plate no. 7607
The Condemned
Vladimir Makovsky, 1879
recreation guide
Vladimir Makovsky’s 'The Condemned' (1879) is a genre painting that reflects the artist’s socially conscious period, characterized by 'blatant irony and scorn' and a focus on the 'oppression and persecution by the tsarist gendarmerie' (Source 2). As a founding member of the Association of Travelling Art Exhibitions, Makovsky utilized realism to critique social structures, moving away from the humorous small-town scenes of his earlier work toward more profound, gloomy narratives (Source 2). The artwork likely employs the rigorous craftsmanship expected of a 'sound craftsman' who masters the 'alphabet of our art' to reduce thoughts to visual words (Source 1).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (traditional RYB primaries: Red, Yellow, Blue) | To create the full spectrum of colors, including complements like green (red+blue) and orange (red+yellow) as per traditional color theory. | High-quality artist-grade oils (e.g., Cadmium Red, Cadmium Yellow, Ultramarine Blue) |
| Canvas | Support for the oil painting, consistent with 19th-century history and genre painting standards. | Linen or cotton canvas primed with gesso |
| Oil of Copavia (or modern stand-in like Walnut Oil) | Medium for glazing and scumbling, as referenced in Reynolds' method cited in the sources. | Walnut oil or Linseed oil (though Copavia is noted for its slow drying and clarity) |
| Varnish | To mix with oil for glazing once mastery is gained, enhancing transparency. | Dammar varnish or synthetic resin varnish |
| Black, Ultramarine, and White | For the initial monochrome underpainting (grisaille) as described in the Reynolds method. | Ivory Black, Ultramarine Blue, Titanium White |
preparation
surface prep
The canvas should be prepared to accept oil layers. While specific priming details for Makovsky are not in the sources, the text notes that 'history paintings' of this period were typically 'large paintings in oil on canvas' (Source 7). The surface must be stable to support the 'glazing and scumbling' techniques described (Source 8).
underdrawing
The sources do not explicitly describe Makovsky’s underdrawing method for this specific work. However, the text emphasizes that a painter must first be a 'sound craftsman' with knowledge of the medium (Source 1). It is likely that a precise drawing was made to establish the narrative moment, as history paintings 'depict a moment in a narrative story' (Source 7).
underpainting
A monochrome underpainting (grisaille) is recommended, following the method attributed to Sir Joshua Reynolds in the sources: 'The first and second paintings are with oil of copavia... the colours being black, ultramarine, and white' (Source 8). This establishes the tonal values before color is applied.
color palette
Red
Pure Red pigment
General use in this artist's palette; potentially used to create contrast with green tones.
Blue/Ultramarine
Ultramarine Blue
Used in the underpainting and to create complementary contrast with orange/red tones.
Yellow
Pure Yellow pigment
General use; combined with red to make orange, or with blue to make green.
Green
Red + Blue (traditional RYB model)
To soften red tones or create complementary contrast, as 'a red surrounded by green tones will seem redder' (Source 3).
Orange
Red + Yellow
To create complementary contrast with blue tones, as 'an orange drapery can be rendered yet more orange surrounded by blue tones' (Source 3).
composition
The composition likely depicts a 'moment in a narrative story' typical of history painting (Source 7). Makovsky’s work from this period is 'profoundly socially conscious,' often criticizing 'false sympathy' or highlighting 'oppression' (Source 2). The arrangement of figures should convey this narrative tension. Specific visual details of the room or clothing are not described in the sources, so the composition should focus on the emotional weight and social critique characteristic of Makovsky’s 1870s work.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the narrative scene on the canvas, focusing on the 'moment in a narrative' that conveys social oppression or irony.
Tip — Ensure the figures are arranged to tell the story clearly, as history paintings 'almost always contain a number of figures' (Source 7).
Narrative composition
underpainting
step 02
Create a grisaille using black, ultramarine, and white mixed with oil of copavia (or walnut oil).
Tip — This establishes the tonal structure. 'Mentally extract the red and yellow colours' to focus on value (Source 8).
Monochrome underpainting
first pass
step 03
Apply transparent glazes of red and yellow tones over the dry grisaille.
Tip — Glazing is a 'transparent coat of colour' (Source 8). Use this to build up color intensity without losing the underlying tonal structure.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly in shadows or areas requiring a 'grey bloom' or coldness.
Tip — Scumbling 'tends to coldness' when employed over a darker ground (Source 8).
Scumbling
step 05
Enhance color brilliance by placing complementary colors next to each other. For example, surround red tones with green to make them appear redder.
Tip — When 'two colours separated by more than two others in the order of the spectrum are in juxtaposition, each approaches the complement of the other' (Source 3).
Complementary contrast
finishing
step 06
Review the painting for 'smallness' or over-modeling. If the painting feels too tied down to outlines, loosen the brushwork.
Tip — The sources advise copying works like Reynolds' to 'check any tendency to smallness' (Source 1).
Correcting weaknesses
critical techniques
Glazing and Scumbling
Used to build color and tone over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque layers, often creating coldness or grey blooms.
Complementary Color Juxtaposition
Placing complementary colors (e.g., red and green, orange and blue) next to each other to increase brilliance and contrast.
Monochrome Underpainting
Starting with black, ultramarine, and white to establish values before adding color, as practiced by Reynolds and recommended for mastering the medium.
common pitfalls
- →Tendency to 'smallness' or being 'too much tied down to your outline' (Source 1).
- →Over-modeling, which can make the painting look stiff (Source 1).
- →Ignoring the power of complementary colors to enhance brilliance, leading to dull or flat colors (Source 3).
- →Applying color too early, before the monochrome underpainting is dry, which can muddy the glazes (Source 8).
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 visual details of 'The Condemned' (e.g., exact clothing, facial expressions, room layout) are not described in the sources.
- ·Makovsky’s specific pigment choices for this painting are not detailed; the guide relies on general 19th-century practices and the provided texts.
- ·The exact narrative moment depicted in 'The Condemned' is not described, so the artist must infer the social critique from Makovsky’s general style.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- ON COPYING — applied to Warning against 'smallness' and over-modeling; emphasis on craftsmanship.
- COLOURING A MONOCHROME — applied to Technique of glazing and scumbling over a grisaille underpainting.
The Science of Painting↗
- 4. When two colours separated by more than two others — applied to Use of complementary colors to enhance brilliance and contrast.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Vladimir Makovsky↗
- Biography — applied to Context of Makovsky’s socially conscious style and irony in the 1870s.
Wikipedia: History painting↗
- History painting — part 1 — applied to Definition of history painting as depicting a narrative moment with multiple figures.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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