with descriptions, including technique alla prima. Moreover, as many of my readers have noticed, I speak very highly of her. Indeed, I appreciate this technique and give it credit for those great opportunities that it provides.

At the same time, I know that many masters treat alla prima with some disdain, considering it a technique that does not deserve the attention of the creator." eternal paintings", a kind of fun.

Still life using the Alla Prima technique

It is possible to understand them, but it is unlikely to completely agree. And now we will try to take a closer look and understand all the pros and cons of raw technology.

What is alla prima?

Alla prima- this is one of the main techniques oil painting, main distinctive feature which is painting the entire picture before the paints are completely dry. This is how it differs from multilayer technique which is considered a classic.

In multilayer painting, paints are applied to the canvas in layers, one on top of the other, and the next layer is applied after the subject has completely dried.

The alla prima technique is also called raw technique and its name itself comes from the Italian term “a la prima” (read as “a la prima”), meaning work in one sitting.

Portrait using Alla Prima technique in 2 hours

It is also interesting that paintings painted in alla prima can actually be called “multi-layered”. Only this technique has a special feature applying paint on top of each other in its raw form.

However, in order to apply one layer of paint over another, which has not yet dried, and get the desired result, it takes a certain skill and special understanding. After all, oil paint is malleable, and one layer can partially “disappear” or “dissolve” in another.

What is good about the alla prima technique?

The main advantage of alla prima is the ability to paint a picture very quickly, literally in a few hours, and sometimes even in less than an hour. For this, impressionist masters love her, who need to convey on canvas a fleeting impression, some kind of natural phenomenon that cannot be recorded and painted for weeks.

An example is the painting “Impression. Sunrise" by Claude Monet, which is considered a classic. By the way, it was with this painting that the path of the “Impressionism” style began. The painting depicts a seascape in the morning twilight at the moment of sunrise.

"Impression. Sunrise" by Claude Monet

Obviously, such a picture could have been painted literally in a few minutes, before it was yet dawn. It was also necessary to correctly convey the shades of the sky, water and other objects precisely at the moment of sunrise.

The matter was complicated by the fact that on different days the sunrise is different due to fog and cloudiness. And therefore, in order to convey a specific look and special impression, it was necessary paint a picture here and now…. While the artist was especially impressed!

For this “here and now”, the alla prima technique is loved not only by impressionist artists, but also by novice painters. At the learning stage, it is important for them to be able to correctly convey the geometry of shapes and the combination of primary colors, which it’s quite possible to do “a la prima” in one sitting.

Wet technique

It also allows you to practice certain elements of oil painting with a quick result, without delving into the analysis of the composition and analysis of the drawing. This result can already be analyzed and found out whether the artist has mastered this or that element or not.

And for some aspiring artists the very fact of completing the picture is important and immediately obtain the final result. Working long hours in a multi-layered manner that takes days or weeks to complete a painting can confuse them.

And not being sure that end result will be exactly the way they see it now, many do not finish the painting and give up painting altogether!

For example, multi-layer painting, which has its own algorithm, proven over centuries, is not suitable for everyone, but only for those who are especially patient and focused. You won’t be able to paint a picture like “Here and Now” here!

Alla prima It also makes it possible to quickly complete the work, get pleasure from contemplating it and the confidence that it is worth working further in this direction. Technique alla prima is an impulse, a special state and emotional impression of what comes out of your hand!

Painting using quick technique on wet

Conclusions in favor:

• Overcoming various fears and internal barriers(for example, fear of a white canvas, fear of an unfinished painting and disappointment...)
• Possibility to complete a painting in one or two sessions while the paints are still wet
• The work begins immediately with paints, without deep analysis and detailed drawing.
• Have fun and see your painting in the next couple of hours
• The ability to be in a special, impulsive and pleasant emotional state To feel in the “here and now” state

By the way, it has been proven that, being in a “state of impulse,” a person’s endorphins increase, which immediately improves his mood. This is precisely what lovers of painting and creativity in general note first.
, I think you've already heard...

What are the disadvantages of raw technique?

At the same time, the alla prima technique has some disadvantages.
I'll talk about them briefly:

• Some incompleteness of the paintings, a loose depiction of objects, their shapes, small elements on the canvas, possible simplicity of the image;
• The difficulty of conveying the play of colors and shades without much experience;
• The difficulty of working with the relief of a painting without skill

The fundamental “disadvantage” of alla prima is considered to be the tendency of the artists working in it to constantly simplify your paintings.

