Tag: oil painting

4 reasons not to paint on cheap canvases from Michael’s, Hobby Lobby, Lowes & alike. Canvas review

Do you shop at these places for canvases? Michael’s, Hobby Lobby, Walmart, Lowes or online art supply retailers? When everything doubled or tripped in price in the art supplies section, these affordable canvases seem to be a steal. But are they really worth it? Stop 🛑 painting on these canvases now!

canvas and art supplies review

Video on YouTube: https://youtu.be/oxygIkpOwLA

4 reasons to stop painting on cheap canvases from Michael’s, Hobby Lobby, Lowes & alike.

Here are 4 reasons to stop buying cheap canvases at craft stores:

  1. Cheap wood doesn’t hold the frame in a long run unless you frame the art soon after its completion. The frames are often crooked and the stretcher bars are not stapled together. It could be all right for a small canvas but not for a big one because large canvases need more support to hold everything up together.
  2. You can’t be confident selling your art that’s produced using crappy art supplies. These canvases will begin to degrade within your lifetime (and this is a very conservative estimate).
  3. This material is not a high-quality canvas. I can’t even tell you what it really is. It can rip and ripple easily. Constant flactuations in room temperature cause cracks in art. This material is asking for trouble.
  4. This gesso (the white ground that covers panels and canvases) is not a high-quality gesso either. And that’s the biggest problem with the craft canvases in my opinion, because oil paint doesn’t form a permanent bond with this surface. It doesn’t stick even if it looks ok on the first sight. It’s very easy to damage the surface. Any shuffling of a painted art rubbed against something will damage the art. I’m not sure that acrylic paint forms a bond with this surface either. Beware.

Combine this horrible surface with low-quality, cheap paints and you got yourself a painting that will crack, fade and change it’s shape pretty soon. Do you really want that?


Affordable alternatives: paint on these high-quality panels instead

Here are some very good alternatives to paint on.

high quality panels for oil painting

Paint on panels:


My personal preference is a medium-textured panel like Ampersand gessobord or aluminum panels by Artefex. Artefex Alcotpanel is aluminum panel with a primed cotton canvas mounted on ACM and ready to paint on. Da vinci pro wood boards are also very good.

The gesso quality is very important. Golden products are very good. I’m not an affiliate of any of these companies. I just like the quality and price of their art supplies. Panels don’t fluctuate with a change in room temperature or humidity unlike canvas. Old art looks ok painted on wood panels… Raphael Premium Archival OIL PRIMED linen panels are designed for oil painting only because their gesso is oil-based, not acrylic-based like the majority of gesso brands sold today. https://amzn.to/3VRUSBt

colored pencil manual veronica winters
These art instruction books are on sale on Amazon!

Paint on canvas:

If you prefer the lightweight of a canvas, try working on a Belgian linen or more affordable canvas like Unprimed Cotton Duck #10 – Uniform Canvas Surface. It should be heavy and uniform. It’s best to buy a canvas in a roll rather than in a blanket format. The blanket could have creeses that are difficult to get rid of.
It can be a challenge to buy a good canvas shopping online because you can’t see or touch it. Some canvases have a very thin thread and you can almost look through them. Look into the numbers to understand which one is good. For example, unprimed cotton duck #10 is a thick material…

I hope this post and video helps you decide on your art materials choices or at least save you some real frustration and disappointment when you see your art scratch, crack or fade.

canvas review

Some art supplies available on Amazon:

Da vinci pro panels —https://amzn.to/3RTIduu

panels without gesso – https://amzn.to/3SfBJHx

Raphael Premium Archival OIL PRIMED linen panels (for oil painting only!) https://amzn.to/3VRUSBt

Ampersand gessobords-https://amzn.to/47ygmWg

Golden gesso: https://amzn.to/3TTwn4p

Gamblin oil paint and linseed oil – https://amzn.to/3vGNi1u ; https://amzn.to/47wvXph

Natural Pigments- https://www.naturalpigments.com/paints.html

Spray varnish – https://amzn.to/48OXyDn

Tombow mono eraser – https://amzn.to/3FXS9gI

Daler Rowney System3 Rich Gold Imitation 59ml Acrylic Paint Tube – https://amzn.to/48GA5nQ Alternative metallic acrylic gold paint – https://amzn.to/3vxx6je

If you’d like to support my work, check out the Amazon links or make a purchase from my shop. Every bit helps and you’re a part of my push forward!

What is the color white in life & art history?

Canova-Napoleons sister-closeup of feet-Borghese gallery -blog

What is the color white? Is it the titanium white in oil painting? Or is it the color of your skin, feather, cream, silk, snow, kitty, pearls, chess, lace, car, flowers, crystals, swans, wall paint, clouds and the moon? Or is it the white of a happy smile, hope, or the light of your soul? Is it the blinding sunlight, the whiteness of an angel’s wings or purity and innocence of a child?
It seems that white represents no color. Yet, it means so much to us. The bride’s wedding gown. The white glow of the sublime. The ethereal beauty of a white Greco-Roman marble sculpture. White light. White face. White lilies. White room. White staircase. White dove. White snow. It’s either a clean start or cold emptiness. We see unity in the symbolism of white across many cultures but not all. White can mean either a wedding or a funeral.

Turin

Video on YouTube: https://youtu.be/mMMiPF6OpQY

Technically, white isn’t a specific “color” like red or blue. When all the wavelengths of visible light are present and reflected by an object, we perceive it as white. In simpler terms, white is “all colors of the rainbow combined.”

Ai-generated female face in neutral white hue.

What is the color white technically?

The color spectrum & white

Rainbow. What is the color white? | photo: Veronica Winters
color spectrum
Color spectrum | Images https://www.freepik.com/ and https://pixabay.com/


All the colors we see exist on the visible light spectrum, a range of wavelengths our eyes can perceive. Each color corresponds to a specific wavelength of light. White is an achromatic color, which means it lacks a “hue.” White light is “all colors combined.” ( We perceive black when an object absorbs all wavelengths of light instead of reflecting them. An opposite to white, black is the absence of reflected light).

What is the color white? | photo: Veronica Winters

What is the color white in oil & acrylic painting?

Closeup of a white gown and metal from the Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection

While prehistoric art got created with a white chalk made of the mineral calcite, white oil paint has a different composition and history. In oil painting, the ideal opaque white is neither warm nor cool. For generations artists painted with lead white until the 19th century when everything changed. Companies began to mass-produce art supplies including watercolor and oil paint. No more hand-grinding of pigments!

White comes from substances like titanium dioxide, lead carbonate, calcite or zinc oxide. Zinc white has zinc pigments. Flake white is a softer, warmer white that used to have lead in it. Flake white is found in early Chinese painting. Kremnitz white, Venetian white, French white and Dutch white were also based on lead carbonate and lead hydroxide. Flemish white is based on lead sulfate. Cool color, the Titanium white is the strongest and most opaque white used by most contemporary artists today. A vast majority of the manufactured white pigments don’t have toxic lead in them. However, such paint is a lot more brittle and susceptible to the environmental changes, especially if it’s mixed with the safflower oil and not the linseed oil.

Symphony in White, No. 2: The Little White Girl 1864, James Abbott McNeill Whistler, 1834-1903, oil on canvas, Bequeathed by Arthur Studd 1919, © Photo: Tate http://www.tate.org.uk/art/work/N03418 CC-BY-NC-ND 3.0 (Unported).
In this painting the artist painted his mistress wearing an airy white dress – Jo Hiffernan with whom he lived for a decade. “The Little White Girl” is one of three Whistler paintings known as “Symphonies in White.” Out of three paintings, I think this one is the most successful because the woman looks real and the white gown is also beautifully painted.
Joyce H. Townsend, Senior Conservation Scientist, Tate, London, and honorary professor in the School of Culture and Creative Arts, University of Glasgow wrote about her experience of seeing te shades of white when old, lemon-yellow varnish got removed in 2021. This varnish removal revealed a range of beautiful, soft whites Whistler painted in the dress that included crimson red lake, red ochre, yellow ochre, blue ultramarine, and bone black, painted over a thinner layer of dark gray for the grate according to the conservation scientist. As you can see this range of whites got painted to capture the surrounding colors of the model cast from the pink flowers, blue vase and fireplace.
Detail of “The Little White Girl” showing how Whistler painted Hiffernan’s skin over the dress’s white fabric. © Tate, London | image taken from https://www.nga.gov/blog/how-whistler-painted-white-in-full-color.html
James McNeill Whistler -symphony in white, no1 the_white girl-Smithsonian-blog what is color white
James McNeill Whistler, Symphony in white, no.1, 1861-1863, 1872, the White Girl at the Smithsonian. 213 x 107.9 cm (83 7/8 x 42 1/2 in.), oil on canvas.
All three paintings were influenced by the Japanese art as the country opened itself in the 19th century. Just like the Impressionists, Whistler took the unusual elements of the Japanese woodblock printing to stylize his art. Artists borrowed cropping, the point of view, flatness of space and emphasis on patterns of color.
James McNeill Whistler -symphony in white, no1 the_white girl-Smithsonian-closeup-blog what is color white
James McNeill Whistler, Symphony in white, no.1, 1861-1863, 1872, the White Girl at the Smithsonian. 213 x 107.9 cm (83 7/8 x 42 1/2 in.), oil on canvas.

A modern invention, acrylic white is a chemical-based paint that’s made of pigment suspended in an acrylic polymer emulsion. It’s also made of plasticizers, silicone oils, defoamers, stabilizers, or metal soaps. Unlike oils, it’s water-based and dries super quickly. Used in house painting, acrylic paint dries to be water-resistant. Some artists love painting with acrylics while others don’t. Unique properties of each paint fit different creative personalities.

statue torso of river-the palatine museum-rome-blog
“Torso of river” statue fragment at the Palatine museum in Rome | Photo: Veronica Winters
Canova-Napoleons sister-closeup of feet-Borghese gallery -blog
Canova, Napoleon’s sister, closeup of fabric in marble, Borghese gallery, Rome, Italy

What are the shades of white?

Duomo di Bergamo cathedral rose window wall
Duomo di Bergamo cathedral rose window wall. Near Milan, Italy. | look at all these shades of white! I absolutely love the use of color marble here. Also there are several different patterns and textures that describe the ornamentation of this cathedral. Beautiful!

While most people don’t think of white having shades, artists and creatives perceive a wide range of subtle variations of white while creating their art. Normally, we don’t see the difference between the shades of white unless we chose a wall paint in a hardware store or look at the neatly stacked rows of clothes in a shop.

Shades of white seen in the Alhambra Palace in Granada, Spain

White should be neutral but it’s often either warm or cool. Warm whites have a hint of yellow to create a sense of warmth and coziness. Ivory, eggshell, cream, antique white, vanilla, and beige are the shades of warm white.

Bernini, Apollo and Daphne-details 1625
Bernini, Apollo and Daphne, closeup of fabric and hand, 1625, Rome, Italy. This white marble has a warm tone because of warm light.
The dodge’s palace in Venice, Italy. Here the white marble has a warm cast on the left side and a bluish color on the right.
Neutral color of the white snow in Russia.

Cool whites have a bluish-grey undertone giving a sense of timeless airy feel. Alabaster, pearl, white smoke and snow come to mind describing cool whites. But not all snow scenes are created equal. Some snow scenes have warm, yellowish color and bluish shadows seen under the sun.

Shades of white could also lean towards a specific color like pink, peach or green. Seashell white is a soft, pinkish-white reminiscent of the delicate hues of seashells.

The crystal white tiara could literally be any color of the light projected onto it. Here it ranges from a purplish white to warm white.

One of my favorite artists is John Singer Sargent. I love his use of bold brushstrokes, color and richness of paint he achieved in his large-scale canvases.

John Singer_Sargent_Lady_Agnew Scottish National Gallery
John Singer Sargent, Lady Agnew of Lochnaw (1864-1932), 1892, 127.00 x 101.00 cm, oil on canvas, National Galleries of Scotland.https://www.nationalgalleries.org/art-and-artists/5396/0?overlay=download
I’ve seen this painting hanging at the entrance to the art museum in Edinburgh, Scotland. The artist painted ultra wealthy individuals and often participated in the arrangement and choice of gowns on his models. According to the museum’s notes, living a lavish lifestyle, Gertrude had to sell several paintings including this one to the National Gallery of Scotland in 1925!

