Russian painting is rightly distinguished from world art. The fact is that until the seventeenth century, domestic painting was associated exclusively with a religious theme. The situation changed with the coming to power of the tsar-reformer - Peter the Great. Thanks to his reforms, Russian masters began to engage in secular painting, and icon painting separated as a separate direction. The seventeenth century is the time of such artists as Simon Ushakov and Iosif Vladimirov. Then, in the Russian art world, the portrait was born and quickly became popular. In the eighteenth century, the first artists appeared who switched from portraiture to landscape painting. The pronounced sympathy of the masters for winter panoramas is noticeable. The eighteenth century was also remembered for the birth of everyday painting. In the nineteenth century, three trends gained popularity in Russia: romanticism, realism and classicism. As before, Russian artists continued to turn to the portrait genre. It was then that world-famous portraits and self-portraits of O. Kiprensky and V. Tropinin appeared. In the second half of the nineteenth century, artists more and more often depict the simple Russian people in their oppressed state. Realism becomes the central trend of painting of this period. It was then that the Wanderers appeared, depicting only real, real life. Well, the twentieth century is, of course, the avant-garde. The artists of that time significantly influenced both their followers in Russia and around the world. Their paintings became the forerunners of abstractionism. Russian painting is a huge wonderful world of talented artists who glorified Russia with their creations
GOUACHE
Translated from French, the word "gouache" means "water paint". Gouache paints have great hiding power, are opaque, although they are diluted with water (see Paints).
Using the gouache technique, artists paint on paper, cardboard, plywood, thick silk. The works have a matte, velvety surface. But when using gouache, its own difficulties arise - the paints quickly brighten after drying. Considerable experience is required to predict the degree of change in tone and color.
Gouache was already widely known in the Middle Ages, when it made book miniatures (usually in combination with watercolor) in many countries of Asia and Europe, and in the Renaissance - sketches, cardboards, portrait miniatures. In Russia, the gouache technique reached a high level of development in the art of the late 19th and early 20th centuries. Artists V. A. Serov, A. Ya. Golovin, S. V. Ivanov painted large easel works with gouache, skillfully using its dense color to achieve impressive decorative effects.
Famous artists use the gouache technique in different ways. So, the picture of B. M. Kustodiev “Fair” was written in a corpus, in a decorative manner. The colorful clothes of people, buildings, the painter showed in a generalized way, especially the rows of tents, roofs and behind them a dark strip of forest.
B. M. Kustodiev. Fair.
1908. Paper, gouache.
B. M. Kustodiev. Fair.
1908. Paper, gouache.
State Tretyakov Gallery
A. S. Stepanov, known for his works dedicated to landscape and animals, was a remarkable master of gouache. One of his best works is "Wolves". Surprisingly vividly painted predators, hungry, alert. The moonlight is pale, the firmament is mysteriously illuminated. The silver-blue gamma creates a feeling of night cold.
Artists of the association "World of Art" often turned to gouache technique. Often they combined gouache with other materials. For example, in the work "The Walk of the King" A.N. Benois used, in addition to gouache, watercolor, gold, and silver. The use of the last two materials gave the picture a pomposity, so characteristic of the then inhabitants of Versailles.
A. N. Benois. Walk of the king
A. N. Benois. Walk of the king
1906. Paper on cardboard, gouache, watercolor,
bronze paint, silver paint,
graphite pencil, pen, brush
State Tretyakov Gallery
Very often posters, sketches of theatrical scenery, decorative design work are made with gouache.
How to work with gouache
To work with gouache, it is best to use a porcelain or plastic palette with holes for paints around the edges, or just a small flat white board (30x40 cm). The brushes are round and flat (see Brushes). You can use bristle brushes when working on decorative panels, posters and slogans. But here you will also need poster feathers or sticks sharpened in the form of a spatula. And when working on a large plane, use a flute - a flat bristle brush. Cover the surface with gouache several times, without waiting for the paint to dry. If you get bumps, level the entire plane with a wet flute. First, draw the strips sequentially from left to right horizontally, and then over the coating. Do not apply too thick a layer of paint: it easily cracks and crumbles. Gouache dries at room temperature for an hour.