Simplified plots using the Alla Prima technique

Because of this, in some cases, jobs are lost artistic value and simply turn into strokes of paint, which the author tries to present and interpret as an expression of his feelings and thoughts. Abstraction, in a word...

Fragment from the film “1+1”

Great paintings and masters who painted in alla prima

And yet, it was painting that significantly changed and allowed the entire movement in art to survive the advent of photography and emerge from competition with it.

Alla Prima showed that painting can serve not only for documenting images, landscapes and objects, but also to reflect the author's inner feelings. Alla Prima partly contributed to the fact that painting turned from a craft into an art.

By the way, it was the alla prima technique that allowed artists to go out and create outside their workshop in natural daylight. That’s how the well-known word and concept “Plein Air” was born, that is, on fresh air.

Painting a la prima in the fresh air

Various landscapes are usually painted in the open air, and it is not surprising that when going out in public, technology has become increasingly popular and a large number of followers. Creating in nature is much more pleasant than being in a stuffy workshop!

I have already spoken about Claude Monet’s painting above. I will only add that it was terribly criticized by critics to smithereens, which did not in the least affect Monet’s desire to continue writing in the same direction! Later Vincent Van Gogh, John Sargent, Robert Henry and others painted in this technique.

Interesting facts:

Painting technique raw has existed for quite a long time, with16th century. It was used for portrait sketches, as well as sketches of landscapes on canvas in the fresh air (plein air), before continuing the painting in the studio. Well, they began to use this style of painting for finished paintings a little later.

From the paintings written entirely in alla prima, quite a few works are known. For example, many paintings by Velazquez, a Spanish court artist 17th century, Franz Hals - Dutch portrait painter of the 17th century, Jean-Honoré Fragonard - French master of engravings XVIII century or Eugene Delacroix, a French graphic artist and paint master of the 19th century. Also sketches for Repin’s painting “Council of State”, and seascapes by Winslow Homer and many others.

Paintings famous masters using the alla prima technique

Some tips for those who are starting to master the alla prima technique

Now I’ll say something somewhat contradictory: The alla prima technique is difficult. Yes, yes, even though I said that beginners prefer it, you need to understand what to really write significant work it's difficult.

Here you need to perfectly feel the shades of paint and the manner of applying them to the canvas in order to get the desired effect in one go. Therefore, in order to master the technique, need to start small:

• Choose a light canvas primer that will not set off the paint, for example, pinkish or yellowish;
• If you need a drawing (sketch), then use charcoal, not pressing too hard, applying airily.
• Feel the opportunity to quickly get results, see what happens, then complicate the task;
• Don’t be afraid if the first pictures are full of mistakes and shortcomings. This is fine. After all, it is these mistakes, noticed in time, that will allow you to write even better in the future;

Or something may happen that will become just another step for you to conquer traditional multi-layer oil painting. But to understand this, you need to try to paint a picture now⇓

Video for dessert: idea how to draw a landscape quickly, easily and fabulously

Friends, to the article not lost among many other articles on the Internet,save it to your bookmarks.This way you can return to reading at any time.

Ask your questions below in the comments, I usually answer all questions quickly

Sample lesson plan

Painting lesson in 4th grade

on the topic: “Painting technique a la prima”

Lesson topic: "Painting technique a la prima."

Objective of the lesson: studying the “a la prima” technique and revealing its pictorial possibilities in practical lesson.

Tasks:

Educational - learn the techniques of working with watercolors using the “Ala Prima” technique;

Developmental - development of attention, clear organization of mental analysis of the sequence of work stages, a sense of harmony, balance and the ability to analyze what is seen;

Educational - fostering accuracy in the performance of work, the ability to see beauty in the surrounding life, a sense of proportion and refined taste in choosing color combinations;

Lesson type: - combined lesson;

Equipment for the lesson:

For the teacher:

Presentation for the lesson;

Visual range: reproductions of works by artists: Albrecht Durer “A Large Piece of Turf”, Karl Bryullov “The Family of an Italian”; Thomas Girtin "Cityscape"; Richard Parkes Bonington "Venice. Doge's Palace"; clear example execution watercolor work using the “Ala Prima” technique;

Best student works;

For the student:

A sheet of paper, A-3 format, watercolor paints, brushes No. 2,6, sponge, water jars, hand napkin, easel.

