- Artist tips
- Art history
- Step-by-step drawing
- About artists
One day, I happened to hear a conversation between my brother and a friend, very peculiar, between us:
- Which do you like more cats?
- I'm smoky-blue
- Well, Yes, they're beautiful. And for some reason I like simple, gray, are striped, yard.
- Yeah, they can be a little green.
- Right, yeah, that's what I like.
In general, studying art history has always been a matter of principle for me. From the earliest childhood we, together with my father, considered books on art, and especially my favorite albums were “Petrov-Vodkin's drawings” and “what color rainbow” by E. Kameneva (dictionary of artistic terms for children). Especially the latter attracted attention and strengthened the perception of great masterpieces, because for a very young age, it was ideal: colorful, unusual, interesting, demonstrated objects and objects of art and culture of different countries and peoples.
One day, in painting, during my studies, being in the first year, I painted another still life from nature with oil paints. Of course, by that time, we - the students have already studied the course of painting technology, learned the table of mixing paints and their light resistance, learned to prepare themselves “tee” (a composition of three components: varnish, thinner, oil for correct dilution of oil paints to a liquid state) and strictly, consistently dried paint layers before starting another painting session. But, mistakes happen at all. In order to save the diluent (for some reason, pinene was less than required), I added to the “tee” more varnish and even more oil. We, students, used, basically, the settled and bleached sunflower oil, instead of linen which at the end of the nineties - the beginning of two thousandth years still was difficult to get in the small provincial town in the North of Sverdlovsk region (Russia).