Regardless, I love how fluid and beautiful the white fabric is here. Look at all these shades of white!
John Singer Sargent, Lady Agnew of Lochnaw (1864-1932), a closeup of the painting revealing beautiful shades of white shifting from warm to neutral to cool white.
Sir Frederic Leighton, Portrait of a Roman Lady (La Nanna), Oil on canvas
Dimensions: 31 1/2 x 20 1/2 inches (80 x 52.1 cm), 1859, Philadelphia Museum of Art
While her face appears artificial lacking life and character I love how the artist painted all these different white garments! They range from neutral white in her robe to a warm white of silk cover to a pinkish white skirt. Also, a single string of white pearls matches the warmth of the silk. The background has some white elements that are greyed down and subdued to bring the figure forward.

Sir Frederic Leighton, Portrait of a Roman Lady (La Nanna), Oil on canvas Dimensions: 31 1/2 x 20 1/2 inches (80 x 52.1 cm), 1859, Philadelphia Museum of Art

The Symbolism of White across Art History

Paul Delaroche-the execution closeup of hands
Paul Delaroche, The execution of Lady Jane Grey, 1833, National Gallery, London, a closeup of hands and white gown. Photo: Veronica Winters | Here the white fabric is warm while the “grey” shadows are neutral and warm somewhat as well.
Canova, Napoleon's sister, closeup of fabric in marble, Borghese gallery, Rome, Italy
Antonio Canova, Napoleon’s sister, Venus Victrix, 1805-08, closeup of fabric in marble, Borghese gallery, Rome, Italy | The light is warm hitting the marble casting bluish-grey shadows.

The symbolism of the color white is quite astonishing if we think about it. There are universal associations with this color as well as the nuanced meanings of white depending on culture or context. One color. Two opposite associations.

Positive associations with the color white

In Christianity white represents purity, innocence, divinity.

Think of the white angels, white robes of monks and heavenly figures, a white dove or the white lilies of the Virgin Mary.

paintings of angels
The Ghent Altarpiece. Adoration of the Mystic Lamb: The Archangel Gabriel, 1432. Here, Gabriel brings the white lilies to Mary in annunciation. These flowers mean purity and virginity. The archangel wears a white robe with beautiful pearls decorating the fabric.
Dressed in a beautiful white gown, heavenly figure of Mary soars on a white cloud. This is one of the most beautiful religious sculptures I’ve seen in the European churches.
angel painting thyer
Abbott Handerson Thayer, Angel, 1887, oil on canvas, Smithsonian American Art
caravaggio angel violin
Michelangelo Caravaggio, a closeup of a painting “Rest on the Flight into Egypt”, 1597. We see an angel playing music wrapped in swirling white fabric.

While the white clothing is ceremonial of passing into another world or Heaven, the ethereal glow of white light represents heaven and the divine, spiritual purity, enlightenment and truth.

Scottish national gallery
John Duncan, 1866-1945, Scottish, St.Bride, 1913 detail | Scottish National Gallery | White clothing is ceremonial of passing into another world or Heaven. It’s the color of the ascension into the Heavens.
This is the official emblem of the pope with a dove or the Holy Spirit depicted in the center of it. I think I saw it in the Vatican, Italy. I love how Italian artists used colored marbles and stone to decorate the churches, placing the material on the floor and walls.
A closeup of the Pope’s emblem showing the Holy Spirit

White dove or the Holy Spirit is a symbol of peace, forgiveness, hope and love. In art, it forms the Trinity and flies in rays of sunlight with an olive branch in its beak.

Mexico City, Mexico
Portrait of Pope, Leo X and his cousins, cardinals Giulio de’ Medici & Luigi de’ Rossi. Closeup detail of the white garment of the pope. Raphael, c. 1518-1520, oil on wood, 154 cm × 119 cm (61 in × 47 in), Uffizi, Florence.

White can symbolize hope, innocence and royalty in ceremonies.

A white wedding gown means innocence and pure perfection especially of a young bride. White is the color of light and white pearls communicate similar symbolism.

Vladimir Makovsky, to the marriage (farewell), 1894; Russian Federation, oil on canvas, Samara Regional Museum of Fine Arts, Samara, Russia, Dimensions: 115 x 99 cm. | Here, although the bride wears a white gown and is about to get married, she is devastated by the normally joyful event. The artist commented on common practice of parents giving their daughter to marry at a young age to fix the family’s financial situation.
Fedotov, Matchmaking of a major, 1848 | This famous Russian painting carries similar symbolism where a young bride doesn’t want to marry an old man for money.

James McNeill Whistler (1834–1903), Symphony in Flesh Colour and Pink: Portrait of Mrs Frances Leyland, Image source: Frick Collection, NY., Henry Clay Frick Bequest, 1916.1.133

Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection
Closeup of a white gown and jewelry pieces from the Accolade, Edmund Blair Leighton (1852–1922), oil on canvas, 1901, height: 182.3 cm (71.7 in); width: 108 cm (42.5 in), private collection | White is the color of light, divinity, nobility and purity of the heart. White pearls also symbolize purity, wisdom and sincerity. And let’s just say that these beautiful pearls make a great visual statement in paintings like this one!

White can represent royalty.

Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 259 cm × 162 cm (102 in × 64 in), oil on canvas, 1806, MusĂ©e de l’ArmĂ©e, Paris. | You’d be surprised but this artwork wasn’t popular at the Paris Salon when he exhibited this monumental painting. It received vitriolic criticism mainly because Napoleon looked too artificial and Gothic. However, if you know other paintings by Ingres, this is the most elaborate one! Just like another French artist – Poussin, Ingres often received poor reception for his art at the Salon. Moreover, in the middle of his career he got so fed up with the criticism and poor receptions of his work that he began to exhibit his art in his studio and private apartments. A student of famous neoclassical painter David, Ingres took a different road in his vision of art that the contemporaries and critics didn’t get.
In this painting you can certainly admire a perfect balance of color, lines, objects, textures and symbols captured in one painting. The artist’s composition is a reversed triangle. Both composition and realistic textures are reminiscent of Jan van Eyck’s painting.

French artist, Ingres puts a lot of symbolism into this painting depicting Napoleon as a ruler blessed by God. Napoleon looks like a religious icon. The artist bestows a Roman-like golden laurel crown onto his head and paints a circular-shaped throne behind him to suggest the divine power of the ruler. White ermine fur incircles the Napoleon’s neck – the symbol of royalty. The emblem of bees seen throughout the Vatican can be noticed on this lush, red cloak. The golden bees represent immortality and resurrection, while the Eagle represents military might. You can read about life and work of the artist in a concise book titled “Ingres” Karin H. Grimme.

The sword represents military power of French kings.
The painting detail shows the Charlemagne’s golden scepter – the symbol of the executive power.

Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 1806, detail of the hand of justice
Jean-Auguste-Dominique Ingres, Napoleon on his Imperial Throne, 1806, detail of the Hand of Justice ( in white).
Anthony van Dyck Henrietta Maria of France. meaning of white in art
Anthony van Dyck, Henrietta Maria of France.
Marie-Antoinette, oil on canvas, 92.7 × 73.1 cm (36 1/2 × 28 3/4 in.), after 1783, unknown artist, at the Smithsonian national gallery
Jacques-Louis_David_madame recamier
Jacques-Louis David, madame Recamier, 1800, the Louvre
Sargent, Mrs. Joshua Montgomery Sears, a closeup of white gown at The museum of fine arts, Houston, 1899, Canvas or panel: 58 1/8 × 38 1/8 in. 
Sargent, Mrs. Joshua Montgomery Sears, The museum of fine arts, Houston, 1899, Canvas or panel: 58 1/8 × 38 1/8 in. 
John White Alexander -American -repose-1895
John White Alexander, Repose, oil painting, 1895, American, the Met, New York | Similar to Sargent and Chase, Alexander loved to capture wealthy women in gowns at rest. This beautiful white dress stretches from left to right forming a diagonal, which is one of the ways to create a dynamic composition.


White is Heaven.

The Cathedral of Salerno inside
The Cathedral of Salerno inside. Italy.
The Cathedral of Salerno inside, Italy. The Cathedral of Salerno was built between 1080 and 1085 on the ruins of a Roman temple.

Ivan the Great Bell Tower at the Kremlin, image by Veronica Winters. | We can enjoy seeing the white stone cathedrals bathing in a warm sunlight. The Kremlin was built between the 14th and 17th centuries. The first white-stone walls and towers were built in 1367-68. The existing walls and towers were built by Italian masters from 1485 to 1495.

Wat Rong Khun - the White Temple
Wat Rong Khun – the White Temple in Thailand. Photos c Veronica Winters | This looks like heaven on earth. Famous contemporary Thai artist- Ajarn Chalermchai wanted to build a temple that’s different from other wats. Normally, Thai temples are golden and the artist wanted to emphasize the Buddha’s purity who achieved Nirvana. Ajarn considered gold having a negative connotation about human behavior like lust. He put myriads of small mirrors into the white sculptures that beautifully reflect the light of the temple. These mirrors are the symbol of Buddha’s wisdom that shines throughout the universe according to the artist. He amassed a team of artists to build this beautiful site that represents heaven on earth. Wat Rong Khun is expending as new elements are added to the wat. The admission is free for people to enjoy the garden feeling peace and joy. Isn’t it wonderful?

The Alhambra was built between 1238 and 1358, mainly during the reigns of Ibn al-Aáž„mar and his successors. Located in Granada, Spain, the Alhambra is one of the world’s finest examples of Islamic architecture that served as inspiration for many artists including Escher. This elaborate geometric design shows heavenly colors of white and blue. Image by Veronica Winters

White in mythology:

White crane, a closeup of a Japanese temple decoration. Photo: V.Winters | In Japanese culture, the white crane, or tsuru, is a national treasure and symbol of good fortune, longevity, and peace. It is also associated with loyalty, wisdom, fidelity, and beauty. The crane is depicted in art, literature, and mythology, and is said to live for 1,000 years. It is also associated with the Shinto god of happiness, and it is said that the god will come to a person who folds 1,000 cranes. Recently, the crane has become a symbol of peace, hope, and healing.
cranes fabric-Japan
Look at these beautiful patterns of gold, blue and white! We can see the white dragon in the center of the decoration. Two white cranes create symmetry in this elaborate decoration seen in Japan.

In Japanese culture, dragons are guardians of the Buddhist temples and their meaning varies depending on their color. The white dragon, or Hakuryuu, is a water god that controls rainfall and water. White dragons are also associated with great wealth and blessings in marriage.

The white dragon decoration, Japan.

White as a force in duality of nature:

Yin and Yang is a core concept in the Chinese philosophy that describes two opposing yet interconnected and complementary forces that are believed to underlie all of reality. They represent intertwined aspects of a whole in a dynamic balance within the universe. Famous symbol of yin and yang is the taijitu, a circle divided into two halves, each containing a swirl of the opposite color. The swirl within each half represents the seed of the other force, signifying their interdependence. In art it often means balance where white can’t exist without black just like the sun doesn’t exist without the moon.

Among Neolithic jades of ancient China are bracelets (huan), penannular rings (chĂŒeh), half-rings (huang), a flat disc with a hole in the centre (pi) and a ring or short tube squared on the outside (tsung). In later historic times these shapes acquired a ritual or ceremonial function, the pi and tsung, for example, symbolizing respectively heaven and earth.

(From the book: the arts of China, 3d edition, Michael Sullivan)

White often represents all the light in the world opposing the black of the darkness.

Vasnezov Sirin and Alkonost. The song of happiness and sadness
Viktor Vasnezov, Sirin and Alkonost. The song of happiness and sadness, 1896, The Tretyakov Gallery, Moscow

In this oil painting, “Sirin and Alkonost,” also referred to as “The Birds of Joy and Sorrow,” depicts two beautiful, half-bird, half-woman creatures from Slavic mythology. Sirin, on the right, is typically associated with joy and enchantment, while Alkonost, on the left, brings sorrow and mourning. Their contrasting melodies intertwine, creating a complex and evocative harmony that reflects the duality of human experience. The painting itself is a masterpiece of the Russian Romanticism expressed in symbolism that invites contemplation of life’s emotional range.

A close up of hands and lace in oil painting, Metz, France. Photo: Veronica Winters
Holbein-the ambassadors closeup
Holbein, The ambassadors, oil painting’s closeup of fur. London

The calming power of white:

The calming effect of white is obvious in snowy landscapes, white clouds or cashmere sweater that bring us feelings of peace. Tranquil nature relaxes our mind. Soft, white fabric evokes serenity. And white swans and snowflakes seem magical floating in water.

