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All prices are based on the style of  painting requested

What will it cost me?


CHARCOAL DRAWINGS     Each drawing of a figure and/or a face is $100.00 - $250.00 each depending on the image.  Each drawing of a home or car begins at $100.00.  This price does not include matting and framing. Click here to contact the artist.

Still Life     These paintings are created in a personal and original style.  Michael is an artist concerned experimentation in the medium.  According to the artist-ALL paintings are experiments.  There is no end to painting-if there is, the process is simply a labor.  Artistic freedom is the ability to use what you know and carry it to another level.  Every painting is a learning experience.  Click here to contact the artist.

Prices range from $ 1000.00 - $ 6200.00


Nostalgic Photo-Paintings     These paintings are personal and hold a value cherished only by those who own one.  They are truly a one-of-a-kind.  

Prices start at   $ 1000.00

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Portrait Artist, Elizabeth Hinshaw    



              2008  Natural Museum of History, NY City, New York

              2008  Albany Institute of History & Art, Albany, NY

                            'Horsing Around" Exhibit

              2007  Saratoga Style, Saratoga, NY

             2006    Kinion Fine Art Gallery, Sedona AZ

                            431 Hwy 179 in the Hozho Center  on Gallery Row

  1. 2003     Celeste Suzany Gallery. Saratoga N.Y.


  3. 2002     Albany Institute of History and Art.  Albany, N. Y.

  4.                                   2002 Artist's of the Mohawk-Hudson Region.  Juried Exhibition


  6. 2001     2001 Juried Christmas Show, Colonie Library, Albany, N.Y.

  7.                                    Annual Juried Exhibition


  9. 2001     The 2001 Eastern Juried Regional.  Local Color Art Gallery, Schenectady, N.Y.

  10.                                     Regional Exhibition


  12. 2001     Main Street Gallery, 26 Main Street, Dobbs Ferry, N.Y.

  13.                                      Three Man Show with Robert Moyland 


  15. 2000     The 2000 Eastern Juried Regional.  The Colonie Art League @ Morningside Gallery, Latham, N.Y.

  16.                                      National Exhibition


  18. 2000      Main Street Gallery, 26 Main Street, Dobbs Ferry, N.Y.

  19.                                    Two-Man show with John Hampshire

  20.                                    Gallery owner:  Peggy Blizard


  22. 1999      The 1999 Eastern Juried Regional.  The Colonie Art League @ Morningside Gallery, Latham, N.Y.

  23.                                    Second Place $750.00 Award

  24.                                    The DCLW Architects Award in Honor of W. Parker Dodge


  26. 1999       The College of Saint Rose, Albany, N.Y. 

  27.                                   Master's Show


  29. 1999      Uncle Sam Gallery, Troy, N.Y. (J. Cabrella Inc.)

  30.                                  Three Man Show (Still Life Series-1)


  32. 1998      Eastern Juried Regional.  The Colonie Art League @ Morningside Gallery, Latham, N.Y.

  33.                                  The Frank G. Humbert Award


  35. 1997      Rensselaer Artists Movement Society (RAMS), Rensselaer, N.Y.

  36.                                "Rensselaer Through the Eyes of an Artist"

  37.                                 Honorable Mention


  39. 1996      Albany Institute of History and Art, Albany, N.Y. 

  40.                                  Mohawk-Hudson Regional


  42. 1996      North Colonie Faculty Exhibit, Latham N.Y. 

  43.                                  Faculty Exhibit


  45. 1996      Barnes and Noble, Albany, N.Y.

  46.                                 Solo Exhibit


  48. 1994     The Gallery at 20 Main Street., Cambridge, N.Y.

  49.                                 Group Show

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This process is taught and used by the old Dutch Masters.  It is written and domonstrated by Russian artist Alexei L. AntonovThis is very similar to the process I use today.


painting technique 1. Stop looking at modern art and stop loving it. Modern bright colors and hue contrasts destroy the subtle vision of the painter who risks to study classical painting in our time.(Not my suggestion-his!)

painting technique 2. Many painters get an energy charge from music. Stop listening to any modern music and begin listening only to classical music. Try to begin loving it. (Not my suggestion-His!)

painting technique 3. Brushes. You should have many brushes so that not to lose time washing them while working. Take a new brush for every new mix. Use round kolinsky brushes, #1 to #10. To cover larger surfaces, you will need a few #20 to #35 brushes. For final strokes PRIPLAVLENIYE (final blending) you will need a few very soft round and flat average size squirrel brushes. Brushes should be treated very carefully. After every session they should be washed in turpentine and after that in warm water with soap.

painting technique 4. The palette must be made of hard dark wood, best of all, of pear. After work wash the palette with turpentine and scrape it with a razor. Before work wipe the palette with linseed oil.