Lesson plan:

1. Organizational moment. Preparing students to perceive new material: 1 min.;

2.Introductory conversation: 2 minutes;

3. Theoretical part: identification of the problem and explanation of new material necessary to solve the problems. A conversation about the history of the emergence of watercolor techniques. Presentation demonstration. Introduction to the tools necessary to work in the Alà Prima technique: 9 min.;

4. Conducting a master class: 8 minutes;

5. Practical work of students: 13 min.;

6. Exhibition of works. Analysis and evaluation of results artistic creativity students: 5 min.;

7. Reflection: 1 min.

8. Summing up the lesson: 1 min.

Lesson progress:

I.Org moment. Preparing children to perceive new material.

Greetings. Checking readiness for the lesson (availability necessary equipment).

II.Introductory conversation:

When preparing for serious painting lessons, you need to understand deep meaning following instructions from Konstantin Fedorovich Yuon, Soviet painter, master of landscape: “In the process of work, the artist’s feelings are directed not only to the perception of the outside world, they at the same time concern the understanding of the qualities and properties of the materials and production tools themselves, all their potential features, for use at the right moment.” These words fit our lesson perfectly. Today, painting will not be ordinary, because the technique that we will use to complete the work will not leave anyone indifferent. The name of this technique will not surprise you. You have already used it, heard about it in plein air classes. This technique is called "a la prima".

The purpose of the lesson: to study the “a la prima” technique in more detail and reveal its painting capabilities in a practical lesson.

III.Theoretical part: identifying the problem and explaining the new material necessary to solve the problems.

Watercolor is considered perhaps the simplest and most common of painting techniques. And indeed, everything seems to be simple - paper, water-soluble paints, brushes available to everyone... But this is only at first glance! Airy, subtle color transitions, sophistication of rich tones and halftones, light and color - only a professional painter who has mastered the richest arsenal of watercolors can use all this. An arsenal accumulated by watercolor artists around the world over almost two millennia...

The watercolor technique is incomprehensible and mysterious in its own way. The word “watercolor” was first used at the beginning of the 15th century. Italian painter Cennino Cennini, describing the art of dissolving paints in water in his Treatise on Painting. By birth, these colors are inextricably linked with water, and water is one of the four natural elements– rebellious, changeable and unpredictable. Therefore, an artist starting to work in watercolor is unlikely to achieve much without patient and long study of it. But no less important are courage and clarity of thought, improvisation, speed and confidence in writing.

By and large, there are two approaches, two techniques for working with watercolors. A painter can give his all water element these magical paints - to inventively embody on paper the power of water and color using the watercolor technique on a wet sheet. Or he can work dry, with glazes and small strokes, without letting the painting into the space excess water. And if the watercolor artist is talented, any of these painting techniques will serve to create a spectacular, unforgettable painting.

For example, in Europe, the dry-on-dry watercolor technique was originally used in the plein air, when it was impossible to retain moisture on paper for a long time. This is probably how the classic “Italian watercolor” arose a long time ago under the hot sky of Italy. In this painterly manner, they work on dry paper, applying the contours of the design with a brush and developing shadows. From here, mosaic watercolor painting, mainly with opaque body paints, and the technique of multi-layer painting, which uses transparent glaze, developed.

The new technique of painting with watercolors - on wet paper - originated in England at the beginning of the 19th century. Watercolor on wet is much more capricious and whimsical than its “dry” sister - and it is not surprising that it was first mastered in the British Isles surrounded by the ocean. The humid climate of England naturally imparted softness and translucent lightness to the painting. And besides this - an aerial perspective and a sense of living sunlight. And, of course, wet watercolor was called “English watercolor” - as opposed to dry “Italian”.

Along the way, various designs of so-called erasers were invented - special frame-tablets that allow a sheet of paper attached to them to easily retain moisture. The wet technique now made it possible to work slowly, mixing and fusing paints for a long time. In this case, the paper was moistened either with hot steam or, which is simpler, with wet flannel or cloth placed under the sheet. This turned out to be much easier than the methods of previous times, when rapid drying of paints was prevented by adding honey, glycerin or gum arabic to the water - although only at the end XIX century painters complained that the current Arabian gum is no longer what it used to be... They also added the most exotic things to the water - for example, lime milk from crushed bees and even snail saliva, extracted in a very specific way (in this sense, it is interesting to read the treatise “Erminia”, painted in the 18th century by the icon painter Dionysius).

