plate no. 1076
Volkov's Family. Group Portrait of M.S.Volkov, S.N.Volkova and S.M.Volkov-Manzei
Konstantin Makovsky, 1890
what to study here
It shows how warm shadows, a controlled dark-to-light structure, and varied edges can organize a tight three-figure group portrait around one bright face.
Study how the painter holds three figures together with value and temperature rather than outline. The vision analysis describes three value zones: near-black background and formal clothing, mid-tone flesh and pale fabrics, and cream accents. The darks frame the faces, so the faces carry the picture. Light enters from the upper left. Shadows on the faces are warm reds and browns, not cool greys, which keeps the golden mood. The background is loosely brushed with soft edges, warmer and brighter toward the upper left, darker and cooler toward the right and lower areas. That variation gives recession even though the figures are packed tightly. Notice the edge control. Faces are modeled with soft transitions around the eyes and mouth. The man's jacket is smoothly rendered with sharp edges where it meets lighter areas, so his silhouette stays clear. The woman's puffed sleeves show gathered structure in the brushwork, while the child's dress is handled with broader strokes. The eye goes first to the child's face, the brightest point, then up through the woman's face to the man's watchful gaze. Copy the value plan and the edge hierarchy before you worry about likeness.
key decision
Makovsky kept the shadows on the faces warm (reds and browns) against a dark, warm-to-cool graded background, so the faces read clearly while the golden key stays unified. Sharp edges are saved for dark clothing against light areas.
recreation guide
Konstantin Makovsky’s 'Volkov's Family' (1890) is a group portrait executed in oil, reflecting his status as a prominent Russian realist and Academic artist during the Belle Époque (Source 7). While Makovsky is often associated with historical scenes depicting idealized Russian life, this work falls within the portrait genre, likely showcasing his mature style which emphasized color and shape following his travels to North Africa and Serbia in the mid-1870s (Source 7). The painting represents a shift from his earlier strict realism toward a more vibrant, color-focused approach, consistent with his later period. The recreation of this work requires an understanding of traditional oil painting techniques that were prevalent among the 'old masters' and academic painters of Makovsky's era. This includes the use of a monochrome underpainting (grisaille) to establish form and value before applying color through glazing and scumbling (Source 1). The process relies on the principles of simultaneous contrast and the careful manipulation of hue and saturation to achieve realistic flesh tones and drapery without muddying the colors (Source 2, Source 3).
estimated time
40-60 hours over 8-12 sessions
materials
9 items
steps
7 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Linen canvas | Primary support for oil painting, consistent with historical practices. | Primed linen or cotton canvas |
| Linseed oil | General purpose drying oil for mixing paints and creating mediums. | Refined linseed oil |
| Safflower or Poppyseed oil | For mixing lighter colors like white to prevent yellowing, as linseed oil yellows over time. | Safflower oil or poppyseed oil |
| Oil of Copavia (or modern resinous medium) | Historical medium used by Reynolds and likely similar academic painters for initial layers; provides a fast-drying, hard film. | Dammar resin in turpentine or a modern alkyd medium |
| Lead White (historical) / Titanium White (modern) | Dominant white pigment for centuries due to opacity and fast drying; essential for highlights and flesh tones. | Titanium White (non-toxic alternative) |
| Ultramarine | Key blue pigment used in the initial monochrome underpainting alongside black and white. | Ultramarine Blue |
| Black pigment (e.g., Ivory Black) | Used in the grisaille underpainting to establish shadows and form. | Ivory Black or Mars Black |
| Red and Yellow earth pigments (e.g., Ochre, Sienna, Vermilion) | Used for glazing and scumbling to introduce color over the monochrome base. | Burnt Sienna, Yellow Ochre, Cadmium Red |
| Varnish | Mixed with oil for later glazing stages to increase transparency and flow. | Stand oil or copal varnish |
preparation
surface prep
The canvas should be primed with a traditional gesso or oil ground to create a smooth, absorbent surface suitable for the layering techniques described. Makovsky, being an Academic painter, would have utilized a prepared surface that allowed for fine detail and glazing. The ground should be neutral or slightly warm to aid in the subsequent grisaille stage.