It is better to work on a tablet, but you can also use an eraser - a plywood tablet with an outer frame that clamps the edges of the paper, or with two frames inserted one into the other.
Draw in gouache on white art paper, brown paper, or gray cardstock. To evenly stretch the paper on the tablet, place it so that its edges on each side are 2-4 cm larger than the tablet. Then dampen the paper on both sides with a sponge until it lays flat. After that, dry the paper with cotton wool, and grease the edges of the tablet with flour paste or dextrin. Start gluing from the middle of the tablet, evenly stretching in all directions. Fasten the corners with buttons. To dry, place the finished tablet horizontally on a flat place, paper side up. Your material for working with gouache paints is ready.
Voronezh artist Olga Brazhnikova is known for her bright, sunny gouache works. The path to art was not easy for her, refusing to work as a designer, she entered the Voronezh Art College, and this year she graduated from the Pedagogical University with a degree in Fine Arts. Olga mainly works with gouache and destroys the stereotypes associated with this material. For Umbra Media, the artist showed her home workshop and told how her art has changed her life.
About study
"I ran away from work at the factory"
When did you realize that you wanted to become an artist?
- I always liked to draw, but in the view of my parents (my mother worked as an accountant, my father still works at an aircraft factory), an artist is a frivolous profession. So I had to go to aviation college. I don't understand how I could finish it. My ability to draw well helped, I made wall newspapers for tests. When my studies were coming to an end, I realized that I would not go to the factory for anything. And I went to an evening art school so that at least I had something for my soul. The teacher suggested that I enter the Voronezh Art College.
- How did your parents perceive that you want to become an artist?
They didn't believe that I would do it. There was a funny story. Dad said that he knew a man who could draw a portrait of Lenin on the sand with a stick! And if I can't do that, then I'm not an artist. In spite of everything, I was preparing for admission, went to courses for 2-3 months, studied drawing separately with a teacher. And when I entered, my parents supported me and were happy. And later, when my works began to be taken to exhibitions, they believed in me. After college, I ended up at a defense company, where I still work as a designer. I had a rather long break - seven years, but then I decided to return to painting and creativity. In 2013, she entered the Voronezh State Pedagogical University, from which she graduated this year.
About materials
"Few people believe that my paintings are painted in gouache"
— Why did you choose gouache, why is this material interesting to you?
- I became interested in gouache at the Pedagogical Institute. Previously, I perceived it more as a transitional stage to oil. But now it's my favorite material. It dries quickly, is odorless, gives textured strokes and vibrant colors. I write pasty, gouache is not diluted with water. I usually draw on thick paper. Oil, of course, is not so convenient to work in an apartment. Especially considering that my cat constantly strives to plunge into some kind of jar. Once I was painting in oils, briefly distracted, and she had already got into the blue paint and left paw prints all over the apartment. Then we scrubbed these traces all evening.
— What do you think about the fact that gouache is often called a "children's" material?
“I think this is a stereotype and prejudice. It was in gouache, according to my colleagues, that I developed my own style. When I post my work on the Internet, many people write how surprised they are that the paintings are painted in gouache and not in oil. Gouache is not children's creativity, but a worthy material. It seems to me that in general any material can create masterpieces, the material does not play a primary role here.
— What inspires you?
— I love cityscapes. Houses that have lived, and they have their own history, fascinate me. Usually I walk around the city, shoot stories, and then write at home. I love the riot of color, textured strokes. And among modern artists, I am very inspired by the watercolors of Arush Votsmush.
- In what atmosphere do you like to work - in silence, or with music?
— When I write, most often I listen to the good old rock. Some of my favorite bands are Aquarium and The Doors.
- It is widely believed that academic education "kills" the individuality of the artist. What do you think about this?
