plate no. 6282
Underwater. Illustration for the epic "Volga"
Ivan Bilibin, 1928
recreation guide
Ivan Bilibin’s 'Underwater' (1928) is an oil illustration for the epic 'Volga,' executed in a style that bridges Art Nouveau linearity with the depth of oil painting. While Bilibin is historically renowned for his watercolor and gouache illustrations characterized by sharp, decorative outlines, this work utilizes oil to achieve a specific atmospheric depth. The distinctive quality of this piece likely relies on the interplay between a structured linear foundation and the luminous, transparent qualities of glazing, a technique that allows for the 'glow' and 'tender coldness' associated with underwater scenes (Source 4). The composition avoids the 'mingled' complexity of naturalism in favor of a 'definite state of feeling' driven by the aggregate force of color and line (Source 4).
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, Vermilion/Red Lake) | Primary pigments for underpainting and glazing. Ultramarine and white are specifically noted for initial oil paintings in historical practice. | — |
| Linseed oil or Oil of Copavia | Medium for thinning paint and creating transparent glazes. Copavia is historically cited for the first and second paintings. | Stand oil or pure linseed oil |
| Mineral spirits or Turpentine | Solvent for cleaning brushes and thinning initial washes. | Odorless mineral spirits |
| Canvas or Panel | Support surface. Bilibin often worked on paper or board, but oil requires a primed surface. | Primed linen or cotton canvas |
| Charcoal or Thinned Paint | For the initial sketch/underdrawing. | — |
preparation
surface prep
Prepare a rigid support (panel or stretched canvas) with a white or light-toned ground. Bilibin’s illustrative style relies on clarity of line and luminosity; a white ground enhances the transparency of subsequent glazes. Ensure the surface is smooth to accommodate the fine linear details characteristic of his Art Nouveau style.
underdrawing
Begin with a precise linear sketch using charcoal or thinned paint. Bilibin’s work is defined by its 'outline basis' which holds the picture together (Source 3). The drawing should establish the rhythmic lines and forms of the underwater figures and environment, ensuring that the 'emotional significance depending on some arrangement of abstract lines' is secured before color is applied (Source 8).
underpainting
Execute a monochrome underpainting (grisaille) using black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 1). This layer establishes the chiaroscuro and value structure. The goal is to 'mentally extract the red and yellow colours' and translate what would remain in nature without them, focusing on the 'large sense of design' (Source 1, Source 3). This step ensures the composition is held together by form and light before the complexity of color is introduced.
color palette
Ultramarine/Blue-Grey
Ultramarine, White, Black
Underpainting and cool shadows. Provides the 'tender coldness' and 'grey bloom' associated with underwater depths (Source 1, Source 4).
Yellow/Red Tones
Yellow Ochre, Vermilion, or Red Lake
Glazing and scumbling. These warm tones are added transparently over the dry grisaille to create luminosity and flesh tones, mimicking the tinting of an engraving (Source 1).
White
Lead White or Titanium White
Highlights and mixing with ultramarine for the grisaille. Used sparingly in glazes to maintain transparency.
composition
The composition should prioritize the 'aggregate force of color or line' over detailed naturalistic contrast (Source 4). Bilibin’s style suggests a focus on 'slight and graceful' forms with few interruptions by lines of contrary character, creating a 'special tale' and 'definite state of feeling' (Source 4). The arrangement of lines should guide the eye, potentially using dark masses in corners to avoid drawing attention away from the center (Source 8). The visual appeal relies on the 'innocence and imaginative appeal' of simple outline forms rather than complex visual realization (Source 3).
step by step
underdrawing→underpainting→refining→finishing
underdrawing
step 01
Sketch the composition with charcoal or thinned paint, focusing on the rhythmic arrangement of lines and the outline basis of the figures.
Tip — Ensure the lines have emotional significance and direct the eye to the center of the picture.
Contour/Outline Drawing
underpainting
step 02
Apply a monochrome layer using black, ultramarine, and white mixed with oil. Establish the full range of values (chiaroscuro) without using red or yellow pigments.
Tip — Mentally extract red and yellow colors; focus on the structural light and shadow.
Grisaille
refining
step 03
Allow the grisaille to dry completely. This is critical before applying transparent layers.
Tip — Rushing this step will muddy the glazes.
Drying
finishing
step 04
Glaze and scumble yellow and red tones over the dry grisaille. Use oil or a mix of varnish and oil to create transparent coats of color, similar to tinting an engraving.
Tip — Glazing adds depth and warmth; scumbling (semi-opaque) can create a 'grey bloom' or coldness if used over darker grounds.
Glazing and Scumbling
step 05
Refine the edges and ensure the 'outline basis' remains visible through the color layers, maintaining the Art Nouveau linear quality.
Tip — Avoid obscuring the main idea with excessive visual detail; preserve the 'imaginative appeal' of the form.
Edge Control
critical techniques
Glazing
Applying transparent coats of color over a dry monochrome underpainting to achieve luminosity and depth without muddying the values. This method was practiced by old masters and is essential for the 'glow' in this style.
Scumbling
Using semi-opaque paint over a darker ground to create a 'grey bloom' or coldness, useful for atmospheric effects in the underwater setting.
Outline Basis
Maintaining a strong linear structure beneath the paint layers to hold the composition together, a practice faithful to Leonardo and Raphael, and characteristic of Bilibin’s illustrative style.
common pitfalls
- →Applying glazes before the underpainting is completely dry, which will result in muddy colors and loss of transparency (Source 1).
- →Overworking the details, which can obscure the 'main idea' and disturb the 'large sense of design' (Source 3).
- →Ignoring the 'fat over lean' rule, leading to cracking and peeling of the paint film (Source 6).
- →Allowing the corners of the rectangular canvas to distract the viewer; fill them with dark masses or lines that swing the eye to the center (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 pigment recipes used by Bilibin in 1928 are not detailed in the sources; modern equivalents are suggested.
- ·The exact subject matter details (specific figures or objects in 'Underwater') are not described in the sources, so the guide focuses on technique rather than iconography.
- ·Bilibin’s specific brushwork habits for oil (vs. watercolor) are not explicitly detailed, so general oil painting practices are applied.
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 (grisaille) and glazing techniques
The Practice and Science of Drawing↗
- STUDY BY WATTEAU — applied to Importance of outline basis and avoiding excessive detail
- ILLUSTRATING SOME OF THE LINES... — applied to Compositional rhythm and handling of corners
The Elements of Drawing↗
- 231. Hence many compositions... — applied to Composition principles focusing on aggregate force of color/line
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 General oil painting rules (fat over lean, drying times)
Read more about the corpus on the sources page and how the guides are built on the methods page.
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