underdrawing
While specific preparatory drawings for this portrait are not detailed in the sources, Makovsky’s academic training suggests a precise underdrawing. The artist likely used a charcoal or thinned oil sketch to establish the composition and proportions of the three figures (M.S. Volkov, S.N. Volkova, and S.M. Volkov-Manzei). The drawing should be firm but not so dark that it shows through the final glazes.
underpainting
The underpainting should be a grisaille (monochrome) layer using black, ultramarine, and white, mixed with oil of copavia or a similar fast-drying medium (Source 1). This layer establishes the full range of values and forms without color. The artist mentally extracts red and yellow tones, focusing on the structural light and shadow (Source 1). This layer must be completely dry before proceeding to color application.
color palette
Flesh Tones
Lead white, vermilion, yellow ochre, and small amounts of blue/black for shadows.
General use in this artist's palette for realistic skin rendering.
Deep Shadows
Ultramarine and black.
Establishing depth in the grisaille and dark areas of clothing.
Warm Highlights
Yellow ochre, raw sienna, and lead white.
Glazing over the grisaille to introduce warmth and life to the figures.
Cool Shadows/Background
Ultramarine, black, and white.
Creating contrast and depth, particularly in drapery and background elements.
composition
The composition features three figures: M.S. Volkov, S.N. Volkova, and S.M. Volkov-Manzei. While the specific arrangement is not detailed in the sources, Makovsky’s academic background suggests a balanced, likely triangular or pyramidal composition typical of group portraits from this period. The figures are likely arranged to show familial connection, with attention to the contrast between their clothing and the background. The artist’s later emphasis on color and shape (Source 7) implies that the drapery and facial features are rendered with a focus on tonal harmony and simultaneous contrast (Source 2).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Transfer the sketch of the three figures onto the primed canvas using charcoal or thinned oil. Ensure proportions are accurate, as corrections are difficult in later stages.
Tip — Keep the drawing light to avoid interfering with the grisaille.
Academic underdrawing
underpainting
step 02
Mix black, ultramarine, and white with oil of copavia (or a modern equivalent like dammar resin in turpentine). Paint the entire composition in monochrome, establishing all lights, mid-tones, and shadows. This is the grisaille stage.
Tip — Mentally exclude red and yellow colors, focusing only on value structure (Source 1).
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Begin glazing with transparent red and yellow tones over the appropriate areas. Use a medium of oil and varnish for increased transparency.
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying form (Source 1).
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly in highlights and areas where the underlying grisaille needs to show through. This helps create a 'grey bloom' or softness in transitions.
Tip — Scumbling over darker grounds tends to create coldness; use this effect intentionally for shadows or cool highlights (Source 1).
Scumbling
step 05
Adjust flesh tones by mixing colors carefully. Avoid adding black to darken reds or yellows, as this shifts the hue toward green or blue. Instead, use complementary colors to neutralize and darken if necessary.
Tip — Correct hue shifts by adding small amounts of adjacent colors (e.g., orange to red-white mixtures) (Source 3).
Color Mixing
finishing
step 06
Apply final glazes to unify the composition and enhance the simultaneous contrast between adjacent colors. Ensure that the juxtaposition of tones creates a true gradation of light.
Tip — Pay attention to how adjacent colors affect each other; the highest tone may appear enfeebled next to a lower tone (Source 2).
Simultaneous Contrast
varnishing
step 07
Once the painting is fully dry (which may take months), apply a final varnish to protect the surface and deepen the colors.
Tip — Ensure the painting is completely dry to prevent trapping solvents.
Varnishing
critical techniques
Grisaille Underpainting
A monochrome layer using black, ultramarine, and white to establish form and value before color application. This method was common among old masters and academic painters like Reynolds (Source 1).
Glazing and Scumbling
Glazing involves applying transparent coats of color, while scumbling uses semi-opaque paint to allow the underlayer to show through. These techniques build depth and luminosity (Source 1).