“It seems to me that education in the arts is more important than ever. When you watch the same video tutorials over the Internet, you are not an accomplice in the process, but this is necessary. I think that an academic education helps to acquire drawing skills. I studied with Alexander Starilov, he was a versatile artist, architect, and innovator. He believed that one should have a classical education, and then look for one's own style, the same primitivism is not born out of nothing. And I agree with him.
About implementation
"An artist is more than a profession"
— How do you manage to combine the work of a designer, creativity and family?
— It’s difficult, I write mostly on weekends. And the daughter is already an adult, you don’t need to be with her all the time, she already has a lot of her own interests. During the period when I did not draw, I constantly felt that I lacked it. Now I'm not going to give up painting, I like to be creative and search. Being an artist is for me the meaning of life and more than a profession. Creating a painting for me is some kind of mystery, although, of course, from a technical point of view, there is no mystery. But the process is always intriguing - I wonder what will come out in the end.
- What are your plans for the near future? Would you like to have your own workshop?
- I really want to participate in exhibitions, and not lock myself in my space. I hope that soon I will be able to make a personal exhibition at the art school. And the workshop is perhaps only a matter of the distant future. While all my work is placed in the apartment. We have recently renovated. The walls were specially painted white so that pictures could be hung. I organized the space for work so that I could feel the air around and there was a lot of light. Until it is overgrown with all sorts of interesting objects and details, but I think that this is not for long.
The faces of people in most of the artist's paintings are darkened or turned to the side. This is done in order to express emotions and for the body to "speak". “I have always tried to show the world only the positive moments of life. I hope that my work brings joy, peace and comfort to the life of the viewer,” says Hanks.
Rainy watercolor Lin Ching Che
Talented artist Lin Ching-Che is 27 years old. He is inspired by autumn rain. Cloudy city streets cause the guy not longing and despondency, but a desire to pick up a brush. Lin Ching Che paints watercolor paintings. With colorful water, it sings of the rainy beauty of megacities.
Boiling fantasy of Arush Votsmush
Under the pseudonym Arush Votsmush, a talented artist from Sevastopol Alexander Shumtsov is hiding. The artist says this about his paintings: “I am not trying to prove anything to anyone with my work. First of all, I enjoy. It is pure creativity drug. Or a pure life - without doping. It's just a miracle."
The charm of Paris in the works of Thierry Duval
Paris-born artist Thierry Duval has traveled extensively. Hence the presence of entire series of paintings on a "geographical basis". Nevertheless, the author's favorite place was and remains Paris. The lion's share of works is dedicated to the city of lovers. He has his own technique of layering watercolor, which allows him to create paintings with almost hyper-realistic detail.
Evening Calm by Joseph Zbukvic
Today, Croatian-born Australian Joseph Zbukvic is considered one of the pillars of watercolor painting in the world. The artist fell in love with watercolor literally from the first stroke, he was struck by the innocence and individuality of this technique.
Secrets of the East through the eyes of Myo Wing Ong
The artist Myoe Win Aung devoted all his work to his native Burma, its everyday life and holidays, lay people and monks, towns and cities. This world is calm, dressed in gentle tones, mysterious and slightly pensive, like the smile of Buddha.
Incredible watercolor by Joe Francis Dowden
English artist Joe Francis Dowden paints hyper-realistic watercolors. And he believes that everyone can do it, you just need to know the secrets of technology. The secret of his inspiration is extremely simple: "Throw away watercolor textbooks and get lost in a real forest."
The Magic of Ballet by Liu Yi
The watercolors of this Chinese artist can be safely called art about art. After all, his favorite topic is the images of people who are directly related to him - for example, ballerinas or classical musicians. The way they are presented in the paintings is peculiar: people seem to emerge from a thin haze, emotional and very characteristic. To some extent, they echo the images of ballerinas by the French artist Edgar Degas.
Solar painting by Abe Toshiyuki
Abe Toshiyuki (Abe Toshiyuki) received an art education and devoted 20 years to teaching, not for a moment leaving the dream of becoming an artist. In 2008, he finally abandoned the teaching profession and devoted himself entirely to creative self-realization.