The heyday of “wet” watercolor, especially in the plein air, occurred in late XIX– beginning of the 20th century. Life and art accelerated more and more, and by the middle of the last century, the wet technique won the final victory - and in its “fast” tradition, using the “a la prima” method. Such watercolors are painted immediately, in one session, without further major additions or alterations. In addition to the painter’s preferences, the choice of this method can also be determined by insurmountable circumstances - for example, the variability of weather in landscape sketches. Experienced artist initially it takes all the colors in full force, preserves on paper the maximum richness and freshness of color harmonies - and then watercolor captivates with the immediate plasticity of “wet” effects and the transmission of the true mood of nature.

Students are asked to compare two works by students from previous years made in the technique of Italian watercolor and English watercolor.

IV . Conducting a master class:

Today we have to complete a still life using the Alà Prima technique.

The teacher demonstrates the main stages of the work:

1. The teacher lays out art supplies, commenting on what will be useful to him in his work. The following is a story about the choice and arrangement of paper format, color and quality. Students sit around the teacher.

2. The teacher begins work, wets the paper, attaches it to a plastic base, telling in detail about his actions.

3. Next we work with color using the watercolor technique a la prima. Painting on a pre-moistened sheet is done widely, with large color fills. The color should be taken as soon as possible in full strength of the desired shade and tone. Boris Vladimirovich Ioganson - Soviet artist and the teacher figuratively compared this process with first laying out large stones of a colored mosaic, and then more and more small stones of various shades throughout the entire sheet at once. It is advisable to start painting a sketch from the top, gradually gaining the necessary color scheme sketch, taking into account the properties of watercolor to flow from top to bottom. To do this, you can use a slight tilt.

4. After the basic color scheme of the sketch has been typed, the teacher tells and shows how to highlight the main thing, how the details are worked on, how the foreground is emphasized, how errors are corrected.

5. Shutdown.

As a result, it will be assessed how well you can: create unique effects of overflows, stains, paint flows, lightness, airiness of the work.

V . Practical work:

Next, students are asked to complete a still life sketch on their own. During independent work of students, the teacher monitors the completion of the task, demonstrates individual approach to students, comments on their actions. The teacher approaches everyone and, while working, points out mistakes and suggests possible ways to solve the task. Upon completion, students present finished works.

V I.Exhibition of works. Analysis and evaluation of work:

Students display their work on tablets along the classroom.

Works are assessed according to the following criteria:

Compositional placement in a sheet;

Performing work using the “Ala-prima” technique;

Completeness of work.

Questions to reinforce the lesson topic:

Define the word “composition”;

What does the term “Ala-prima” mean in translation?

Which of your works did you like best and why?

VII.Reflection

VIII.Summing up:

The works are displayed on easels with discussion by the students themselves and comments with recommendations from the teacher himself. Evaluation of work.

Judging by your works, most of you did a good job with the task, the works turned out with unique effects of overflows, stains, flows of paint that live, breathe, and which cannot be achieved by any amount of diligent writing.

Cleaning workplaces.

Farewell to the class.

The lesson is over.

References:

Avsiyan O.A. Nature and drawing from representation. M.: Fine Arts, 1985. – 148 pp.: ill.

Aksenov Yu., Levidova M. Color and line. M.: Soviet Artist, 1976.

Album Tretyakov Gallery. Drawing, watercolor / Comp. V. Azarkevich, A. Gusarova, E. Plotnikova. M.: Soviet artist, 1966.

Ananyev B.G., Dvoryashin M.D., Kudryavtseva N.L. Individual human development and constancy of perception. M.: Education, 1968.

Trouble G.V. Painting. M.: Art, 1971.

Borev Yu.B. Aesthetics. M.: Political literature, 1988.

Ginzburg I.P.P. Chistyakov and his pedagogical system. L.; M.: Art, 1940.

Daniel S.M. The art of seeing: about creativity, perception, about the language of lines and colors and about the education of the viewer. M.: Art, 1990.

Ignatiev E.I. Imagination and its development in creative activity person. M.: Knowledge, 1968.

Luk A.N. Thinking and creativity. M.: Polit. publishing house, 1976.

