Snow tops

surface prep

Prepare a linen canvas support, as linen was a common support for oil painting derived from the flax plant (Source 3). Apply a traditional white ground to ensure proper adhesion and brightness, consistent with 19th-century academic practices. Kuindzhi’s later works emphasize decorative color building, suggesting a smooth, well-prepared surface to allow for precise glazing techniques.

underdrawing

Sources do not explicitly describe Kuindzhi’s specific underdrawing methods for this painting. However, given his academic background and role as a professor at the St. Petersburg Academy of Arts, a careful preliminary sketch is likely (Source 4). Use charcoal or thinned oil to outline the panoramic composition, focusing on the high horizon and wide view characteristic of his mature style (Source 4, Source 6).

underpainting

Create a monochrome grisaille underpainting using black, ultramarine, and white mixed with oil of copavia or a similar medium (Source 1). This step involves mentally extracting red and yellow colors to establish the tonal structure of the snow and sky (Source 1). This technique, cited by Sir Joshua Reynolds, allows the artist to focus on light and shadow before introducing color (Source 1).

Glazing and Scumbling

Kuindzhi’s practice likely involved glazing transparent coats of color and scumbling semi-opaque layers to achieve luminous effects, a method practiced by old masters and cited by Reynolds (Source 1). This technique allows for the illusion of illumination and decorative color building (Source 4).

Color Contrast

Use complementary colors to heighten or lower tints. For example, blue can heighten a rosy complexion or snow highlight, while green can lower an orange tint (Source 2). This principle applies to the juxtaposition of colors in the landscape.

Grisaille Underpainting

Establishing a monochrome base with black, ultramarine, and white allows for precise control over light and shadow before introducing color (Source 1).