plate no. 8426
Sketch of Burning Corpses of Russes
Henryk Siemiradzki, 1882
pencil, watercolorRomanticismsketch and studyfigureportraitclothingjewelryhistoricaltraditional dress
recreation guide
This artwork, 'Sketch of Burning Corpses of Russes' (1882), is a study executed in pencil and watercolor, reflecting Henryk Siemiradzki’s engagement with Romanticism. As a sketch, it likely serves as a preparatory study or an independent expressive piece, utilizing the transparency and fluidity of watercolor to capture the dramatic lighting and atmospheric effects of fire and smoke. The medium allows for a mix of opaque body colors and transparent washes, a technique described as a 'complex style of painting' that combines ancient methods with modern washes (Source 1). The work would have been created on high-quality paper, likely linen-rag based, to support the substantial nature of the watercolor application without degradation (Source 1).
estimated time
10-15 hours over 3-4 sessions
materials
6 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linen-rag watercolor paper | Primary support; must be free of cotton and chemical bleaches to prevent staining and color destruction (Source 1). | 100% cotton or linen rag cold-pressed watercolor paper, acid-free. |
| Pencil | Underdrawing and initial sketching of forms and composition. | Graphite pencils (HB to 4B). |
| Watercolor paints (pigments suspended in gum arabic) | Primary color medium; allows for transparency and washes (Source 2). | Professional grade tube watercolors. |
| Opaque white pigment (e.g., Chinese White or Zinc White) | To create opacities and highlights, as watercolor 'properly so called' reserves paper for lights, but Siemiradzki’s style may include impastements and opacities (Source 1, Source 2). | Opaque watercolor white or gouache white. |
| Gum arabic | Binder for pigments; essential for the adhesion and preservation of the paint (Source 1). | Included in tube watercolors; can be added separately for glazing. |
| Soft brushes (sable or synthetic) | Application of washes and details. | Round and flat watercolor brushes. |
preparation
surface prep
The paper should be dry and free from dampness, as dampness causes sizing to ferment and decompose, leading to stains (Source 1). The paper must be of high quality, ideally made from linen rags and bleached by natural means (air, sunshine, pure water) rather than chlorine, which burns the linen and destroys colors (Source 1). Ensure the sizing is evenly distributed within the paste, not just on the surface, to prevent irregular sponginess during prolonged work (Source 1).
underdrawing
Begin with a pencil sketch to establish the composition and forms. The underdrawing should be light enough to not interfere with the transparency of the watercolor washes, but firm enough to guide the placement of opaque highlights. Siemiradzki’s sketches often served as studies, so the drawing should focus on capturing the essential forms and dramatic lighting rather than excessive detail (Source 1, Source 2).
underpainting
Not typically used in traditional watercolor, but the first layer of washes serves a similar function. Apply thin, transparent washes to establish the basic tones and values. Reserve the white of the paper for the brightest highlights, as is characteristic of watercolor 'properly so called' (Source 1). If opaque highlights are needed, they can be added later with body colors (Source 1).
color palette
Reds and Oranges
Red ochre, vermilion, cadmium red, cadmium orange
Depicting the flames and glowing embers. These earths and mineral pigments provide fixedness and covering power (Source 3).
Blues and Purples
Ultramarine, indigo, violet lakes
Shadows and smoke. Indigo and lakes were historically used for deep, rich tones (Source 3).
Yellows
Yellow ochre, cadmium yellow, raw sienna
Highlights in the fire and warm reflections. Ochres are noted for their fixedness and ease of drying (Source 3).
Blacks and Browns
Ivory black, sepia, burnt umber
Deep shadows and charred remains. Blacks prepared from combustion (ivory, grapestone) and sepia were standard (Source 3).
White
Chinese white or zinc white
Opaque highlights and smoke effects. Adding white makes watercolor opaque, a practice that became accepted by 1880 (Source 2).
composition
The composition likely emphasizes dramatic contrast between light and dark, typical of Romanticism. The use of complementary colors (e.g., reds and greens/blues) would enhance the visual impact, following the law of simultaneous contrast (Source 4, Source 5). The arrangement of forms should be reduced to flat planes and masses, as drawing on a flat surface requires translating solidity into two-dimensional terms (Source 8).
step by step
underdrawing→first pass→refining→finishing
underdrawing
step 01
Sketch the composition lightly with pencil, focusing on the placement of figures and the flow of fire and smoke.
Tip — Keep lines light to avoid showing through the washes.
Line drawing
first pass
step 02
Apply thin, transparent washes to establish the basic color and value structure. Start with the lightest tones and work towards the darks.
Tip — Allow each layer to dry completely before applying the next to prevent muddiness.
Wash technique
refining
step 03
Build up darker tones and add details. Use more concentrated pigment for deeper shadows and richer colors.
Tip — Use the principle of contrast to enhance the vibrancy of colors by placing complementary tones adjacent to each other (Source 4).
Layering
finishing
step 04
Add opaque highlights and details with body colors or white paint. This can include bright spots in the fire or highlights on the figures.
Tip — Use sparingly to maintain the transparency of the overall piece.
Opaque watercolor
step 05
Review the overall balance of light and dark, and adjust any areas that need more contrast or detail.
Tip — Ensure that the darkest darks and lightest lights are sufficiently distinct to create a dramatic effect.
Value adjustment
critical techniques
Transparency and Opacity
Watercolor is primarily transparent, but Siemiradzki’s style may include opaque elements. The use of both allows for a range of effects, from delicate washes to solid highlights (Source 1, Source 2).
Simultaneous Contrast
Placing complementary colors next to each other enhances their vibrancy. For example, reds in the fire will appear more intense against blue or green shadows (Source 4, Source 5).
Layering
Building up color in thin layers allows for depth and richness. Each layer should be allowed to dry before the next is applied (Source 1).
common pitfalls
- →Using low-quality paper that contains cotton or chemical bleaches, which can lead to staining and color degradation (Source 1).
- →Applying washes before the previous layer is dry, resulting in muddy colors and loss of detail (Source 1).
- →Overworking the paper, which can wear out the surface sizing and cause irregular absorption (Source 1).
- →Ignoring the law of simultaneous contrast, leading to dull or less vibrant colors (Source 4, 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.
- ·Specific details of the composition, such as the exact arrangement of figures and the intensity of the fire, are not described in the sources.
- ·Siemiradzki’s specific brushwork techniques for this particular sketch are not detailed.
- ·The exact pigments used by Siemiradzki in 1882 are not specified, though general period practices are inferred.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Science of Painting↗
- CHAPTER XIII. WATER COLOURS — applied to Paper quality, sizing, and the mix of transparent and opaque techniques.
- CHAPTER V. COLOURING SUBSTANCES — applied to Choice of pigments, including earths, ochres, and historical colorants.
Laws of Contrast of Colour↗
- 328-331 — applied to Use of complementary colors and contrast to enhance visual impact.
- 315-318 — applied to Simultaneous contrast and its effect on color perception.
The Practice and Science of Drawing↗
- VIII LINE DRAWING: PRACTICAL — applied to Reducing solid forms to flat planes for drawing.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Watercolor painting↗
- Watercolor painting — part 1 — applied to General watercolor techniques, transparency, and the use of opaque white.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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