plate no. 1664
Walking by countryside
David Burliuk, 1944
recreation guide
David Burliuk’s 'Walking by countryside' (1944) is a landscape executed in oil, situated within the Post-Impressionist style. While Burliuk is historically renowned as a pioneer of Russian Futurism and Cubo-Futurism (Source 7), this specific work from his later years in the United States reflects a shift toward landscape painting, a genre he engaged with throughout his career, including sketches of Australian views in his final years (Source 8). The artwork likely emphasizes the expressive potential of the medium rather than strict topographical accuracy, consistent with the view that landscape art serves as an expression of feeling and painted symbols rather than a mere substitute for nature (Source 2). The composition likely features natural scenery such as trees, sky, and weather elements arranged into a coherent whole, typical of the landscape genre (Source 3).
estimated time
20-30 hours over 5-7 sessions
materials
5 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, Black, White, Yellow, Red tones) | Primary pigments for underpainting and glazing | Artist-grade oil paints |
| Linseed oil or Oil of Copavia | Medium for thinning paint and creating glazes | Stand oil or refined linseed oil |
| Mineral spirits or Turpentine | Solvent for cleaning brushes and thinning initial layers | Odorless mineral spirits |
| Canvas | Support surface | Linen or cotton canvas |
| Paintbrushes and/or Palette knives | Application of paint; knives can scrape or apply thick layers | Hog bristle and synthetic brushes |
preparation
surface prep
The canvas should be primed to accept oil paint. While specific preparation for this 1944 work is not detailed in the sources, traditional oil painting practice involves ensuring the surface is stable to prevent cracking. The artist likely used a standard ground suitable for oil application, allowing for the layering techniques described in historical practices (Source 4).
underdrawing
Traditional oil painting techniques often begin with sketching the subject onto the canvas using charcoal or thinned paint (Source 4). Given Burliuk’s background in Futurism and his later shift to landscape, the underdrawing likely established the basic forms of the countryside elements (trees, sky, path) without excessive detail, serving as a guide for the subsequent monochrome underpainting.
underpainting
A grisaille (monochrome underpainting) is recommended, utilizing black, ultramarine, and white mixed with oil of copavia or linseed oil (Source 1). This step involves mentally extracting red and yellow colors to establish the tonal structure of the landscape. This method allows the artist to focus on value and form before introducing color, a technique practiced by old masters and referenced in Reynolds’ method (Source 1).
color palette
Ultramarine
Pure ultramarine pigment
Underpainting and cool tones in the sky or shadows
Black
Pure black pigment
Underpainting and deep shadows
White
Titanium or Zinc white
Underpainting highlights and mixing tints
Yellow tones
Various yellow pigments (e.g., Cadmium Yellow, Yellow Ochre)
Glazing and scumbling to introduce warmth and light
Red tones
Various red pigments (e.g., Cadmium Red, Alizarin Crimson)
Glazing and scumbling to introduce warmth and vitality
composition
The composition likely includes a wide view of natural scenery with sky and weather elements, arranged coherently (Source 3). As a Post-Impressionist landscape, it may prioritize emotional expression and symbolic representation over strict realism, treating the landscape as 'painted symbols' rather than a deceptive illusion (Source 2). Specific details of the countryside layout are not described in the sources, so the artist should rely on general landscape conventions of the period.
step by step
underdrawing→underpainting→first pass→refining→finishing
underdrawing
step 01
Sketch the basic composition of the countryside onto the canvas using charcoal or thinned paint.
Tip — Keep lines loose to allow for adjustment during painting.
Initial sketching
underpainting
step 02
Apply a grisaille using black, ultramarine, and white mixed with oil. Establish the tonal values of the landscape, excluding red and yellow hues.
Tip — Ensure this layer is completely dry before proceeding.
Grisaille
first pass
step 03
Begin glazing and scumbling with oil, introducing yellow and red tones. Apply transparent coats of color (glazing) and semi-opaque layers (scumbling) to build up the color structure.
Tip — Observe how the underlying grisaille affects the color temperature; scumbling over darker grounds can create a grey bloom or coldness.
Glazing and Scumbling
refining
step 04
Adjust the translucency, sheen, and density of the paint using additional media like cold wax or resins if needed. Use palette knives to scrape or apply paint for texture.
Tip — Follow the 'fat over lean' rule: each subsequent layer should contain more oil than the previous one to prevent cracking.
Layering and Texture
finishing
step 05
Finalize the painting by ensuring the emotional idea is expressed through the painted symbols. Avoid creating a meretricious attempt to deceive the eye; maintain the integrity of the medium.
Tip — Remember that art is an expression of feeling, not a substitute for nature.
Expressive finish
critical techniques
Glazing
Applying a transparent coat of color over a dry underpainting to build depth and luminosity. This technique was used by old masters and is recommended for introducing red and yellow tones after the grisaille.
Scumbling
Applying a semi-opaque layer of paint through which the underlying painting is visible. This can create a grey bloom or coldness when used over darker grounds.
Fat over Lean
Ensuring each additional layer of paint contains more oil than the layer below to allow proper drying and prevent cracking.
common pitfalls
- →Cracking and peeling of the paint film if the 'fat over lean' rule is not followed (Source 4).
- →Creating a deceptive illusion of nature rather than an expressive symbol, which undermines the vitality of the medium (Source 2).
- →Applying glazes or scumbles before the underlying grisaille is completely dry, which can muddy the colors and compromise the technique (Source 1).
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 'Walking by countryside' (e.g., exact placement of trees, figures, or weather conditions) are not described in the sources.
- ·Burliuk’s specific palette choices for this 1944 work are not detailed; the guide relies on general Post-Impressionist and traditional oil painting practices.
- ·The exact medium Burliuk used for this specific painting (e.g., ratio of oil to solvent) is not recorded in the provided sources.
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), glazing, and scumbling techniques
The Practice and Science of Drawing↗
- XX MATERIALS — applied to Philosophy of medium use and avoiding deceptive illusion
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Landscape painting↗
- Landscape painting — part 1 — applied to Composition elements (sky, weather, natural scenery)
Wikipedia: Oil painting↗
- Oil painting — part 2 — applied to Materials, 'fat over lean' rule, and application methods
Wikipedia bio — David Burliuk↗
- part 3 and part 4 — applied to Artist context and later career landscape work
Read more about the corpus on the sources page and how the guides are built on the methods page.
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