painting technique 5. The canvas should be primed additionally a few more times and in conclusion it should be ground with fine sandpaper. After that the canvas should be scraped with a razor to remove the canvas texture till smooth dead surface similar to the egg's surface is achieved.

painting technique 6. It is very important to have objects for still lifes in the studio. Don't be stingy at garage sales and flea markets, you may regret it later.

painting technique 7. Thedrawing is made on paper life-size to the smallest details. Then it is transferred to the canvas by carbon-paper. After that the drawing is outlined with brown ink because the first oil layer - IMPRIMATURA (transparent coat that is equal to the middle tone of largest, lightest object in painting) - will wash away the pencil, but the ink will remain visible almost through the last layers. (I do not draw on the canvas first.  I always begin my still life paintings with the IMPRIMATURA layer - it is best for creating initial form in a direct manner.)

painting technique 8. Before each new layer the canvas (ideally dried during 7 weeks) is carefully wiped with a half of an onion (in order to prepare the dried surface to absorb better) and then with linseed oil. After that the canvas is wiped with a soft piece of cloth.(I do not allow 7 weeks and the onion is definitely out of the question)

painting technique 9. The lacquer for IMPRIMATURA is made of 2% of dry DAMAR CRYSTALS and 98% of turpentine. The lacquer for painting is made of 5-10% of dry resin and 90-95 % of turpentine. A couple of lavender oil drops are added directly to the oil-can. Scientists say lavender oil stimulates the brain. However, I think that old masters added it to eliminate the heavy turpentine smell. The lacquer for the final step consists of 30% of DAMAR CRYSTALS, 3% of linseed oil, and 67% of turpentine. (My mixing medium is made of the same combinations of mediums above only different percentages)

painting technique 10. The basic set of paints is the following: "Rembrandt" oil colors: Flake White, Yellow Ochre Light, Red Ochre, Burnt Umber, Raw Umber Ivory and Lamp Black (7 Basic Colors), and 4 extra colors (when necessary) which I use in the last layers: Flake Yellow (instead of it also can be used Cadmium Yellow Deep), Madder Lake Deep, Chinese Vermilion, Prussian Blue. But be careful, use these last 4 colors very sparingly.

painting technique 11. IMPRIMATURA, or the first paint layer. The canvas is covered with a liquid mixture based on Red Ochre, Yellow Ochre Light and Ivory Black (the mixture should have an olive hue).

painting technique 12. The shadow PODMALYOVOK (the process of creating intermediate layers) is made with Burnt Umber in two layers (2nd and 3rd layers). In the second layer all details are made excluding the texture. In the third layer LESSIROVKA of the main tone masses is made with a big brush.

painting technique 13. The dead layer - the fourth PODMALYOVOK - is made with white lead, light ocher, red ocher, and burnt bone. The aim of this PODMALYOVOK is penumbra. The picture must look as if its objects were lit with moonlight - olive cold gray color. Colors are applied thickly, half a tone higher, shadows are very transparent, half a tone lower.

painting technique 14. The first and the second TEL'NII (flesh tones: main life colors) PODMALYOVOK (5th and 6th layers). The first TEL'NII PODMALYOVOK is made half a tone lighter and two tones lighter in colors; and half a tone darker and two tones lighter in shadows. The same is true of the second TEL'NII (?body?) PODMALYOVOK.

painting technique 15. LESSIROVKA - the seventh layer: details of textures, thickly applied highlights, bright reflections, and signature. In this layer you may use additional paints: Prussian blue, red cinnabar, yellow flake (cadmium yellow deep), madder lake deep.

classical technique

painting technique Observation is a very important aspect of learning to paint in the classical style. To master the technique, it is best to watch a master paint for long periods of time. In the the contemporary system of teaching, the student sits down right off with a handful of brushes and a palette of paint, and starts slapping it on the canvas, while the instructor looks on and makes comments or suggestions now and then. It is therefore, very important for those wishing to seriously pursue classical technique to just watch for a while.

classical technique


Drawing on paper.


Transferred to the painting : outlined
Transferred to the painting.

painting oil on canvas: 1st layer
IMPRIMATURA, or the first paint layer.


painting oil on canvas: 2nd layer
The 1 shadow. (2nd paint layer)

painting oil on canvas: 3rd layer
The 2 shadow. (3rd paint layer)


painting oil on canvas: The dead layer
The dead layer. (4th paint layer)

painting oil on canvas: 5th layer
The first body. (5th paint layer)


painting oil on canvas: 6th layer
The second body. (6th paint layer)

painting oil on canvas: 7th layer
Details of textures. (7th paint layer)

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