Country Morning by Christian Granu
I still go to the blogs of various artists and look at the gouache that people work with. (I also have my own, but you have to see what people are doing.) I realized that for me personally, watercolor is not suitable for plein air. Need something more covering and drying faster. And at the same time less whimsical. Therefore, gouache seems now to be the best option for plein-air work, when the light, weather conditions change very quickly and there are really no amenities.
I have not yet matured for oil, I need to carry too many burdens with me, including canvases or boards for work, as well as a special box for sketches so that they do not smear during transportation. And already now, with equipment for working with watercolors, pastels and colored pencils, my shoulders just come off. So much so that after the last trips of last month I live with Voltaren. This is not a man, if anything. It is an ointment for pain in muscles and joints.
My favorite plein air painters right now are James Gurney and Nathan Fowkes. It turned out that both of them are illustrators, like myself, who go to the open air or draw from life for inspiration and for pumping artistic muscles. I didn’t specifically choose them according to this principle - it just happened that way. James is famous for his "Dinotopia" (by the way, his drawing book in Russian "Color and Light" was recently published, in English here: Color and Light: A Guide for the Realist Painter (James Gurney Art)), and Nayten is an artist- animator (you can learn from him at www.schoolism.com). And I like it so much with what daring and speed both of these comrades work in the open air with gouache, that even the tips of their fingers prick - I want to rush and sculpt it myself with gouache or casein.
Works by James Gurney from here
Works by Nathan Fawkes from here
These are my heroes now, in general. I would like to move in the works from nature from detailed vytukivanie to a freer brushstroke. But not because I stopped loving to languish over the details - this will not happen, I adore them. But because I would like to see finished or almost finished works after the open air, which could be used for more serious canvases. Because now, while I'm bringing to mind the sketches from nature and finishing - from memory and from the photo - there is no strength for a larger repetition.
While looking for gouache varieties, I came across another talented illustrator, whom I will not refer to here, because he causes some internal contradictions in me. Moreover, I often came across the fact that it is useless to ask Western illustrators about materials or some subtleties of work. In 90% of cases, they simply do not answer and do not particularly spray on the topic of how exactly they work. I perfectly understand their position, but I consider it fu. But then it turned out that there is an even more superlative degree. A talented illustrator, whom I DO NOT refer to, answers all questions about the technique and materials used very clearly: "Please send me an email to purchase the information" (Send me an email to purchase the information). At first I thought that it was simply sealed when I saw the signature under one of the works after the list of materials used. Because purchase information is information about the purchase, but to purchase the information is the purchase of information. But no. A person really shares information only for money. And I still don't understand how I feel about it.
On the one hand, he is right. This information did not fall from the sky to him either. He invested time and money in his technique. It's scary to think how much money I've already spent trying to find the best materials for me. So does he. Why should he share now with someone for free? I myself have often encountered the fact that my detailed stories or thoughtful topics and lessons that people received for free were used for entire master classes, that is, they were monetized and everything passed me into someone else's piggy bank, including the piggy bank recognition. But there is also such a thing as creative exchange. Without it, there is no normal development. There is only stagnation. What if it was my information, which I shared from the bottom of my heart, that helped some very cool artist get on his feet?! After all, without him, the world would be much poorer.
Another moment. Personally, I'm not ready to pay a person for information that I can safely do without (well, I'll look further for what's there). For the master class - yes. And for one sentence, with which roller he applies paint or in what proportions he breeds - most likely not. Although, this is also a payment for the time spent on explanations! And suddenly this particular detail would help me more than any master class? A very difficult topic.
What do you think about this? Are artists doing the right thing by monetizing all their knowledge? Are they good or disgusting? Just, please, don't tell me about the golden mean, that you can share it for free and at the same time transfer it into banknotes by various master classes and sales. This is out of the question. This is so clear that it is possible and so smartly, like. What about the uncompromising "To buy this information, email me"?