Snowy Gorge-
Utagawa Hiroshige -Japanese-
Edo period 1615–1868-Met
Snowy Gorge, Utagawa Hiroshige, Japanese, Edo period (1615–1868), the Met

White can carry a special meaning in objects we often see. For instance, symbolic of new life, white egg represents birth. Moreover, we can read the Chinese ancient legend about the origins of the world.

“Once upon a time, the universe was an enormous egg. One day the egg split open; its upper half became the sky, its lower half the earth, and from it emerged P’an Ku, primordial man. Every day he grew ten feet taller, the sky ten feet higher, the earth ten feet thicker. After eighteen thousand years P’an Ku died. His head split and became the sun and moon, while his blood filled the rivers and seas. His hair became the forests and meadows, his perspiration the rain, his breath the wind, his voice the thunder-and his fleas – our ancestors.” This legend expresses a Chinese philosophy, that man is not the culminating achievement of the creation, but a relatively insignificant part in the scheme of things; an afterthought. By comparison with the beauty and splendor of the world itself, the mountains and valleys, the clouds and water- falls, the trees and flowers, which are the visible manifestations of the workings of the Tao, he counts for very little.

(From the book: the arts of China, 3d edition, Michael Sullivan)
http://www.metmuseum.org/art/collection/search/68969 Rank Badge with Leopard, Wave and Sun Motifs
Period: Qing dynasty (1644–1911), late 18th century, China, silk, metallic thread, 10 3/4 x 11 1/4 in. (27.31 x 28.57 cm), Textiles-Embroidered, Credit Line: Bequest of William Christian Paul, 1929

Caspar_David_Friedrich_-the polar sea
Caspar David Friedrich, the polar sea or the sea of ice,1823–1824,oil on canvas, 96.7 cm × 126.9 cm (38 in × 49.9 in). This is one of my favorite Romanticism artists who painted the power of Nature to show its spiritual dominance over men.

White hue can also be a symbol of cleanliness. Healthcare facilities have white rooms, corridors, and doctors’ coats.

Contemporary architecture loves the color white. Both interior and exterior spaces have white paint and decorum seen across Florida’s new construction to amplify the light in the region.

White can also represent neutrality or fairness, negotiation or surrender – the white flag of surrender.

John Trumbull, The Surrender of Lord Cornwallis at Yorktown, oil on canvas, 1826,21 × 30 5/8 × 3/4 in. image from the Yale University Art Gallery. It can be also seen in 12′ x 18′ size at the US Capitol Rotunda. This painting illustrates the surrender of the British army at Yorktown, Virginia, in 1781, which ended the last major campaign of the Revolutionary War. https://www.aoc.gov/explore-capitol-campus/buildings-grounds/capitol-building/rotunda
Jacques-Louis_David death of marat
Jacques-Louis David, the death of Marat, 1793–1793, in the collection of the Royal Museums of Fine Arts of Belgium.
This neoclassical painting has a very careful, classical design both in color and lines. Marat was a revolutionary in France and a friend of the artist. David was also a radical thinker and revolutionary who was once an official court painter to Napoleon but ended up in prosecution and escape from France to Belgium closer to the end of his life.
Marat’s skin condition made him take long baths to sooth the pain where he got assassinated. This painting represents the ideals of neoclassical art and politics- simplicity, heroism, idealization, classicism, neutrality and stoicism. Color white helps communicate these virtues.

In modern art, white can symbolize a fresh start, an open canvas, or a space for interpretation. White is neutral, blank canvas. Artists like Robert Rauschenberg and Agnes Martin explored this potential in their monochromatic white paintings. Rauschenberg first painted his white canvases in 1951 in six variations- one to seven panels. Martin spent her 40-year career exploring the perception of stillness.

Georgia O’Keeffe (1887–1986), the white skull, Chicago art institute. O’Keeffe often painted the bleached white bones and skulls of the animals in New Mexico. She associated the skulls with strength of an American spirit.

White means innocence.

William Sergeant Kendall, art interlude, 1907, oil on canvas, American Art Museum at the Smithsonian
William Sergeant Kendall, art interlude, 1907, oil on canvas, American Art Museum at the Smithsonian Institution, Washington D.C.

Rembrandt van Rijn, Lucretia, oil on canvas,(47 1/4 x 39 3/4 in.), 1664, closeup of fabric and pearls. National Gallery of Art, the Smithsonian, Washington DC. Rembrandt depicts the suicide of Lucretia happening in Rome in the 6th-century BC. She signifies virtue, loyalty and honor wearing white and pearls. You can read the full story here: https://www.nga.gov/collection/art-object-page.83.html
Psyche Abandoned by Pietro Tenerani, Pitti palace, Rome, Italy. Image by Veronica Winters

Paul Delaroche-the execution of lady jane grey-national gallery London
Paul Delaroche, the execution of Lady Jane Grey, National Gallery London. The only person dressed in white – Jane Grey symbolizes innocence.
Paul Delaroche, the execution of lady Jane Grey, National Gallery London, Photo by Veronica Winters
Sir Joshua Reynolds The Ladies Waldegrave 1780_detail_scottish national gallery
Sir Joshua Reynolds The Ladies Waldegrave 1780, closeup, Scottish national gallery. The dresses in Joshua Reynolds’ “The Ladies Waldegrave” are a striking feature of the painting. All three sisters are clad in garments of a singular color: white. The material is most likely muslin, a popular choice for fashionable gowns in the late 18th century. White evokes purity, innocence, and a sense of classical elegance and timeless quality Reynolds appreciated in ancient art.
Canova, Cupid and Psyche, marble sculpture, 1793, louvre-veronica winters art blog
Canova, Cupid and Psyche, marble sculpture, 1793, Louvre. Photo: Veronica Winters

The Dance Class-Degas-met
Edgar Degas, The Dance Class, oil painting, 1874, the Met, NY | Degas created a series of paintings devoted to the theme of dance. He captured white ballerinas in rehearsals sketching in pastels and painting in oil.
Gerome, Pygmalion and Galatea
Gerome, Pygmalion and Galatea,1890, oil on canvas, 35 x 27 in. (88.9 x 68.6 cm), the Met . “Between 1890 and 1892, GĂ©rĂŽme made both painted and sculpted variations on the theme of Pygmalion and Galatea, the tale recounted in Ovid’s Metamorphoses. All depict the moment when the sculpture of Galatea was brought to life by the goddess Venus, in fulfillment of Pygmalion’s wish for a wife as beautiful as the sculpture he created. This is one of three known versions in oil that are closely related to a polychrome marble sculpture, also fashioned by GĂ©rĂŽme (Hearst Castle, San Simeon, Calif.). In each of the paintings, the sculpture appears at a different angle, as though it were being viewed in the round.” the Met
Francesco Hayez Suzanna at her Bath
Francesco Hayez Suzanna at her Bath, National Art Gallery of Scotland. A classical painting in many ways, the white fabric forms a circle around the nude communicating innocence of youth.

White as the representation of timelessness & memory

The marble sculpture at the CA’ d’ ORO Palace in Venice, Italy.
Michelangelo’s tomb, detail, Italy
I love how lifelike this sculpture looks. It shows a pope blessing the crowd and wearing his crown. The light hit it so beautifully. It’s in St. Peter’s Basilica in Vatican, Rome, Italy.

Negative white

Depending on our view of the world, specific events or cultural differences we can see the color white as cold, empty and artificially sterile. This kind of emotionless, stark white can trigger feelings of isolation, and emptiness. Moreover, white can be associated with mourning and death in some countries.

White ghosts scare us representing the supernatural and death.

William Blake, The Ghost of Samuel Appearing to Saul, c. 1800, pen &ink, watercolor, National Gallery of Art, the Smithsonian, Washington DC

White can also represent death. White shroud symbolizes death, mourning, and loss.

Vernet, Horace. angel of death, 1789-1863_hermitage
Vernet, Horace. angel of death, 1789-1863, the Hermitage

Hieronymus Bosch, Death and the Miser, c. 1485/1490, oil on panel (other panels lost), 93 × 31 cm (36 5/8 × 12 3/16 in.), National Gallery of Art, Washington DC
Hieronymus Bosch Death and the Miser, c. 1485/1490, oil on panel (other panels lost), 93 × 31 cm (36 5/8 × 12 3/16 in.), National Gallery of Art, Washington DC.
“In this panel Bosch shows us the last moments in the life of a miser, just before his eternal fate is decided. A little monster peeping out from under the bed–curtains tempts the miser with a bag of gold, while an angel kneeling at the right encourages him to acknowledge the crucifix in the window. Death, holding an arrow, enters at the left.
Oppositions of good and evil occur throughout the painting. A lantern containing the fire of Hell, carried by the demon atop the bed canopy, balances the cross which emits a single ray of divine light. The figure in the middle ground, perhaps representing the miser earlier in his life, is shown as hypocritical; with one hand he puts coins into the strongbox where they are collected by a rat–faced demon, and with the other he fingers a rosary, attempting to serve God and Mammon at the same time. A demon emerging from underneath the chest holds up a paper sealed with red wax — perhaps a letter of indulgence or a document that refers to the miser’s mercenary activities.
This type of deathbed scene derives from an early printed book, the Ars Moriendi or “Art of Dying,” which enjoyed great popularity in the second half of the fifteenth century. The panel may have been the left wing of an altarpiece; the other panels — now missing — would have clarified the meaning of some aspects of the scene, such as the discarded and broken armor and weapons in the foreground.” Taken from the gallery’s page https://www.nga.gov/collection/art-object-page.41645.html

Empty white rooms can feel lonely and even scary.

Blindfolded figures often represent ignorance, inability to see and vulnerability but the blindfolded Lady Justice has a different meaning. The blindfold represents that justice is unbiased and should not be influenced by a person’s appearance or other factors.

Justice, from the Cardinal Virtues, Nicolaes de Bruyn Netherlandish, Publisher Frederick de Wit Dutch
1648–56, the Met, New York. http://www.metmuseum.org/art/collection/search/423841

Whitewashing is a term denoting the covering up of unpleasant truth, describing censorship.

art museum, Metz, France

As you can see the color white carries several meanings and rich symbolism in art history and our life. What do you think of white?

PS If you see a mistake in this article, please know it’s not intentional. Reach out with the suggested correction to nika@veronicasart.com

The Color White in Contemporary Art

Ann-Marie Kornachuk, oil painting, copyright of the artist
G Mortenson, Homework, copyright of the artist
lorenzo quinn hands sculpture in Venice
Lorenzo Quinn, Hands, sculpture, Venice. Photo by Veronica Winters, 2017
Lorenzo Quinn hands sculpture in venice italy
Lorenzo Quinn, Hands, sculpture, Venice, Italy. Photo by Veronica Winters, 2017

the infinity of human soul-24x36-veronica winters-oil paintings for sale

Jorge Jiménez Deredia, capullo, marble sculpture-contessa gallery-art wynwood 2023
filippo tincolini-spacesman seat-marble, art contexxt miami
Filippo Tincolini, Spacesman seat, Marble, exhibited in Miami Art Context 2023
Michael Buthe-white painting-tate modern-london-1969
Michael Buthe, white painting at Tate Modern, 1969, London. I snaped a picture of this painting in 2019. A carefully constructed composition with white stretcher bars, Buthe blurs the line between the canvas and its support, emphasizing the artwork’s physical construction.
Freedom-psychedelic art-Veronica Winters artist
Freedom, 22x30inches, colored pencil drawing by Veronica Winters

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How to paint realistic details by studying famous art & artists through art history

When I travel and visit art museums, I study the art. I often take pictures of closeups and details in the oil paintings to see how famous artists conveyed realism through texture and detail in their masterpieces. Some top art museums have digital art collections available to view and even download online these days but many don’t.

I find it enjoyable to take pictures of jewelry, fabric, bows, gowns, metal, gold, silver and other details I see in art. I learned a lot by studying such detailed paintings and if you’re interested in the realist oil painting techniques, I suggest making painted copies of your favorite paintings. I hope this blog post can inspire you to do just that. Enjoy!

All photos are taken by me- Veronica Winters unless noted otherwise. Also, many famous paintings are in the public domain and can be downloaded for free from art museums websites like the Met, the National Gallery of Art, etc.

Agnolo Bronzino-Eleonora of Toledo with Her Son Giovanni-painting details-blog
Agnolo Bronzino, Eleonora of Toledo with Her Son Giovanni, painting details of pearls and fabric. | photo: V. Winters. From 1539 to 1572, Bronzino served as the court painter to Cosimo I, duke of Florence. The Florentine artist, Bronzino painted in the Mannerist art style – emotionless figures and hyperrealist painting details of jewelry and fabric gowns.
Bronzino
Titian, a closeup of hands, fur and jewelry rings | photo: V. Winters
Holbein-the ambassadors closeup
Holbein, The ambassadors, a closeup of fur. National Art Gallery in London. Notice how soft the fur looks in comparison to carefully painted golden details in fabric.

