plate no. 8529
The Streltsy Uprising
Ivan Bilibin, 1936
recreation guide
Ivan Bilibin’s *The Streltsy Uprising* (1936) is a history painting that reflects his long-standing engagement with Russian folklore and ethnographic research, particularly his studies of the Russian North and traditional wooden architecture (Source 8). While Bilibin is most famous for his Art Nouveau illustrations, this late work operates within the genre of history painting, which depicts a narrative moment rather than a static subject (Source 4). The artwork likely exhibits the dramatic lighting and emotional intensity characteristic of Baroque influences, which Bilibin encountered through his training and the broader European artistic context (Source 3). As an oil painting, it adheres to traditional layering techniques, potentially utilizing the 'fat over lean' principle to ensure stability and depth (Source 6).
estimated time
40-60 hours over 8-12 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Red, Yellow, Blue) | Primary pigments for underpainting and glazing | Artist-grade oil paints |
| Linseed oil | Medium to thin paint and increase drying time for upper layers | Refined linseed oil |
| Mineral spirits or turpentine | Solvent for thinning initial layers and cleaning brushes | Odorless mineral spirits |
| Canvas or prepared panel | Support for the oil painting | Primed linen or cotton canvas |
| Charcoal or thinned paint | For initial sketching and underdrawing | Vine charcoal or diluted oil paint |
preparation
surface prep
The surface should be prepared according to traditional oil painting standards. While Bilibin’s specific ground preparation for this late work is not detailed in the sources, traditional practice involves priming the canvas to create a stable base. The artist may have used a neutral ground to facilitate the grisaille underpainting method described in historical texts (Source 2).
underdrawing
Begin by sketching the composition onto the canvas using charcoal or thinned paint (Source 6). Bilibin’s background in illustration and ethnographic drawing suggests a high degree of preparatory accuracy, aiming for 'minute visual expression' to capture the emotional significance of the historical figures (Source 5). The drawing should be highly finished to allow the artist to focus on color and light during the painting phase (Source 5).
underpainting
Create a monochrome underpainting (grisaille) using black, ultramarine, and white, mixed with oil of copavia or linseed oil (Source 2). This step involves mentally extracting red and yellow tones to establish the value structure of the painting (Source 2). This technique allows for the subsequent application of transparent glazes to build up color depth, a method practiced by old masters and referenced in Bilibin’s contemporary technical literature (Source 2).
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and cool shadows
White
Lead white or zinc white
Highlights and mixing tints in underpainting
Black
Ivory black or lamp black
Deep shadows and underpainting
Red and Yellow tones
Transparent red and yellow glazes
Glazing over the dry grisaille to introduce warmth and flesh tones
composition
As a history painting, the composition likely depicts a dramatic moment in the narrative of the Streltsy Uprising, consistent with the Baroque tradition of choosing the most dramatic point of action (Source 3, Source 4). Bilibin’s ethnographic research may influence the depiction of costumes and settings, ensuring historical authenticity in the accessories and draperies (Source 8). The arrangement of figures should aim for emotional impact rather than calm rationality, evoking passion and drama (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition on the canvas using charcoal or thinned paint, focusing on accurate forms and emotional expression.
Tip — Ensure the drawing is highly finished to capture minute details, as this will guide the painting process.
Preparatory drawing
underpainting
step 02
Apply a monochrome grisaille using black, ultramarine, and white mixed with oil. Establish the light and shadow structure without red or yellow tones.
Tip — Mentally extract red and yellow colors to focus on value contrasts.
Grisaille underpainting
first pass
step 03
Once the grisaille is dry, begin glazing and scumbling with oil. Apply transparent coats of red and yellow tones to introduce color.
Tip — Use glazing for transparent color layers and scumbling for semi-opaque effects, allowing the underpainting to show through.
Glazing and scumbling
refining
step 04
Refine the color contrasts, paying attention to the law of simultaneous contrast. Adjust tones where colors are juxtaposed to enhance visual impact.
Tip — Be aware that adjacent colors will influence each other; the lightest tone may be lowered and the darkest heightened.
Simultaneous contrast
finishing
step 05
Apply final layers of paint, ensuring each layer contains more oil than the previous one (fat over lean) to prevent cracking.
Tip — Check for proper drying between layers to maintain the integrity of the paint film.
Fat over lean
critical techniques
Grisaille Underpainting
Creating a monochrome base to establish values before adding color glazes, a method used by old masters and described in technical texts.
Glazing and Scumbling
Applying transparent and semi-opaque layers of color over the dry underpainting to build depth and richness.
Simultaneous Contrast
Adjusting colors based on their interaction with adjacent hues to enhance visual harmony and impact.
Fat Over Lean
Ensuring each successive layer of paint has a higher oil content to prevent cracking and ensure durability.
common pitfalls
- →Applying lean layers over fat layers, which can lead to cracking and peeling of the paint film (Source 6).
- →Ignoring the effects of simultaneous contrast, resulting in colors that appear dull or unharmonious due to adjacent interactions (Source 1, Source 7).
- →Failing to let the grisaille underpainting dry completely before glazing, which can muddy the colors and disrupt the layering process (Source 2).
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 Streltsy Uprising scene depicted in the painting, such as exact figure poses or background elements, are not described in the sources.
- ·Bilibin’s specific palette choices for this 1936 work are not documented in the provided passages.
- ·The exact varnishing process used by Bilibin for this painting is not detailed.
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 contrast and harmony
The Practice and Science of Drawing↗
- FROM A STUDY BY BOTTICELLI — applied to Importance of detailed underdrawing
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials and fat over lean principle
Wikipedia bio — Ivan Bilibin↗
- Early life — applied to Artist’s background and influences
Wikipedia: History painting↗
- History painting — part 1 — applied to Genre characteristics
Wikipedia: Baroque painting↗
- Baroque painting — part 1 — applied to Dramatic composition and lighting
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
in this vein
