plate no. 8987

Sunrise

oil, canvasRealismlandscapemountainsskycloudstreesriverlandscape

recreation guide

Arkhyp Kuindzhi’s 'Sunrise' (1895) is a quintessential example of his mature period, characterized by an aspiration to capture the most expressive illuminative aspects of natural conditions. Unlike traditional realism which might focus on topographical accuracy, Kuindzhi employed composite receptions, such as high horizons and panoramic views, to create an illusion of intense illumination. His work is distinguished by the use of light effects and intense colors shown in main tones, often resulting in decorative effects of color building. This approach was informed by his lifelong interest in the study of light, color, and perception, developed through his close friendship with chemist Dmitri Mendeleev and his academic lectures at the St. Petersburg Academy of Arts.

estimated time

20-30 hours over 5-7 sessions, allowing for drying times between glaze layers

materials

5 items

steps

5 in sequence

materials

item	purpose	modern equivalent
Oil paints (Ultramarine, White, Black, Yellow Ochre, Cadmium Red/Yellow)	Primary pigments for grisaille and subsequent glazing	—
Linseed oil or Oil of Copavia	Medium for binding pigments and creating transparent glazes	Stand oil or refined linseed oil
Turpentine	Thinner for initial washes and cleaning brushes	Odorless mineral spirits
Canvas	Support for the oil painting	Linen or cotton canvas, primed
Varnish	Mixed with oil for later glazing stages to increase transparency and depth	Dammar varnish or synthetic resin varnish

preparation

surface prep

The canvas should be prepared with a standard oil ground. While specific priming details for 'Sunrise' are not explicitly detailed in the sources, Kuindzhi’s practice as an academic professor suggests adherence to standard 19th-century Russian academy techniques, likely involving a white or neutral ground to facilitate the layering of transparent colors.

underdrawing

Kuindzhi’s specific underdrawing methods for 'Sunrise' are not described in the provided sources. However, given his focus on light effects and panoramic views, the underdrawing likely emphasized the broad masses of light and shadow rather than fine contour details, consistent with the practice of establishing value structure before color application.

underpainting

The process likely involves creating a monochrome underpainting (grisaille) using black, ultramarine, and white. This step mentally extracts red and yellow colors, translating what would be left in nature if these two colors were not present. This establishes the tonal foundation and chiaroscuro before the introduction of color glazes.

color palette

Ultramarine

Pure ultramarine blue

Used in the initial grisaille underpainting along with black and white to establish tones

White

Lead white or Zinc white

Used in the grisaille underpainting to establish highlights and mid-tones

Black

Ivory black or Lamp black

Used in the grisaille underpainting to establish shadows and depth

Yellow and Red tones

Yellow ochre, cadmium yellow, vermilion, or cadmium red

Applied as transparent glazes over the dry grisaille to create the illusion of illumination and intense color effects characteristic of Kuindzhi's mature style

composition

Kuindzhi characteristically applied composite receptions, such as high horizons, to create panoramic views. In 'Sunrise,' this likely manifests as a composition that emphasizes the vastness of the sky and the intensity of the light source, rather than detailed foreground elements. The arrangement is designed to capture the expressive illuminative aspect of the natural condition, using light effects to dominate the visual experience.

step by step

underpainting→first pass→refining→finishing

underpainting

step 01
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia or linseed oil. Focus on establishing the correct tonal values and chiaroscuro, mentally extracting red and yellow colors.
Tip — Ensure the underpainting is completely dry before proceeding to glazing.
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 the process of tinting an engraving with watercolors, allowing the underlying tonal structure to show through.
Tip — Glazing is a transparent coat of color. Apply thin layers to build up intensity without obscuring the underpainting.
Glazing

refining

step 03
Use scumbling techniques, applying semi-opaque paint over the glazes. When employed over a darker ground, this tends to create coldness or a grey bloom, which can be used to adjust the temperature and texture of the light.
Tip — Scumbling allows the underlying painting to make itself felt, adding texture and complexity to the light effects.
Scumbling

finishing

step 04
As mastery is gained, mix varnish with oil for subsequent glazing layers. This increases the transparency and depth of the color, enhancing the illusion of illumination.
Tip — Be cautious with varnish mixtures to ensure proper drying and adhesion.
Varnish Glazing
step 05
Refine the color contrasts by considering the law of simultaneous contrast. Adjust adjacent colors to enhance the perception of light and dark, ensuring that the highest tones are not enfeebled and the lowest tones are heightened.
Tip — Pay attention to how juxtaposed colors affect each other's perceived tone and hue.
Simultaneous Contrast

critical techniques

Glazing and Scumbling

Kuindzhi’s method involves building up color through transparent glazes and semi-opaque scumbles over a monochrome underpainting. This technique allows for the creation of intense light effects and decorative color building, characteristic of his mature period.

Simultaneous Contrast

Understanding how adjacent colors influence each other’s perception is crucial for achieving the desired illumination effects. Kuindzhi’s interest in light and perception, influenced by Mendeleev, suggests a deliberate application of these principles to enhance the visual impact of the sunrise.

Composite Receptions

Using high horizons and panoramic views to create an illusion of illumination. This compositional strategy focuses on the expressive aspect of light rather than detailed realism.

common pitfalls

→Applying glazes before the underpainting is completely dry, which can lead to muddying of the colors.
→Ignoring the law of simultaneous contrast, resulting in flat or less vibrant color interactions.
→Overworking the paint, losing the transparency and luminosity achieved through layering.
→Focusing too much on detail rather than the overall effect of light and tone.

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 pigment recipes used by Kuindzhi for 'Sunrise' are not provided.
·Exact dimensions and aspect ratio of the original canvas are not specified.
·Detailed information on the specific landscape elements (e.g., type of trees, water features) in 'Sunrise' is not available in the sources.
·Kuindzhi’s specific brushwork techniques for this particular painting are not described.

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↗
- 6. Put beside each other two flat tints... — applied to Color theory and simultaneous contrast
- 315. As to the advantages the painter will find in it... — applied to Perception of light and color modifications