A close up of a painting showing white lace, Metz, France. Photo: Veronica Winters
Art closeup at the CA’ d’ ORO palace in Venice, Italy
Sargent, Mrs. Joshua Montgomery Sears, a closeup of a white gown, Huston art museum

lady reading letters of Heloise and Abelard-1780-A. dAgesci
Auguste Bernard d’Agesci, A lady reading letters of Heloise and Abelard, 1780, oil painting, Art Institute of Chicago

Titian, Portrait of a Lady, a golden earring and pearl detail, the Pitti palace, Italy

Some ribbon and fabric details at the Smithsonian National Art Gallery
Turin, Italy. Here the meticulously created details of fabric are layered over the initial painting of a fancy yellow jacket.
oil painting closeup-the Soumaya Art museum, Mexico city, Mexico
oil painting closeup, the Soumaya Art museum, Mexico city, Mexico | I love the variety of textures created in this fabric.

veronica winters painting

white fabric detail-Smithsonian
White fabric detail at the Smithsonian National Art Gallery. | Notice how abstract the details look painted over the base color. Stroke direction and curvature are essential to describe forms, shapes and textures.

how to paint realistic details-white fabric and gold details- the Smithsonian
White fabric and gold details, the Smithsonian. | Notice, how gold reads as gold because of few light highlights added to the general shape of these golden accents. How to mix gold color: You should use browns with a touch of either red or yellow (depending on the reflected light) to color mix gold color. It’s not about mixing lots of yellow into the oil paint, rather it’s using ochre and brown oil paint like raw sienna, burnt sienna, raw umber and bunt umber to create the shape first and then adding some strategic highlights over it where the light hits it the most.
Élisabeth-Louise VigĂ©e Le Brun, The Marquise de Pezay, and the Marquise de RougĂ© with Her Sons Alexis and Adrien 1787. Image downloaded from the Smithsonian website. | This is a beautiful closeup of the female face that shows how to paint hair, face and fabric. The hair is always soft in classical art painting. The fabric has soft edges but definite highlights. The earring has the most defined edge. French female painter, VigĂ©e Le Brun was a self-taught artist who got quickly noticed by her future husband – famous art dealer – Jean Baptiste Pierre Le Brun. The artist enjoyed both the opulent lifestyle and career in Paris and way beyond France, painting the wealthy and royals in Austria, Russia, Italy, Germany, England, etc. She is known for her official portrait of Marie-Antoinette. Her high-paying clientele loved her art style – creative poses based on classical ideals, realism and color choices.

Élisabeth-Louise VigĂ©e Le Brun
The Marquise de Pezay, and the Marquise de Rougé with Her Sons Alexis and Adrien
1787
Élisabeth-Louise VigĂ©e Le Brun, The Marquise de Pezay, and the Marquise de RougĂ© with Her Sons Alexis and Adrien 1787. Image downloaded from the Smithsonian website. | Although I find Le Brun’s art less intriguing in terms of subject and meaning, I think her ability to paint realistic gowns and details is supreme. Notice how she catches the light on fabric in broad strokes of golden pink. We can feel the shimmer of fabric looking at this intense turquoise-blue and a lush golden sash.

details of hands and animal-the Smithsonian
details of hands and animal, the Smithsonian.
de heem details-the Smithsonian
de Heem, still life painting detail, The Smithsonian, National Gallery of Art | The seventieth-century painter, de Heem is one of my favorite Dutch still life painters who captured life of the wealthy in lux objects and food items. I learned a lot about classical realist painting by studying Dutch art, mainly composition, color choices and objects’ texture. His deliberate compositions feature careful balance of all objects and textures. Usually a piece of fabric leads the eye to the focal point. The background has subtle colors that support high-contrast still life.
de Heem, oil painting details of glass, fabric and silver. The Smithsonian.
Dutch painting of donuts and sweets at the Smithsonian.
Dutch painting of sweets at the Smithsonian.
ringling art museum_Munari_still life with plates
Munari, still life with plates, closeup, the Ringling Museum of Art.
Lavinia Fontana, jewelry painting detail, The Smithsonian
Lavinia Fontana, Portrait of Costanza Alidosi, closup of jewelry- c. 1595, oil on canvas, National Museum of Women in the Arts, Washington. | Famous female artist of her time, Fontana lived in Bologna, Italy in late1500s. It was highly unusual to have a name and a career as a female artist in Europe before late 19th century. It was also a strange choice to depict the mythological nudes at that time. Like other female artists of the past, she was trained by her father- Prospero Fontana in the late mannerist style. When she married, her husband became her manager; Apparently Lavinia made a lot of money painting portraits of noblewomen and religious subjects for churches because she had a big family of 11 children whom she supported!
Golden jewelry and fabric details at the Smithsonian
Lace and jacket fabric details at the Smithsonian.
Rembrandt, Lucretia, 1664, dress details. The National Gallery of Art (Smithsonian) has 737 works of art by Rembrandt! Notice how abstract the strokes are describing texture and light of the fabric. These are thick strokes with deliberate rotation and movement of the brush.
Rembrandt, Lucretia, 1664, dress and jewelry details. Notice how the artist uses greys to juxtapose colors. Thick, painterly strokes shape and sculpt the subject.

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Best brushes for oil & acrylic painting

If you’ve tried painting, you know how hard it is to find a good set of brushes. Many of them are flimsy or too soft to spread the oil paint around. Cheap brushes can shed the hairs like a cat. They don’t keep the fine point necessary to paint the details in oil painting. I went through many artist brushes trying to find something that works in my oil painting process. Here you’ll find information on how to pick a good brush for oil and acrylic painting, how to clean the brushes and what brands you can try to purchase the brushes from for your art studio practice.

what are the best brushes for painting?

Painting brushes differ in size, shape, and type of bristles

Size

The higher the number written on a brush, the larger the brush you get. For example #0000-0 brushes are for super fine detail, # 2-4 brushes are for small work, # 6-10+ are designed for a general application of paint.

Shape

There are rounds, flats, liners, chisel tips, filberts, and fans. The shape of a brush determines the stroke you can make with it. The rounds  have a fine point and are good for small, detailed application of paint, flats are for a large coverage of paint or to make a wide stroke; fans are good for gentle blending of the edges and for creation of some textures like tree foliage. My favorites are the filberts because they give me a variety of strokes. Depending on the rotation of my brush, it can give me either a flat stroke or a thin, fine line that’s great for defining and maintaining straight edges.

How to pick a perfect brush for oil & acrylic painting

Types of brushes

In general, watercolor brushes are very soft and are not suitable for oil painting. They are too soft to maintain a point filled with oil paint. However, small round Kolinsky brushes are very good for painting details, and watercolor 1″ flats are great for blending large areas of paint right after a painting session to soften the entire picture.

There are three kinds of oil/acrylic brushes: the bristle ones, the synthetic ones, and a blend of synthetic and sable hairs. Both the bristle and the synthetic ones are necessary for oil or acrylic painting.

First layer of painting: the bristle brushes

Use stiffer, synthetic brushes for your underpainting because the first layer doesn’t brush over smoothly. Many artists help the oil paint flow by using some solvent ( Gamsol) mixed into the paint. Both the solvent and canvas surface wear out fine brushes using them at this step!

The bristle brushes are used in a first, rough layer of painting to put the paint on canvas and to mass out shapes. It’s difficult to paint the first layer with the synthetic ones on canvas, because they are too soft for this step and don’t spread the paint around easily. I find that major manufacturers produce similar bristle brushes that don’t differ much in quality. I would avoid the cheapest ones because they shed hairs a lot that get embedded into the wet paint, if you don’t take them out of your artwork during painting. However, If you paint on panels and not canvas, the bristle brushes may be too hard to paint with.

Second layer of painting: the synthetic brushes

When you paint with oils over the underpainting, it glides over the first layer much better but often needs just a little bit of medium to have the flow. This is the stage when you switch from stiffer brushes to the synthetic ones. I find that “Simply Simmons” brushes are cheap, over the counter brushes sold at Michael’s that are quite durable and have a nice point when painting. Craft, unbranded brushes is a waste of money because they don’t hold the paint and have no stiffness necessary to move the paint around or to make clean edges and details.

With each layer your painting becomes more refined in color and detail and so do the brushes. I use Robert Simmons oil brushes that are cheap, durable and hold the point well. I paint with #2 round and #2-4 filbert for most work. I also have #6-8 to paint larger areas. The Robert Simmons brushes’ quality is OK for its price. They don’t last for a year, but perform quite well in comparison to other more expensive brushes I’ve tried so far. I also buy them separately, if I need a particular size or a tip. Another brand I recommend is the Rosemary and Co for the majority of oil painting.

To complete big chunks of painting I like using a variety of filberts. The W&N Galeria set of brushes are great. They are quite soft but work well with oil paint.

Third layer of painting: synthetic and sable brushes

Having good brushes is critical to painting subtle transitions, texture effects and details. For detailed work, I like the Ebony Splendor by Creative Mark that are budget friendly. This brand has a variety of small brushes. However, the really good ones are by the Rosemary brushes & Co. This English company manufactures a great variety of brushes.

For a super detailed work I love to use:
1. the Kolibri, artisan Kolinsky 3/0 sold at Natural Pigments
2. a variety of 3/0 or 5/0 Rosemary & Co oil painting brushes sold on their site, which I prefer using the most.
3. I also use a #0 liner “scepter gold II”, a sable/synthetic blend by Windsor & Newton to paint fine details.
4. Recently I found the Princeton, round, 18/0 to paint the tiny details as well but it didn’t last as long as the Kolibri one.

What about the brush handle?

I find that the brush handle length makes no difference in painting. In fact, if you do realistic painting with lots of detailed work, you want to minimize your hand movements to remain precise. I don’t see how long handles help artists do that.

I keep a wide, super soft watercolor brush (3/4 or 1″) for blending large areas to soften everything before I quit painting for a day. It doesn’t matter what brand it is as long as it’s a super soft brush like the watercolor brushes are.

If you want your brushes to keep their shape, it’s not only the quality of the hairs to pay attention to, but also how you wash them.

Thomas Gainsborough The Honourable Mrs Graham
Thomas Gainsborough The Honourable Mrs Graham (1757 – 1792) 1775 , painting detail

How to clean the oil painting brushes

If you want your brushes to last, take good care of them. Squeeze all the unused paint out of your brush, using a paper towel. I Usually, I deep them in linseed oil first and then take the paint out with a paper towel.

Then you can use a solvent like Gamsol to swish them around in a glass jar, and then wash them out with a bar soap and warm water. I skip the solvent step most of the time because of the two reasons. One reason is a plain health precaution and another one is care for my brush hairs. The solvent dilutes the paint and damages the hairs. I find that cleaning with linseed oil and a bar soap works great and makes the brushes last longer.

To sum up, I take the paint off the brush with a paper towel and use the oil to take most of the paint off. I use a soap bar to clean them after every painting session. I wipe the water off of every brush, and rest them flat on a paper towel, so the excess water doesn’t run underneath the ferrules, damaging them.

One more thing. Brushes wear out a lot faster working on textured canvases. Use lightly textured panels or linen canvases to keep your brushes like new.

Presto!

Check out video classes here: https://veronica-winters-art-school.teachable.com/ or visit my shop. Thank you for stopping by!

Fixatives & varnishes: what you need to know to preserve your art

Do you know how to varnish art using the varnishes and fixatives correctly? There are numerous videos on Instagram with artists varnishing their art dead wrong. They pour the liquid onto the surface and brush it all over the canvas. I saw one artist at an outdoor art event varnishing her painting in a frame with bugs flying all around her! If you really care about your art and want to preserve it, using your art materials properly is a must. Otherwise paintings may crack or discolor over time.

What’s the difference between varnishes and fixatives?

Key difference between varnishes and fixatives is that varnishes are made for oil and acrylic paintings and fixatives are manufactured for dry media or drawings.

So don’t use a varnish on your drawing! Use final fixative for pastels, pencil, charcoal, colored pencil, and other media on paper, etc. Read labels carefully to decide which fixative or varnish is appropriate for your artwork. A lot of them produce harmful vapors containing acetone and turpentine. However there are some “healthier” alternatives available on the market today. More on that later.

veronica winters colored pencil
Omnipresent mind, colored pencil on paper, 19×25 inches, interior

3 reasons to varnish your art

The environmental changes can produce environmental smudge on a surface of the unvarnished oil or acrylic painting that would be very difficult or even impossible to remove later on. One example is the growth of mold on the painting’s surface. Varnishes and fixatives protect your art from UV light, dust and environmental changes. Varnishes are removable, so that a painting can be cleaned and re-varnished, if necessary.

