoal or thinned oil paint. Focus on the likeness and pose.
Tip — Keep the lines light to avoid interfering with the paint layers.
Underdrawing
underpainting
step 02
Apply a grisaille layer to establish the light and shadow values. Use black, white, and perhaps a touch of ultramarine to create a monochrome base.
Tip — Ensure the grisaille is completely dry before proceeding to glazing to prevent muddiness.
Grisaille
first pass
step 03
Begin applying color to the yellow shirt. Mix yellow pigments with linseed oil for a rich, saturated effect. Apply thicker paint in the highlights and thinner in the shadows.
Tip — Use safflower oil for any white highlights on the shirt to prevent yellowing.
Impasto and Glazing
refining
step 04
Work on the facial features and skin tones. Use earth tones and white to build up the flesh tones. Pay attention to the simultaneous contrast of colors, ensuring the skin tones interact correctly with the yellow shirt.
Tip — Be aware of how the yellow shirt might influence the perceived color of the skin due to simultaneous contrast.
Color Contrast
finishing
step 05
Add final details and adjustments. Use glazing techniques to deepen shadows and enhance the luminosity of the yellow shirt. Scumble lighter tones over darker areas if needed to create a grey bloom or softness.
Tip — Scumbling over a darker ground can create a coldness or grey bloom, useful for subtle transitions.
Glazing and Scumbling
varnishing
step 06
Once the painting is completely dry (which may take several months), apply a varnish to protect the surface and unify the gloss levels.
Tip — Ensure the painting is fully dry to prevent trapping solvents underneath the varnish.
Varnishing
critical techniques
Glazing
Applying transparent coats of color over a dry underpainting to build depth and luminosity. This is a traditional method used by old masters and can be applied to enhance the yellow shirt and skin tones.
Scumbling
Applying semi-opaque paint over a darker ground to create soft transitions or a grey bloom. Useful for refining skin tones and background areas.
Simultaneous Contrast
Considering how adjacent colors affect each other. The yellow shirt will influence the perceived color of the skin and background, requiring careful adjustment to maintain realistic likeness.
common pitfalls
- →Using linseed oil for white highlights, which can lead to yellowing over time. Use safflower or poppyseed oil for whites (Source 1).
- →Applying glazes before the underpainting is completely dry, which can cause cracking or muddiness (Source 2).
- →Ignoring the effects of simultaneous contrast, leading to inaccurate color perception in the final painting (Source 4).
- →Over-modeling or getting too tied down to outlines, which can make the portrait look stiff. Konchalovsky’s realist style benefits from a balance of detail and broad masses (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.
- ·The specific visual details of the 1943 self-portrait (e.g., exact background, facial expression, hand position) are not described in the sources.
- ·Konchalovsky’s specific palette choices for this particular year are not detailed, though his general use of oil paints is known.
- ·The exact medium ratios (oil to pigment) used by Konchalovsky are not specified, requiring the artist to experiment based on general oil painting principles.
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 Techniques of grisaille underpainting, glazing, and scumbling.
- ON COPYING — applied to General advice on avoiding over-modeling and maintaining broad masses in portrait painting.
Laws of Contrast of Colour↗
- 315-318 — applied to Understanding simultaneous contrast and mixed contrast to accurately render colors adjacent to the yellow shirt.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Materials selection, specifically the use of linseed oil for general purposes and safflower oil for whites to prevent yellowing.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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