Simultaneous Contrast
Understanding how adjacent colors affect each other’s perception. This principle helps in creating harmonious compositions and realistic light effects (Source 2).
Hue-Corrected Mixing
Avoiding the use of black to darken colors, which causes hue shifts. Instead, using complementary colors or adjacent hues to maintain color integrity (Source 3).
common pitfalls
- →Adding black to red or yellow paints to darken them, which causes undesirable hue shifts toward green or blue (Source 3).
- →Applying glazes before the grisaille is completely dry, leading to cracking or muddying of the underlayer (Source 1).
- →Ignoring the effects of simultaneous contrast, resulting in flat or discordant color relationships (Source 2).
- →Using linseed oil for white pigments, which can cause yellowing over time; safflower or poppyseed oil is preferred for whites (Source 4).
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 clothing patterns, jewelry, or facial expressions of the Volkov family members are not described in the sources, so these must be inferred from the original artwork or left to the artist's discretion based on Makovsky's general style.
- ·The exact room layout and background elements are not detailed in the sources, requiring the artist to rely on visual analysis of the original painting.
- ·Makovsky's specific palette choices for this particular portrait are not documented in the provided sources, so general academic practices are assumed.
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 Grisaille underpainting, glazing, and scumbling techniques.
Laws of Contrast of Colour↗
- 6. Put beside each other two flat tints... — applied to Understanding simultaneous contrast and color harmony.
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Color theory↗
- Color theory — part 6 — applied to Mixing pigments without hue shifts.
Wikipedia: Oil painting↗
- Oil painting — part 4 — applied to Material selection, specifically oils and pigments.
Wikipedia bio — Konstantin Makovsky↗
- part 1 — applied to Artist's style evolution and academic background.
Read more about the corpus on the sources page and how the guides are built on the methods page.
read from the painting
observed from the image, not the label6 dominant colors, measured
what the eye sees
Three figures emerge from a warm, golden-brown background: a bearded man in formal black attire stands rear-right, a dark-shawled woman with pale puffed sleeves occupies center-left, and a young child in a pale dress anchors the foreground center. Light streams from the upper left, creating warm illumination on the three faces and pale fabrics while the right sides fall into cool shadow. The eye travels first to the child's face—the brightest point and compositional anchor—then rises through the woman's face to the man's stern, watchful gaze. The warm atmospheric background creates recession despite the figures' tight grouping.
value structure
The painting operates in three distinct value zones: the very dark (nearly black) background and formal clothing, the mid-tone flesh and light fabrics, and bright cream accents. When squinted, the background reveals tonal variation—darker and cooler on the right and lower areas, warmer and brighter toward the upper left. Shadows on faces employ warm reds and browns rather than cool greys, preserving the overall golden mood. The contrast between the dark clothing and illuminated faces is the composition's visual anchor.
observed palette and mixes
#1a1613
ultramarine + burnt sienna + touch of black
Darkest background accents, deepest folds in shawl and suit
#372218
burnt sienna + ultramarine (sienna-dominant)
Mid-dark background layers, beard shadows, cool areas of shawl
#4d3423
burnt sienna + alizarin + ultramarine
Background mid-tones throughout, dark areas on child's dress
#8c6b48
raw sienna + ultramarine + white
Warm background mid-tones, shadow modeling on all faces
#66462a
alizarin + ultramarine + yellow ochre
Warm red-brown shadows on cheeks, neck, beard, temple modeling
#c3a470
yellow ochre + white + touch of alizarin
Flesh tones on all three faces, highlight areas on child's dress, hand definition
edges and brushwork
The background is loosely handled with visible directional strokes and soft, blurred edges that create atmospheric depth. Faces are modeled with precision and soft transitions—especially around eyes and mouth—showing classical portraiture restraint. Fabric receives varied treatment: the woman's puffed sleeves display dimensional brushwork showing gathered structure, while the child's dress uses broader strokes with selective detail; the man's formal jacket is smoothly rendered with sharp edges where it meets lighter areas, creating silhouette clarity.
a working sequence
- 01
Establish composition and proportions
Lightly map the three heads forming a triangle—child at front-center, woman at left-center, man at upper-right. The child occupies significant space despite being youngest; check that proportions feel right by comparing head sizes to overall composition. Establish shoulder lines showing tight grouping and slight overlapping; this is an intimate family arrangement, not spread out.