High-quality varnishes and fixatives bring all the colors out in a painting or drawing. The surface becomes nice and even. Colors seem to gain depth and saturation. Personally I love to see how my drawings and paintings transform after varnishing.

How to varnish your colored pencil drawings, pencil and charcoal drawings, pastels and other dry media art

All fixatives come in several denominations - matte, gloss, semi-gloss, etc. Personally, I prefer matte fixatives because the surface becomes nice and even and doesn't reflect the colors. If you like gloss varnishes, know that it takes a lot more fixative to saturate the paper and make it glossy evenly. 
  • Read directions on the label carefully. Test the spray on a separate piece of paper or magazine page first.
  • Spray 15-18 inches away from your drawing, holding the can at an angle. Move quickly from left to right.
  • Do short spurs and thin layers. Let each layer dry completely for at least half an hour.
  • Spray in a clean and well-ventilated area or outside. Humidity level must be less than 65% in a 55-60F temperature. Otherwise, you may trap the moisture or condensation on the artwork and it would turn cloudy. Depending on the type of fixative, fumes can be hazardous. Once fumes evaporate, bring the artwork inside. I use my bathroom’s countertop to lay art flat and use the bathroom’s ventilator to get rid of the smell completely. Ed S Brickler, technical consultant from Chartpak has a dedicated space in his garage to do the varnishing.
  • Workable fixative is often used to increase the texture of your paper. Colored pencils are made of wax and when the surface becomes too waxy and you can’t layer more color, you can spray it with a workable fixative to increase paper’s tooth so it accepts more layers of colored pencil. I often use a very light layer of final fixative to give me this extra layer to work on. I don’t find the workable fixative as useful as the final one.
  • I strongly advice against buying cheap fixatives because they give uneven coverage and can ruin your drawings.
  • If your colored pencil drawing has some bloom, fix it with a gloss spray first and then use a matte fixative over it. The gloss fixative should even out the surface and get rid of wax bloom.

How to varnish pastels & charcoal drawings

I used to draw in soft pastels before I switched to drawing in colored pencil. Main secret to drawing in pastels is to work from dark to light in layers. Purposefully draw darker in the first layer or two, fix it with a fixative. Then apply lighter layers, fixing each layer. Don’t spray the finished pastel painting heavily because the fixative will darken and change the color. Or use a very light final coat spraying it very lightly.

Drawing with charcoal is about the same. Draw in layers and fix each layer with a fixative.

Don’t spray art if you have sharpie in it. Sharpie will bleed and dissolve.

How to store drawings and art on paper

The best way to store your colored pencil drawings, pencil or charcoal drawings is to lay them flat with glassine paper covering the art. Parchment paper could work as well although the glassine paper is highly recommended and preferred by art professionals. It’s also used for shipping art to create the barrier between unframed art and packaging.

Safe alternatives to traditional fixatives

Non-toxic final fixatives for dry media and colored pencil art

These are the two brands of final fixatives that are made differently and are non-toxic. If you know more about non-toxic fixatives, let me know! I don’t recommend using the Brush and Pencil fixative because the nozzle produces uneven spurs of fixative. It also crumbles thin paper.

How to varnish oil paintings

Oil paintings must be varnished when the paint is dry completely. 6 months must pass before placing a final varnish over the oil painting. But because of possible environmental damage finished oil paintings can be varnished with a retouch varnish first and then varnished with the final varnish in 6+ months.
how to varnish paintings

There are two types of varnishes for oil and acrylic paintings – spray varnishes and liquid varnishes. All varnishes come in several denominations – matte, gloss, semi-gloss, etc. Personally, I prefer matte varnishes because the surface becomes nice and even and doesn’t reflect the colors. If you like gloss varnishes, know that it takes a lot more varnish to even out the gloss.

Damar varnishes seem to be dated because they yellow or darken over time. So synthetic varnishes are preferred to preserve paintings from deterioration.

It's difficult to remove the varnish safely if the paint layers are super thin or the painting was varnished too early.
Princeton 4750 Neptune Mottler Brush can be used for varnishing oil paintings
  • Your space must be very clean. Liquid varnishes attract dust and particles like a magnet that can settle on a varnished surface. The brush should be high-quality and soft not to leave streaks.
  • Pour the varnish into a small and clean glass bowl and deep the brush into it. Start brushing your painting from top left corner moving to the right and then down the painting. You need to be rather quick because the varnish starts drying almost immediately. If you feel that the surface becomes too sticky in one spot, don’t brush over it, rather let it dry. Repeat the process in your second, thin layer moving at a different angle or direction to make sure that everything is covered.
  • Varnishes are self-leveling and applying them in thin layers is the best.
  • If you use spray final varnishes, apply thin layers, letting each layer dry completely for up to an hour. Also, change the direction with each new layer to cover the entire painting surface evenly.

How to varnish acrylic paintings

Same rules apply to varnishing acrylic paintings. However, the first thing is to use “medium & varnish” acrylic varnish. Varnish your acrylic paintings in three days with either matte or gloss final varnish over it.

If you gesso your canvases and panels with acrylic gesso or use acrylic underpainting for oil painting, allow acrylic-based gesso or paint to dry for 3 days before starting painting on the surface!

References & resources:

If you’re unsure how to use your particular varnish or fixative, go to the manufacturer’s website. Companies have their own blogs and videos showing how to use their products correctly.

This information is based on my conversation with technical consultant from Chartpak inc- Ed Brickler. You can watch our conversation in a video below. This interview is also available on my Hooked on Art podcast on Spotify & Apple.

Here is a great resource on oil painting varnishing from Gamblin: https://gamblincolors.com/oil-painting/gamvar-picture-varnish/

Amazon links to art supplies I use the most often:

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5 ways to check the accuracy of your drawing to create realistic paintings

If your goal is to create realist drawings and paintings, you must master the accuracy of your outline drawing. Never neglect it and strive to perfect the drawing every single day. If you paint, you rely on your drawing skills even more to create realist art. Whenever something looks off, it means that your drawing is off. There are several easy tools realist artists use to catch their mistakes. I’m going to list the ones I use the most often.

5 tips to catch your drawing mistakes:

#1 Turn your canvas, paper or any other surface you’re using upside down.

how to check drawing accuracy and catch mistakes-veronica winters
Although this is a finished drawing turned upside down, you need to turn it like so at different stages of your drawing process to catch the anatomical and other mistakes… I keep rotating my paper and canvas often as long as I draw and paint.

Turn it often. By turning your canvas upside down, your brain sees the mistakes instantly. I often paint upside down too because it lets me focus on shapes and see my subject differently. I keep rotating my drawing/ canvas often checking for anatomy mistakes.

how to check the accuracy of drawing
I also like to paint rotating my canvas sideways. This way I place the strokes in the right direction and I check the accuracy of my drawing at the same time.
Canvas rotation while painting and checking for mistakes in art.

#2 If you paint digitally, flip your canvas horizontally often.

The image on the left is the original drawing but if you flip it, you see the same image with some mistakes. The more accurate your drawing gets, the fewer mistakes you’ll notice. If you don’t see any awkward shapes, it means your drawing is close to being perfect!!!

By flipping the canvas, you see all your awkward shapes. Use “Flip Layer Horizontal” function. Go back and forth working on your drawing in both modes.

#3 Check the accuracy of your drawing in a mirror.

Put your mirror in front of you to catch your painting in its reflection. You’ll see the mistakes instantly.

Look at your drawing in a mirror! This is the most useful tool I use to catch my mistakes. You’ll notice the crookedness of the eyebrows or unevenness of other shapes in your drawing.

#4 Step back to look at your drawing from the distance.

art for sale-figurative painting

You can evaluate the relationships between big elements in your composition standing far away from your canvas, which you don’t see being up close to your painting.

#5 Take a picture of your art in progress.

Hold your camera straight and quite far from your drawing to prevent big distortion (yes, almost all cameras distort images, especially the phone cameras). Now look at your picture. At first glance you’ll see a few strange shapes in the photo. They may become less obvious after a while because our brain makes adjustments… I often use my camera at the last stage of my painting process thinking that I’m done and ready to take my final shot but then I notice a few more mistakes I didn’t catch during the painting process.

This is it! Use a combination of all of these tools to perfect your anatomy drawing or any other kind of drawing.

Check out my video art courses here: https://veronica-winters-art-school.teachable.com/

Art SHOP

How to use varnishes and fixatives-hooked on art podcast with veronica winters and ed brickler

How to use varnishes and fixatives with technical consultant Ed S Brickler

Do you know the difference between fixatives and varnishes?

I invited Ed S Brickler, Technical Consultant from Chartpak, Inc. to explain the common mistakes artists make varnishing their paintings. Visual artists who do acrylic, watercolor, pastel, oil painting and drawing will learn how to varnish and protect art from UV light and deterioration using proper techniques and materials.

This episode is available in a video format on my YouTube channel: https://youtu.be/1hRe8VYLres

If you’re confused about using your materials or don’t know which ones to buy, a good rule of thumb is to contact the manufacturer. There are many brands that produce both fixatives and varnishes – Golden, Winsor & Newton, Grumbacher, Gamblin, etc. Also, many companies keep their own art blogs and educational videos about the use of their art supplies.


To contact Veronica for podcast sponsorship or content ideas: VeronicasArt.com | YouTube | youtube.com/veronicasart Instagram | https://www.instagram.com/veronicawintersart/ Veronica Winters Art School: https://veronica-winters-art-school.teachable.com/ Support artist’s projects: https://www.paypal.com/biz/fund?id=XEALQ6AHQ22EN

How to commission art as thoughtful art collector

If you have a specific idea or want to commission a portrait painting you need to learn how to approach the artist you like. So how do you approach the artist to create a beautiful artwork for you? In this episode I’d like to discuss what the artist needs from you in order to fulfill your commission. It’s a wonderful experience to own original art at home or office. Art collecting is a great way to show who you are, create unique space and support contemporary artists!

Reach out with questions or topic ideas at Veronicasart.com . Follow on Instagram @veronicawintersart

Hooked on Art podcast is one of the Top 10 Art Collecting Podcasts on the web rated by Feedspot: https://blog.feedspot.com/art_collecting_podcasts/

How to commission art as art collector: 8 things to know what artist needs to make a great, commissioned painting

If you’ve decided on a specific idea or want to commission a portrait painting you need to learn how to approach the artist you like. So what’s the right way of communicating your idea and understanding what the artist needs to produce a custom art piece? In this article I’d like to discuss what the artist needs from you in order to fulfill your commission.

Amanda Greive interview

Amanda Greive: oil painter who speaks of equal rights

Amanda Greive is a figurative realist artist who paints women to bring attention to challenges many women face, splitting life between family and work. By looking at Amanda’s beautiful, realist oil paintings we can get a much deeper understanding of her subjects and motivation behind painting.

First appeared as a video podcast on YouTube in March 2021: https://youtu.be/x68uKGQn8Ns

Amanda Greive interview
Art by Amanda Greive

Contact the artist:

Web: https://amandagreive.com/

Contact the host:

Support the channel/donate: https://www.paypal.com/biz/fund?id=XEALQ6AHQ22EN

Veronica Winters, M.F.A. | https://VeronicasArt.com | https://www.instagram.com/veronicawintersart/

Interview with Anna Wypych

Anna Wypych: art interview with oil painting artist who embraces change

My guest is a Polish artist – Anna Wypych. Her narrative oil paintings are a testament to the artist’s ability to embrace change. Her female figures are set in motion to evoke emotions and raise questions. In this interview realist artist shares her creative journey in becoming one of the top professional artists working today.

First appeared as a video podcast on YouTube in February 2021: https://youtu.be/w-TLhyuYiWs

Contact the artist:

Web: http://annawypych.pl/

Contact the host:

Veronica Winters, M.F.A. | https://VeronicasArt.com | https://www.instagram.com/veronicawintersart

Support the channel: https://www.paypal.com/biz/fund?id=XEALQ6AHQ22EN

   

Stop creating ugly paintings: 4 color mixing tips in oil painting that work

I spent many years learning how to draw realistically and then how to use color in oil painting well. I’m not the best realist artist out there but I’m sharing what I’ve learned over the years to help you become a realist artist today. I must say that realist oil painting is a lot more challenging than drawing because color mixing in oil painting is not the same thing as shading in colored pencil or painting in watercolor. In drawing artists shade via subsequent layering to build up a range of values. In oil painting we have to “guess” correct color, value and color temperature in one stroke! What I’m sharing here has taken me years to learn. I spent thousands of dollars on classical painting education that was hard to come by two decades ago. We’re are lucky to have proper art education available today in a form of atelier schools and on-line classes.

