PROCESS & EXHIBITS
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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
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
This process is taught and used by the old Dutch Masters. It is written and domonstrated by Russian artist Alexei L. Antonov. This is very similar to the process I use today.
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!)
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!)
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.
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.
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.
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.
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.)
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)
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)
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.
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).
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.
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.
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.
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.
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.