- 02
Block in background foundation
Cover the entire background with a warm, golden-brown middle tone using burnt sienna + ultramarine + yellow ochre. Apply loosely with broad strokes; don't aim for uniformity. The upper left should lean warmer and brighter, while the lower right becomes cooler and more muted—this atmospheric variation is essential. This step establishes the entire color key.
- 03
Establish darks and silhouettes
Paint the man's dark formal suit and the woman's black shawl using ultramarine + burnt sienna, keeping these nearly black but warm-toned. The suit should feel deep without being flat; let background warmth show through in shadow edges. These dark masses frame the pale faces and create immediate compositional clarity.
- 04
Lay in flesh tones
Paint all three faces with a unified warm flesh tone (yellow ochre + white + touch of alizarin), slightly darker and more saturated than your final lights. Model basic facial forms—the woman and man benefit from more modeling; the child's face is fresher and simpler. Keep edges soft; faces should emerge from the background gradually, not jump forward sharply.
- 05
Define facial features and character
The man's stern expression lives in sharp eye placement, furrowed brow, and full beard's shadow work. The woman's gaze is softer—smaller, more refined eye and delicate cheek modeling. The child reads innocent and open—larger, wider eyes, minimal aging, fresh complexion. Use warm reds and browns in shadow areas (alizarin mixed with ultramarine on cheeks, temples, beneath chin). Each face must read clearly against the dark background.
- 06
Paint costume and fabric
Refine the woman's pale dress sleeves, showing gathered fabric's dimension through directional brushstrokes. Puffed sleeves have bright light areas on top, warmer shadows in folds—use ochre + white for lights, shift to alizarin-tinged shadows. The child's dress is simpler, with gentle value shifts suggesting drapery without fussiness. Work the dark shawl's texture; it's not flat black but shows subtle modeling and edge variation.
- 07
Add flower and jewelry accents
Paint the golden flower in the man's lapel (cadmium yellow + ochre) and the purple flowers in the woman's hand (alizarin + ultramarine dulled with ochre). These are small but vital color notes. Keep them painterly and integrated—avoid fussy detail work. Add definition to the woman's pearl earrings and the white shirt front on the man; these help establish each figure's presence.
- 08
Refine and integrate
Step back and check value relationships—the faces should sing clearly against their backgrounds. Add bright highlights where light catches (woman's cheek, child's forehead, man's bald dome). Sharpen edges where dark clothing meets pale flesh; this contrast is compositional gold. Soften other edges—especially background-to-figure transitions. Ensure background tonal variation reads: warmer and brighter upper left, cooler and darker lower right. Final pass on any jewelry, highlights, or soft adjustments.
where studies of this painting go wrong
- Painting the background as uniform brown—it needs tonal and temperature shifts to feel atmospheric and prevent deadness. The variation between warmer upper areas and cooler lower areas is subtle but essential.
- Using insufficient warmth in flesh tones or mismatching colors across the three faces. These must read as sharing the same light source; inadequate ochre and alizarin balancing results in grey, ashen skin.
- Softening the edge between dark clothing and pale faces too much. This contrast is the composition's strength; underplaying it causes figures to flatten or separate awkwardly.
- Overworking the background to the point where it competes for attention. Loose, soft brushwork keeps it recessive and atmospheric; unnecessary detail here distracts from the faces.
- Miscalculating the child's proportional importance. The head takes up real estate; undersizing it throws the triangular composition off balance and weakens the family grouping.
- Rendering fabrics too smoothly or with insufficient texture. The puffed sleeves and shawl need visible directional brushwork to convey dimension and fabric quality.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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