How color mixing works

Artists have various approaches to color mixing in oil painting. Some paint in full color from the start, others work on detailed underpainting before moving to color. Some pre-mix colors, others don’t. There is no wrong or right way of doing it. The oil painting technique comes with experience and varies in accordance with the artist’s personality.

Over the years I learned different ways of oil painting and I usually use them in a combination. Color mixing is the hardest part to master in oil painting. Even when your drawing is pretty good, oil painting can still be a huge challenge because of a different approach to color mixing. That’s why even when you get the exact list of colors used in artist’s artwork, you can’t really re-create the same beautiful result you see on YouTube.

Artists have to match color, color temperature and value in one stroke as opposed to achieving the same result via layering in colored pencils or watercolor. Therefore, artists must have a system in place to make color-mixing easy. 
contemporary realism art oil painting with starfish by veronica winters
contemporary realism still life painting with starfish, 16×20" oil on canvas, silver frame, available

#1 Do underpainting in one color first

Underpainting serves three purposes.

  • First, you establish your drawing on canvas. So it stays in place.
  • Second, you put warm color underneath your painting. This process gives you a nice, warm tone that interacts with your colors at a later stage.
  • Third, you establish basic pattern of light and shadow. It becomes a guide for your painting to control values.

Use warm brown underpainting

I use W&N artist’s oil color burnt sienna for underpainting in warm brown. Sometimes I add a touch of ivory black to darken the darkest areas in the painting. I keep everything rather transparent. Caravaggio used this oil painting technique in his art.

color mixing oil painting
Here I’ve done the underpainting in burnt sienna (warm brown) and began using full color palette to develop my painting further.

Use grey underpainting

Sometimes I underpaint my work in grays.

It’s a mix of 3/4 ivory black+1/4 warm brown with the increments of titanium white. (More on that below). This oil painting technique was used by many classically-trained artists including Ingres.

Use green underpainting

Some artists prefer the underpainting in dull green. White skin has a lot of green in it and this kind of underpainting becomes great to reveal cool shadows in the face, etc. There are many classical artists who used this oil painting technique. Beautiful, natural greens are Natural Pigments’ Antica Green Earth and Gamblin Terre Verte.

#2 Use your palette knife for color mixing in oil painting

#1 Use your palette knife, not the brush to mix the color strings. It’s the only way to mix large, clean batches of color.

#2 Use the palette knife to compare and to match the color you want to mix.

color mixing in oil painting veronica winters
To match the color perfectly you need to use your palette knife. Mix the color on your medium-toned palette, rotate the knife and place it next to your color source to see if you’ve matched the color. In this picture you can see me try to match the blue of this card.

#3 Pre-mix your main colors

I premix batches of color for large areas to have consistency and color unity throughout my oil painting. It could be separate batches of color for my background, for a dress and the skin tones.

oil painting techniques color mixing

I premix color strings for skin tones as well. Colors vary depending on my project.

#4 Use grays to neutralize chroma in color mixing

It’s rare to see vibrant (high-chroma) objects around you. In fact, realist artists show restraint in using bright color because only one or two hues should be dominant with the other hues supporting them. So most colors must be toned down to give the realistic effect. Beginner artists and art collectors tend to paint and to collect very bright art. True understanding and appreciation of color mixing mastery grows overtime. By looking at Sargent’s & Bouguereau’s work you can see how muted yet realistic their colors are.

Psyche abduct_By William-Adolphe Bouguereau
Psyche abduct, by William-Adolphe Bouguereau

I use the grays to neutralize my tube colors.

how to make oil underpainting
The strip of grays represents the value scale. It’s mixed from 3/4 ivory black+1/4 warm brown with the increments of titanium white.

Chroma is the brightness of a color.

The easiest way to tone down bright colors is to use a slightly warm gray. It’s mixed from 3/4 ivory black+1/4 warm brown with the increments of titanium white. The strip of grays represents the value scale.

To keep color mixtures fresh for more than one day, I wrap them up in wax paper. Airtight oil paint stays fresh for 2+ days on average.


video courses by veronica winters
Check out free previews of my video courses here:: https://veronica-winters-art-school.teachable.com/

Color harmony in oil painting from art history

There are different approaches to color mixing in painting. The Impressionists painted without the use of black. Their paintings taught me to see colors in the shadows. The old masters painted with black to create strong contrast.

Color unity or color harmony are present in all classical paintings. You’ll find explanations of color harmonies in classical oil paintings in this article 5 Tips that’ll make you better at oil painting: https://veronicasart.com/5-tips-thatll-make-you-better-at-oil-painting/

Video explaining color mixing in oil painting:


Basic Art supplies:

Panels & canvas:

Don’t buy the cheapest canvases at craft stores and online! Their gesso (white ground) is very low quality that affects everything from paint application to oil paint adherences to archival properties.


Other helpful articles about oil painting techniques:

5 tips in realist oil painting:

contemporary art

King Woman: contemporary art show review

King Woman

King Woman is a contemporary art show held at the Pen+Brush nonprofit art gallery in New York in October, 2017. The title reflects epic impact you receive visiting the exhibit. Occupying two floors, the exhibition features a number of large artworks in contemporary painting, photography and sculpture. This art show is a rare gem, sparkling in an overall landscape of mediocre contemporary art. Both abstract and realistic, art is united in a single vision where a woman is King. The curator of the show is Mashonda Tifrere.

She said, “My goal for this show is to highlight work by women who question history and deny limitations, persevering in their art despite social mores and norms. These artists have also found a way to acknowledge their gender but at the same time move beyond it by owning it in an unabashed way – showing that women can be more than Goddess or Queen, that they are capable of being ‘King,’ at the pinnacle of power and strength and skill.”

Art transcends the gender roles, and while it shouldn’t be about the division between the sexes, it’s important to see women have equal say, being presented in art exhibitions. While we don’t see male artists showing in groups where their art challenges stereotypes and disparity they often face, women seem to unite in their message channeled through their art. Being vulnerable is beautiful. Women artists often feel unimportant and invisible however, their art becomes powerful once the forces are united in the show like this one.

Carole A. Feuerman

Carole Feuerman_King Woman show

Carole Feuerman is a pioneer hyperrealist artist who actually began the the hyper-realism movement in the 1970s. She portrays women in steel, bronze and resin so lifelike, you can’t help but reach out and touch the sculptures. Tiny eyelashes, hair and droplets of dew make her figures appear incredibly real.  Large and small, her figurative sculptures can occupy a small space in a room or in the entire garden. The sculptures are often integrated into their environment, like you can see in Venice. https://veronicasart.com/venice-biennial-2017-a-crappy-show-with-rave-reviews/

On the artist’s website Feuerman explains her work.

“She creates visual manifestations of the stories she wants to tell of strength, survival, balance, and the struggle to achieve.”

Carole Feuerman_King Woman show_s

Chrysalis, 2017, resin, 33 x 36 x 18″

Ingrid Baars

Artemis, 2017, C-print face mounted on dibond, edition of 7, 45″x 59″

This incredibly powerful photograph is inspired by African culture, fashion and women. Romantic at heart, the photo manipulation is the image of  striking beauty and ethereal contemplation.

Yvonne Michiels

Royal Flowers, 2017, Fuji Crystal on dibond with perspex

Based in the Netherlands, the artist creates incredibly moving digital collages of women with floral crowns.  At first sight her portraits of women express confidence and beauty. Women’s faces look so magnificent, you stare at the image speechless, yet we can feel some hidden vulnerability behind the perfect looks.

Roos Van Der Vliet

White float frame | King Woman show_| Art by van Roos
Roos Van Der Vliet, Storytellers XX & XV, 2017, acrylic on canvas, 37 x 29″ White float frame | King Woman show

These intimate portraits of women feel incredibly sincere. Dutch artist paints women realistically to express her inner desire to replicate reality as close as she can. Her paintings give a sense of a woman who is hiding yet she wants to be seen. Painting process is always a path to understanding oneself. Here we see the artist making discoveries about her own vulnerability.

Reisha Perlmutter

Iris, 2017, oil on canvas, 40 x 60″

Reisha paints women floating in colorful water. Abstracted patterns of body and water channel their healing powers where women are allowed to dwell freely in their ever changing environment.

Victoria Selbach

king woman show_Vic Selbach

Kali Ma, 2017, acrylic on canvas, 60 x 50″

This painting surprises with its size that creates instant sense of power and control found in a figure. She looks like a goddess or warrior who is ready to concur the world.

The list of artists in King Woman includes:

Rebecca Allan; Azi Amiri; Ingrid Baars; Hunter Clarke; Donna Festa; Carole Feuerman; Lola Flash; Meredith Marsone; Yvonne Michiels; Stephanie Hirsch; Kharis Kennedy; Kit King; Lacey McKinney; Jane Olin; Reisha Perlmutter; Renee Phillips; Trixie Pitts; A.V. Rockwell; Victoria Selbach; Lynn Spoor; Swoon; Tiara; Roos Van Der Vliet; Elizabeth Waggett; Lynnie Z

Where:

King Woman is the contemporary art show that runs between October 12th-December 9th, 2017 at Pen+Brush nonprofit art gallery in New York (29 East 22nd street). To read more about the show: http://www.penandbrush.org/articles/press-release/upcoming-exhibition-king-woman 

Check out visionary art for sale

Learn what makes a painting great Part 2: Composition, Color, Lines and Emotion

In this video in the series you’ll learn about composition, color, emotion, painting techniques, use of lines, and other artistic elements artists used to produce their greatest works of art. This video will help you understand the qualities of great art, especially painting created before the 20th century.

You’ll find my video notes below!

Jacques-Louis_David_madame recamier
Jacques-Louis David, madame Recamier, 5’9″x7’4″, 1800, the Louvre

The use of composition in art

All beauty is the result of fine proportions.

Leon Battista Alberti (1404-1472), architect

Greeks were one of the ancient civilizations to invent and use the mathematical proportion, linear perspective and the concept of divine proportion and scale in art and architecture. We can marvel at the divine beauty of the Parthenon and Pantheon. Because of a conversion to Christianity, these postulates were abandoned in the Middle Ages and completely forgotten for centuries. The Italian Renaissance revived the Greco-Roman principles in art and architecture several centuries later. The principles of the mathematical perspective were devised by Filippo Brunelleschi in Italy.

Man is the measure of all things becomes the mantra of the Renaissance artists in the 1400-1500s as they explore the concept of rational thought by creating art that’s three-dimensional, visually balanced, mathematically proportioned and color unified.

Composition becomes central to the creation of representational art.

The use of Pentagram in Art

pentagon and decagon in a circle veronica winters video series
Pentagram and decagon in a circle

In this diagram you see the fundamental principle of geometric division of space or the divine proportion. A symbol of unity, the circle holds a pentagon inside with the 5-pointed star of Pythagoras drawn inside it. Renaissance artists used this model to place their figures in a visually pleasing composition.

(Source: Rhythmic Form in Art by Irma Richter, Dover Publications)

Raphael Ansidei Madonna pentagon composition, veronica winters video series
Raphael, Ansidei Madonna, 1505-1507 | pentagon composition
The school of Athens, Raphael, veronica winters video series
The school of Athens, Raphael, 1510, fresco in Stanza della Segnatura, Vatican, Rome | pentagon composition

This painting represents the exaltation of rational thought. The artist paints his contemporaries as models to represent ancient Greek philosophers, such as Plato and Aristotle standing right in the center of the composition. We see Leonardo as Plato, Bramante as Euclid, Raphael as Apelles and Michelangelo as Heraclitus. Raphael incorporates the architecture of the room by creating a balanced composition that proportionally relates to the interior. The fresco has 5 circles. The height of figures and their placement corresponds to the mathematical divisions seen in the picture.

Also see:

Poussin (French), “A dance to the music of time” (pentagon composition)

Besides using pentagons, artists create symmetrical and asymmetrical balance with triangular compositions, the golden section rule, and several other devices.

