plate no. 2240
To crown (Farewell)
Vladimir Makovsky, 1894
recreation guide
Vladimir Makovsky’s 'To crown (Farewell)' (1894) is a genre painting that reflects the artist’s transition into a more somber, psychologically complex phase of his career. By 1894, Makovsky had moved away from the humorous, small-town folk scenes of the 1870s and the socially conscious critiques of the 1880s, producing works characterized by a 'gloomy' atmosphere and profound emotional weight (Source 2). As a founding member of the Association of Travelling Art Exhibitions and a professor at the Moscow Art School, Makovsky was defined by a 'perpetual humor as well as blatant irony and scorn,' but this later period emphasizes the 'inner essence' of his subjects rather than just their outward appearance (Source 2, Source 6). The work belongs to the tradition of genre painting, which depicts ordinary people in everyday life, often conveying a moralistic message or a 'reality effect' rather than strict photographic realism (Source 3, Source 4).
estimated time
40-60 hours over 8-12 sessions
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Red ochre/Yellow ochre) | Primary pigments for the grisaille underpainting and subsequent glazing/scumbling layers. | Standard tube oils; Ultramarine Blue, Ivory Black, Titanium White, Red Ochre, Yellow Ochre. |
| Linseed oil or Oil of Copavia | Medium for mixing paints, particularly for the initial layers as described by Reynolds’ method cited in the sources. | Stand oil or refined linseed oil. |
| Canvas or Panel | Support for the oil painting. | Linen canvas primed with gesso. |
| Varnish | For mixing with oil in later glazing stages to increase transparency and flow. | Dammar varnish or synthetic resin varnish. |
preparation
surface prep
The surface should be prepared with a ground suitable for oil painting. While Makovsky’s specific ground preparation is not detailed in the sources, the text emphasizes the importance of being a 'sound craftsman' with knowledge of the medium (Source 1). A traditional white or neutral ground is recommended to allow for the grisaille technique described in the coloring section.
underdrawing
Makovsky’s preparatory methods are not explicitly detailed in the provided sources. However, as a realist painter trained at the Moscow School of Painting, Sculpture, and Architecture, he likely employed a precise underdrawing to establish the 'reality effect' characteristic of genre painting (Source 2, Source 3). The sources advise that copying works can help correct weaknesses in outline or modeling, suggesting a disciplined approach to initial structure (Source 1).
underpainting
The sources describe a technique of creating a monochrome underpainting (grisaille) by mentally extracting red and yellow colors, leaving only the values that would remain if those colors were absent (Source 7). This grisaille should be allowed to dry completely before proceeding. This method aligns with the 'old masters' practice mentioned in the text, which involves establishing form and value before introducing color (Source 7).
color palette
Ultramarine
Pure Ultramarine Blue
Used in the initial grisaille underpainting along with black and white to establish values (Source 7).
Black
Pure Black
Used in the initial grisaille underpainting to establish shadows and depth (Source 7).
White
Pure White
Used in the initial grisaille underpainting to establish highlights and mid-tones (Source 7).
Red/Yellow Tones
Red ochre, Yellow ochre, or other warm pigments
Applied via glazing and scumbling over the dry grisaille to introduce color, mimicking the tinting of an engraving (Source 7).
composition
The composition of 'To crown (Farewell)' likely adheres to the principles of genre painting, which focuses on figures engaged in common activities without specific individual identity, distinguishing it from portraiture (Source 4). Makovsky’s work from this period is noted for its gloomy atmosphere and psychological depth, suggesting a composition that emphasizes the 'inner significance' of the scene rather than just external detail (Source 2, Source 6). The arrangement of figures likely serves to convey a moralistic message or emotional narrative, consistent with the 'reality effect' of genre painting (Source 3).
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the composition lightly, focusing on the arrangement of figures and the overall narrative structure. Ensure the outlines are secure, as Makovsky’s realism requires precision.
Tip — Avoid being 'too tied down to your outline' or 'too timid to depart from it,' as advised in the sources for correcting modeling issues (Source 1).
Preparatory Drawing
underpainting
step 02
Create a grisaille underpainting using only black, ultramarine, and white mixed with oil of copavia or linseed oil. Mentally extract red and yellow colors to focus on value and form.
Tip — Ensure the grisaille is quite dry before proceeding to the next step (Source 7).
Grisaille
first pass
step 03
Begin glazing and scumbling with oil (and later varnish and oil mixed) to introduce red and yellow tones. Apply these colors transparently over the grisaille, similar to tinting an engraving with watercolors.
Tip — Glazing is a transparent coat of color, while scumbling is semi-opaque, allowing the underlying painting to show through (Source 7).
Glazing and Scumbling
refining
step 04
Refine the facial expressions and gestures to convey the 'inner essence' and emotional weight of the scene. Focus on the eyes and eyebrows to register subtle emotions, as the mouth may remain relatively neutral.
Tip — Aim to present the 'inner significance' of the subjects, not just their outward appearance (Source 6).
Psychological Realism
finishing
step 05
Complete the painting by adjusting the balance between the 'reality effect' and the moralistic or emotional message. Ensure the gloomy atmosphere characteristic of Makovsky’s 1890s work is maintained.
Tip — Check for any tendency to 'smallness' or over-modeling, which can detract from the broad masses and emotional impact (Source 1).
Atmospheric Rendering
critical techniques
Glazing and Scumbling
Used to apply color over a dry grisaille underpainting. Glazing provides transparency, while scumbling allows the underlying values to influence the final color, creating depth and complexity (Source 7).
Grisaille Underpainting
A monochrome layer using black, ultramarine, and white to establish form and value before introducing color. This method is attributed to 'old masters' and helps in managing the complexity of the final image (Source 7).
Psychological Realism
Focusing on the 'inner essence' and emotional state of the subjects, particularly through the eyes and eyebrows, to convey the moral or narrative weight of the genre scene (Source 6).
common pitfalls
- →Being 'too tied down to your outline' or 'too timid to depart from it,' which can lead to stiff, lifeless figures (Source 1).
- →Over-modeling, which can result in a lack of broad masses and a tendency to 'smallness' (Source 1).
- →Failing to allow the grisaille to dry completely before glazing, which can muddy the colors and ruin the transparency (Source 7).
- →Ignoring the 'inner significance' of the subjects, resulting in a superficial depiction that lacks the emotional depth characteristic of Makovsky’s later work (Source 6).
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 'To crown (Farewell)' such as exact clothing patterns, room layout, or specific gestures are not described in the sources.
- ·Makovsky’s exact pigment palette for this specific painting is not detailed; the guide relies on general period practices and the grisaille technique described in Source 7.
- ·The specific compositional arrangement of figures in this painting is not described, so the guide relies on general genre painting principles.
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 Advice on correcting weaknesses in outline and modeling, and the importance of being a sound craftsman.
- COLOURING A MONOCHROME — applied to Detailed instructions on grisaille underpainting and glazing/scumbling techniques.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Vladimir Makovsky↗
- Biography — applied to Context on Makovsky’s style shift to gloomy, psychologically complex works in the 1890s.
Wikipedia: Dutch Golden Age painting↗
- Dutch Golden Age painting — applied to Definition of genre painting and the 'reality effect'.
Wikipedia: Genre painting↗
- Genre painting — applied to Characteristics of genre scenes and their moralistic messages.
Wikipedia: Portrait painting↗
- Portrait painting — applied to Techniques for conveying inner essence and emotion through eyes and eyebrows.
Read more about the corpus on the sources page and how the guides are built on the methods page.
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