Masaccio_ the holy trinity perspective
Masaccio (Italian), The Holy Trinity, fresco in Santa Maria Novella, Florence, 1428  | perfect linear perspective

In this painting the iconography is standard. The unusual part is its perfect linear perspective. It marks Masaccio as the first Renaissance painter who achieved visual realism of the figures because he showed a natural receding of figures in space.

Adam's Creation, Sistine Chapel_ceiling'_by_Michelangelo
Michelangelo (Italian), “The creation of Man,” Sistine Chapel, Vatican, Rome

In this famous painting by Michelangelo, the curving S-shape creates an equal movement and balance of shapes on both sides of the painting.

Also see:

Caravaggio (Italian), “The inspiration of St. Matthew” 1602. This painting features the S-shape design as well.

rogier_van_der_weyden_descent from the cross composition
Rogier van der Weyden, “Descent from the cross”

We can see examples of triangular compositions in religious art where a cross divides the space in half or is placed at a diagonal. In this painting the artist arranges the figures in a way that mimic the shape of the cross. The diagonal of Christ repeats itself in Mary’s shape.

virgin and child van eyck composition
Jan van Eyck, “The Virgin and Child” | triangular composition

The triangular shape was a popular element to design a composition. It creates balance with a line falling from the apex of the pyramid diving the picture in half.

claude lorraine_the embarcation of st. ursula golden section
Claude Lorraine (French), “Embarkation of St. Ursula,” National Gallery, London | the golden section

Lorraine consciously designed his paintings following the rules of thirds or the “golden section,” which is widely used today by photographers and artists alike. The artist also “framed” his landscapes with trees placed on both sides of a painting to create a circular motion, so a viewer never leaves his picture. He was a master, creating a complete balance between the light and dark masses of trees, buildings, water and sky.

Also see:

“Landscape with Ascanius Shooting the Stag of Sylvia,” 1682.

The Arnolfini marriage
Jan van Eyck, The Arnolfini wedding” 1434, National Gallery, London

The artist strikes an equal balance of shapes around the middle where we see the figures join their hands.

Emotion

Canova, Venus and Adonis, sculpture detail
Canova, Venus and Adonis, sculpture detail,museum’s copyright

Emotion is the strongest reason for artists to create art and for people to look at it or to own it. Art is a visual expression of our soul. We respond to a painting or a sculpture instantly using our feelings as opposed to logic, and that’s what makes us human. Meaningful art helps us connect with our inner life. It reminds us of particular memories. Art is not only a cultural and historical object, but also a remedy that speaks a universal language.

Artists have a vast emotional landscape to reach deep to convey a story in a meaningful way.  It’s the feeling that draws us into the picture. Because we all have a unique set of experiences, we respond to the art in different ways. Some paintings leave us untouched, while others haunt us with their beauty, melancholy, joy or fear. Painting is a record of  artist’s interior life, and his/her ability to see beauty in both the beautiful and the ugly.

Because feelings can’t be quantified in immediate dollars and cents unlike consumer goods, many don’t see value in art, think it’s useless, and try to cut funding for school art programs and art organizations. As a consumer driven society we are conditioned to ignore craftsmanship, uniqueness and beauty produced in singular products because a cheaper version of artistic creation is all around us for free on social media, TV, magazines, shop posters, book covers, pillow designs and so on. We see art but we don’t really study it. Only our encounter with the original painting has that immediate impact, raw emotion that enriches us as human beings.

Images:

Caravaggio, Head of Medusa, oil on canvas, 24×22”, Galleria degli Uffizi, Florence

(In Greek mythology, the terrible Medusa had the power to turn anyone who looked at her into stone: a power she retained after being killed by Perseus.)

Frans Hals, The Jolly Toper, 1628-30, oil on canvas, 32×26”, Rijksmuseum, Amsterdam

Flaming June, Frederic_Lord_Leighton_(1830-1896)
Sir Frederic Lord Leighton (1830-1896), Flaming June, 47” square, 1895, Puerto Rico
Vasnezov Sirin and Alkonost. The song of happiness and sadness
Vasnetzov, The song of joy and sorrow, oil on canvas, 133×250 cm, 1896, The Tretyakov gallery, Moscow
Russian painting vasili perov
Vasily Perov, Trine (Troyka), oil on canvas, 1866

Also see:

Isaak Levitan, Over the Eternal Peace, 1894, oil on canvas, 150x206cm, the Tretyakov Gallery, Moscow

Ivan Shishkin, Winter, 1890, oil on canvas, 125 x 204 cm, Russian Museum, St. Petersburg

Ivan Shishkin, In the Wild North, 1890, oil on canvas, 161 x 118 cm, Museum of Russian Museum, Kyiv

Edvard Munch, The Scream, 1893, tempera and casein on cardboard, 36×29” (91x74cm), Oslo, Norway

Romantics:

Friedrich, two men contemplating the moon
Caspar David Friedrich, two men contemplating the moon | The Met | http://www.metmuseum.org/art/collection/search/438417

In this section I’d like to mention the 19th century Romantic Movement. Romanticism grew as a rebellion against the static, cold ideals of the Greco-Roman art, religion and social order. Romantics were liberals who produced art that excited viewers with emotions, especially the fear and the power of wild, changing Nature as the source of the sublime. Romantics channeled these ideals via painterly movement and color. They wanted to reflect on real life, not some distant ideals. Artists celebrated freedom of creativity that found its support from new patronage of successful entrepreneurs and business class.

The funeral of Atala,1808,Girodet_de_Roussy-Trioson
Anne-Louis Girodet-Trioson, The Funeral of Atala, 1808, oil on canvas, 5’6”x6’10” (1.67×2.10 m), the Louvre, Paris
Caspar_David_Friedrich_-the polar sea
German Romantic, Caspar David Friedrich, the Polar Sea (The Wreck of Hope), 1824, oil on canvas, 38×50” Hamburg, Germany

Also see:

Spanish artist Goya (1746-1828), The Sleep of Reason Produces Monsters, Los Caprichos, 1798, etching and aquatint, 8×6”, the Met, New York. Goya creates horror scenes with monsters and owls, depicts his nightmares that’s said to criticize Spanish society as corrupt and demented. The artist supported the French revolution being against the king of Spain. yet Goya was very popular as a court painter to Charles IV. Late Goya shows highly emotional art, already being a thought after portraitist, painting royalty as individuals with psychological insight into their personalities that lacked idealization on purpose.

Goya, The Family of Charles IV, oil on canvas, 9’2”x11’, Prado Museum, Madrid & the Third of May, 1808, oil on canvas, 8’9”x 13’4”, 1814-15. (In this painting the artist shows the execution of Madrid citizens dying for Liberty).

Swiss painter, Henry Fuseli (1741-1825) painted somewhat erotic, moody and supernatural pictures of dramatic Shakespearean scenes and dreams that ignited fear. In his painting the skill of drawing is given away in favor of emotions and imagination. He painted several variations of the painting The Nightmare, oil on canvas, 102x127cm, Detroit institute of arts

Henry Fuseli (1741-1825) The nightmare. 1790-91 version

Another Neo-Baroque French painter, Gericault (1791-1824) explored human extremes and violent action in his art. He painted people in action with the exuberance and energy of Baroque artists.

Mounted Officer of the Imperial Guard, 1812, oil on canvas, 9’7”x6’4”, the Louvre, Paris. He completed this artwork at just 21 years of age.

Other Romantic artists to check out are Eugene Delacroix (1798-1863) and J.M.W. Turner.

Color

1880_Frederic_Leighton_-_Self_portrait
Sir Frederic Leighton, Self-portrait, 1880

We can divide representational art into two opposing groups. One is dominated by the composition design think of Michelangelo. And the other is led by the use of color and light. While thoughtful design stands for rational thought in art, beautiful play of light and color evokes strong feelings.

Those of you who have tried oil painting know how hard it is to achieve color unity. It’s not only the skill of color mixing, but also the artistic vision and sensibility to color. In masterpieces we see hues that interact and support each other. The complexity of color comes with deliberate color mixing, dragging or glazing of the paint, overlaying, and letting one hue dominate and complement the rest. (Ingres, David, Simon Vouet). The tradition of color descends from Titian to Rubens, to Van Gogh and Picasso. Seurat developed his own scientific color system – pointillism that didn’t get traction among artists, however.

Jacques-Louis_David death of marat
Jacques-Louis David (French), The death of Marat, 1793, neoclassicism
Mary Cassatt, Sleepy baby, pastels on paper, 1910, impressionism

The Impressionists redefined the use of color, not painting with black in the shadows. Unlike the majority of artists who worked in the studio, the impressionists painted outdoors, capturing the weather conditions at different times of the day. That’s why you see numerous paintings done of the same subject but in various lighting conditions. We can look at Claude Monet’s waterlilies and Edgar Degas’ dancers to understand how artists were interested in atmospheric and light perception of places and people – the impression, rather than the actual copying of details. The impressionists revolted against the Academism and its annual Salon painting competitions to organize their independent shows that exhibited unconventional, colorful art.

In Russia we see a rise of national landscape painting with artists like Shishkin and Kuindzhi who depicted vast, luscious and vivid landscapes of the countryside. Toulouse-Lautrec, Van Gogh and Gauguin become the post-impressionism artists who focus on the spiritual in painting channeling it through color and symbols.

 
kuindzhi birch grove 1879
Kuindzhi, birch grove, 1879
Arkhip Kuindzhi (1842-1910), the moon night | Impressionism & realism

Use of shapes, lines and negative space

michelangelo drawing of Libyan Sibyl
Michelangelo, drawing of Libyan Sibyl

Line is the most vital element in visual art. Contour lines describe form and the initial drawing design. Drawings exist as personal records of artist’s idea and thoughts, having unique handwriting, gesture and energy. Line drawings can be very expressive if an artist varies shape, thickness and completion of the line. Rembrandt’s drawings capture everyday activities in sketchy but confident, almost child-like lines. Drawings of Michelangelo are beautiful studies of models where the lines define the physical anatomy and monumentality of male figures frozen in action.

Da Vinci’s drawings perfectly describe the subject with soft, gentle lines reminiscent of the softness we see in his paintings. It’s amazing to see how Ingres describes figures in his hollow drawings of just contour lines with minimal shading.

Japanese printmakers, Hiroshige and Hokusai became the two masters of woodblock printing in the country. They exercised great influence onto the Impressionists with their approach to composition design and the simplification of shapes. Hiroshige’s artwork is very linear and creates simplified shapes and patterns with the lines of varied quality.

Hiroshige, “Travelers passing Mount Fuji” woodblock print, 1831, Honolulu
Alphonse Mucha, The precious stones: Topaz, Ruby, Amethyst, Emerald, details, 1900, color lithograph, 26×11” each

The leading Art Nouveau designer and painter, Alphonse Mucha (1860-1939) used geometric shapes, mosaics, and diagonals to create beautiful lithographs of women as idyllic symbols. Czech artist gave birth to his unique “Style Mucha” with his posters of a famed actress Sarah Bernhardt that made him prominent in French Art Nouveau. His use of definitive, contour line is central to his illustrative style.

Austrian artist Gustav Klimt (1862-1918) employs lines, patterns and shapes to create a unique visual experience. His figures are made of patterns with contour and geometric lines defining form.

Gustav Klimt, Tree of Life, 1909

As spectators we often don’t pay attention to the artistic use of negative space. Negative space is simply the background you see behind an object. It often affects how we perceive what’s in front of us by carefully controlling the tone, color and shapes in the background space. Let’s look at one of Spanish realist artists – Cotan who uses the negative space to his advantage.

Juan Sanchez Cotan, Quince, Cabbage, Melon and Cucumber, 1602, oil on canvas, 27×33”, San Diego Museum of Art

Because the Spanish court and the Catholic church employed foreign painters like Titian in the 16th century Spain, native artists were not popular among the two major patrons, and therefore they were able to develop their still life painting that was nonexistent before the 1590s. Cotan (1561-1627) becomes a pioneer in still life painting. A deeply religious man, he painstakingly arranged simple objects at a curve, juxtaposing bright objects against the dark tones, where rich background reinforces the realism of foreground shapes.

caravaggio wall in borghese gallery-veronica winters art blog
Caravaggio wall in the Borghese gallery-veronica winters art blog

Similarly , Caravaggio used the dark background to bring his subjects forward. He defined and mastered chiaroscuro – the balance of light and dark in his paintings. So much so that when a viewer stands in a dark interior of a church he sees abstracted patterns of light and shade. When the light is turned on, the entire painting changes to a story we see in a design. His mastery of color, negative space and contrast play with our perception of reality. (David and Youth bitten by a lizard).

Texture, paint and brushwork quality

Jan van Eyck (Dutch), painting detail that shows glazing techniques with seamless brushwork.

Caravaggio, St. John the Baptist. | This painting shows the effect of glazing where color (red) is built up in many layers of thin paint (glazing).

Our eyes travel across canvas to notice the unusual texture and brushwork, or purposefully to see none. Strokes of paint can describe the textures and shapes of fabric, skin and space. They can also generate an emotional response to the subject itself. The artistic ability to do it freely takes years of experimentation and practice, like we see in Sargent’s painting. Sargent’s art has spontaneous brushwork quality that’s actually deliberate and skilled. He was masterful at hitting the right ‘note’ in a single stroke, and when he was not, the artist wiped it off with a rag, and did it again. His paint strokes have relaxed elegance and fluidity.

John Singer_Sargent_Lady_Agnew Scottish National Gallery
John Singer Sargent, Lady Agnew
Metz art museum-Sargent-veronica winters art blog
Metz art museum-Sargent-veronica winters art blog

Classical oil painting techniques

Traditional methods involve several painting oil painting techniques. Here I’d like to mention glazing used by Ingres and David as well as the impasto oil painting technique perfected by Rembrandt. Glazing creates depth and sophistication in color by using thin, transparent layers of paint. The impasto technique creates texture in thick, opaque strokes. These two seemingly opposing methods are often combined together in a single work of art, like we see in the Rembrandt’s paintings that create the glow in his portraits. The Jewish bride.

Rembrandt, the Jewish bride, oil painting detail showing the impasto technique.

Impasto (to put in paste, Italian) is applied thickly on a canvas or panel with a brush or a palette knife that raises the paint surface and makes the strokes visible. Impasto creates textures in clothes, jewelry, and skin that looks like a suggestion of the fabric or skin rather than a direct representation of it. The relief-like surface makes the lights pop more to attract our attention to the focal point. Rembrandt, Velazquez, Titian and Goya used this technique.

paintings of angels van Eyck

Jan Van Eyck (Dutch, 1390-1441) was a fundamental figure in northern Europe, the first to perfect the oil painting technique. He had strong interest in optics and light effects to create painstakingly detailed realism. (Ghent Altarpiece, oil on panel, detail). In this kind of art you don’t see any brushwork to convey realism. The artist uses lots of glazes to build up the color.

A lot of artists use a combination of techniques that include glazing, impasto, scumbling and more that produced different visual effects to convey realism of texture and form.

Detail of a painted gown

Alexander Roslin: Marie Suzanne Giroust, 1734-1772, konstnÀr, gift
Alexander Roslin: Marie Suzanne Giroust, 1734-1772, konstnÀr, gift med Alexander Roslin.

Action step:

Pick an artwork that you really like, and try to explain why you enjoy looking at it in terms of composition, color, and subject. Practice your understanding of paintings, and your art appreciation will grow exponentially!  Have fun with it!

I hope you’ve enjoyed watching my video and discovered how story, composition, emotion and texture – all contribute to and influence on our perception of famous paintings. A great painting offers a lot more than a good composition, realism, or vibrant color. A great painting gives you an emotional experience, something poetic and spiritual that transcends time and place, and allows you to understand yourself and the world around you!

Coming up next: Video #2 Contemporary Painting

In my next video you’ll learn what to look for in contemporary art.

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Complete video series:

Video #1 Part 1 – Learn what makes a painting great

Video #1 Part 2 – you are here!

Video #2 Contemporary Art 

Video #3 How to take care of your art collection – coming soon!

Video #4 How to frame art 

Video # 5 Why you don’t need an interior designer to buy and display art in your home – coming soon!

Bibliography:

The Metropolitan Museum of art, http://www.metmuseum.org/art/collection

History of Art, 5th edition, H.W. Janson

The gilded age, E. Prelinger

Rhythmic Form in Art by Irma Richter, Dover Publications

Wikipedia & tons of art history classes in college! 🙂

 
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art appreciation: understanding the qualities of great art

Learn what makes a painting great: Video #1 Part 1

In the first video in the series you’ll learn about some of the greatest works of art, art movements, ideas and artistic elements. This video will help you understand and appreciate the qualities of great art, especially painting created before the 20th century.

Video Notes:
Overview:

Art Movements 0:42

Art Patrons 1:49

Art Education & female artists 2:21

Why do artists create art? 3:26

Artistic Elements : Story & Subject

Story & Subject 4:29

Biblical Scenes 5:16

Historical & Mythological Painting 9:03

Formal Portraiture 14:42

Landscape art 20:33

Genre art & Dutch still life 23:13

Kramskoy, portrait of a stranger, 1883

Next video: Video #1 | Part 2

In my next video you’ll learn about major artistic elements that artists use to design their paintings. They include composition, emotion, color, and the use of shapes, space and some painting techniques.

Painting detail of angels, art in Turin, Italy

Complete video series:

Video #1 Part 1 – Learn what makes a painting great – you’re here!

Video #1 Part 2 – Learn what makes a painting great, part 2

Video #2 Contemporary Art

Video #3 How to take care of your art collection – coming soon!

Video #4 How to frame art 

Video # 5 Why you don’t need an interior designer to buy and display art in your home – coming soon!

Hand, painting detail, art in Turin, Italy

Bibliography:

The Metropolitan Museum of art, http://www.metmuseum.org/art/collection

History of Art, 5th edition, H.W. Janson

The gilded age, E. Prelinger

Rhythmic Form in Art by Irma Richter, Dover Publications

Wikipedia & tons of art history classes in college! 🙂

Check out visionary art for sale 

19th Century Russian Artists and Genre Art: the Itinerants movement that changed the landscape of Russian classical art

As Russian art is not studied in most art history classes in the U.S., I’d like to introduce you to the Peredvizhniki movement – a group of Russian realist painters that appeared in the mid 19th century to question the predominance and value of Russian classical painting. Peredvizhniki translate as the “movers” or “trailblazers”.

19th century is a fascinating time period in the art history of the Western Europe. Both the Church and the State lost their former influence in the patronage of the arts, which allowed for the birth and development of several new artistic movements in Europe. While Russian art remained quite reserved, developing new ideas slowly, it did break away from the cold Academic painting by embracing the depiction of common people and the countryside in Russia.

Peredvizhniki (the itinerants) organized as a group in 1863. Similar to the Impressionists in France, the group of male artists organized traveling shows exhibiting their new work. They painted the common folk like serfs in the countryside, Russian landscape, and portrait art. Their goal was simple. Russian artists wanted to bring the arts to its people. They refused to depict the Bible scenes and Greek mythology, and focused on painting the world around them instead. They often showed inequality between the rich and the poor, the noble men and the inferior women. They also brought to people’s attention a widespread abuse of children, who often engaged in hard, manual labor.  As a result of such movement, Russian art preserved its traditional approach to painting in terms of the oil painting technique but considerably changed its themes.

19th-century Russian Genre Art

Here are some famous Russian genre paintings completed by the Peredvizhniki movement.

 

Ilya Repin (1844-1930)

Russian art, Repin
Ilya Repin, They Did Not Expect Him, 1884-88, The State Tretyakov Gallery

Ilya Repin grew up in poverty and hardship, living among the military as his father served in the military. He showed passion for the art at 13 and began to take art classes at a studio of a local artist. Soon, he became so good that he received commissions to paint the icons, which gave him financial freedom to fulfill his dream. In 1863 the artist travels to St. Petersburg to study art at the Academy. Not admitted the same year, he works on his drawing to get admission the next year. Repin becomes quick at gathering medals and awards for his studies and achieves great success with his final Academic project. At the same time he completes a commissioned piece – “Barge haulers.” After his travels in France, he comes back home to paint with the Itinerants.

Russian art_Repin
Repin, Barge haulers on the Volga river, 1870-1873

Repin believed in moral and social purpose in his art and painted peasant life like no other artist of his time. He depicted daily struggles and overwhelming poverty of workers and peasants who lived in stark contrast to well-dressed high society of the Imperial Russia. In this painting of Barge Haulers we see the never-ending bank of the Volga river where the blinding sun  is as strong as the people below it.

Pavel Fedotov (1815-1852)

Pavel Fedotov was born in a large and poor family in Moscow and spent his childhood years among his neighbors. His parents put him into the cadet corps at eleven years of age where the artist showed himself as a brilliant student. He began to sketch the caricatures of his teachers and teacher aids on the pages of his notebooks. When he graduated as the ensign of the Finnish regiment, he was found of music and poetry, translated articles from German and sketched his friends. Being very poor, he couldn’t participate in his friends’ parties and continued to work on portraiture and caricature. After a considerable conviction of his friends, he left the service and entered the Academy to study art.

His art instructors doubted his talent because Fedotov ignored the academic principles of battle painting composing horses and soldiers, and spent his evenings painting genre scenes remembered from his childhood. The artist lived in modest conditions, sending part of his service pension to his family back home. However, his sense of humor never let him give up on himself and eventually his talent got noticed by a famous Russian fabulist Ivan Krylov, who wrote him a letter asking to give up the Academy and work on his genre painting.

Russian art, Fedotov
Just knighted. Morning of the official who received his first cross, 1848, oil on canvas, 48x42cm, The State Tretyakov Gallery, Moscow

Pavel Fedotov left the Art Academy, and in 1847 showed his first painting “Just knighted. Morning of the official who received his first cross.” The artist loughs at a proud clerk who is shown after his party, living in devastating poverty. The second painting “The Picky Bride” followed the same year to impress his former teachers from the Academy.

Fedotov, choosy bride, Russian art
Picky Bride, oil on canvas, 37x45cm, TheState Tretyakov Gallery, Moscow, 1847
Fedotov, Widow, 1851

 

Pavel Fedotov, Matchmaking of a major, oil on canvas, 58 x 75 cm, 1848, The Tretyakov State Gallery, Moscow

The artist exhibited his masterpiece titled “The Matchmaking of a Major” in 1848 that prompted him an honor award of the Academician.  He depicts a beautiful bride running out of the living room as soon as she saw her future groom appear in a doorway. Richly dressed, her mother catches the bride by her gown. This paining brought the artist fame and financial success. Fedotov wished to travel to England to study genre art, but his friends noticed a change in the artist in 1852. Soon, he was placed in the asylum where he died the same year.

In his short life, the artist left tremendous legacy in Russian art by opening a new direction in Russian genre painting. Most of his oil paintings, sketches and portraits can be seen at the State Tretyakov Gallery in Moscow today.

Vasily Perov (1834-1882)

Vasily Perov  received his school education from a local deacon, who taught the boy math, language and the Bible. The boy showed great success in calligraphy and his teacher named him Perov (‘Pero’ sounds similar to a ‘feather’ in Russian).  Perov’s parents didn’t allow their son to enter a local art school, but let him take some private art lessons. Thanks to one of his relatives, Perov enters the art school later in 1852 and studies there to receive awards. After his graduation, he spends two years in Paris but ‘unable to paint anything worthwhile’ in his words, he begs the Academy to let him come back home. (Best artists received scholarships to spend 1-2 years in Western Europe after their graduation at the Academy).

russian art, perov
Vasily Persov, Easter rural procession, 1861

Besides masterful portraits, Perov paints great genre paintings that capture the reality of Russian life and its people. His art explores the disparity between the rich and the poor as well as the hypocrisy of the church clergy. Despite his fantastic abilities and successful exhibitions, the artist didn’t consider himself worthy of attention. He lived modestly and died in poverty. Most of his paintings can be viewed at the State Tretyakov Gallery in Moscow today.

Perov, Three students carrying water, 1866 | Here the artist depicts children carrying water in freezing conditions of Russian winter.

Russian painting
Perov, The drowned woman, oil on canvas, 68 x 106 cm, 1867, The State Tretyakov Gallery

In this painting, the artist shows an indifferent policeman sitting and smoking over a dead body of a poor woman (presumably a prostitute) that happened so often that the officials expressed no interest in the lives of the disadvantaged.

There are more Russian artists who contributed to the legacy of Russian art in the Itinerants movement that included Ivan Kramskoy, Vasiliy Polenov, Vasiliy Surikov,  Vladimir Makovsky, Mikhael Klodt, etc. Female painters were nonexistent until the 20th century Russia.

Makovsky, to the marriage, 1894 | Russian artists often critiqued the tradition of arranged marriage. In this oil painting we can see the desperation of a young bride who has to marry a wealthy, old man.

To continue reading about the 19th-century Russian portrait painting, please follow this link: https://veronicasart.com/19th-century-russian-art-and-portrait-painting-eyes-are-the-window-to-the-soul/

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