Maslov N.Ya. Plein air: Practice in fine arts. Textbook village for students of art and graphic arts. fak. ped. Inst. M.: Education, 1984.

Mikhailov A.M. Watercolor art. M.: Fine Arts, 1995.

Prette, Capaldo. Creativity and expression. M.: Art, 1989. T. 2.

Yashukhin A.P. Technique of watercolor painting in visual aids // Questions of the theory of history and teaching methods fine arts. Karachaevsk: Karachay-Cherkess Pedagogical University. Institute, 1970.

Watercolor is a very popular and relevant painting technique today. Sometimes it seems that absolutely everyone works with watercolors and, it’s worth noting that everyone works differently! There are a lot famous technicians working with watercolors, and new effects and techniques are constantly appearing. Often, novice authors try to work with all possible techniques at once, apply various effects, experiment in the vastness of watercolor painting and, as a rule, sooner or later find their own combination, which subsequently often develops into their unique author’s style. I think the main advantage of watercolor is its versatility... I like to work in new genres and hone my skills in old ones. I always want to be able to choose a painting technique for a specific task, because I find it boring and wrong to approach a portrait or landscape in the same way and paint them in the same watercolor technique. Today I will talk about five different ways to work with watercolors using the example of a botanical illustration of the fly agaric mushroom. I'll try to draw five identical motifs, five in various ways watercolor painting: 1. Watercolor technique “Glaze” 2. Watercolor technique “A la prima” 3. Watercolor technique - use of masking fluid 4. Combination of several watercolor techniques 5. Technique “Wet watercolor” or “Watercolor wet”

Watercolor technique “Glassing”

The first fly agaric I painted was made using the “Glaze” watercolor technique (from the German Lasierung - glaze). This technique is very suitable for beginners. She often works in art schools. It consists of layer-by-layer application of paint to the drawing. From the lightest shades to the darkest. Each layer must have time to dry. Working in this watercolor technique, we build up the tonality of the subject gradually, and always have the opportunity to adjust the color at each stage.

Watercolor technique “A la prima”

The second mushroom is drawn using the “A la prima” technique (or “Alla prima”, from Italian a la prima - “in one sitting”). This is a more expressive technique, and is very suitable for those who know how to mix beautiful colors the first time. A drawing using this technique is done quickly in one layer, in one session, without further additions or alterations. We immediately receive the finished drawing. Here you need to be careful that when mixing large quantity The watercolor colors didn't turn out muddy and the colors were bright and clean. Watercolors made using this technique are usually very colorful! This watercolor technique is quite quick to execute and is loved by those who do not like to work for a long time.

Watercolor technique - using masking fluid

I painted the third mushroom using a reserve (masking) liquid. In order not to bypass the white spots on the mushroom cap, I “hid them with a reserve”, that is, I first applied a reserve liquid to the spots of the spots (on a dry sheet, before starting to work with paints). Of course, this cannot be called a watercolor technique, it is more of an effect. Today, all kinds of reserves (masking liquids) have become very widespread. If you don’t want to paint over every spot or are afraid that in an emotional outburst you will paint over some highlights, then you can use a reserve.

Working with a reserve goes much faster. But it is worth noting that this technique also has disadvantages. The main disadvantage is that the edge is very sharp. In your work there will always be a sharp border in the place where the white sheet on which there was a reserve liquid passes into the area painted over with paint. This will give you away. This doesn’t bother many artists, and sometimes it even helps create additional effects! Also, the reserve is sometimes difficult to remove from paper, and sometimes it is not removed at all. Therefore, before using the reserve in your work, test it on a small sheet of similar paper.

A combination of several watercolor techniques

The fourth mushroom is drawn with a combination of effects (watercolor technique). Before starting to work in color, I “hid” the entire mushroom with a reserve liquid. This allowed me to create a dense multi-layered background with paint. I applied the paint in 4 layers. Only by layer-by-layer glazing is it possible to achieve a sufficiently dense, dull, but at the same time not black background. After waiting for the background to dry, I removed the reserve and painted the mushroom using the same “Glaze” watercolor technique.

“Wet watercolor” or “Wet watercolor” technique

With the fifth mushroom I worked with the most “watercolor” technique of all. Looking at it, it is immediately clear that we are looking at watercolors. This is a “Wet Watercolor” technique (often called “Wet Watercolor”, “Wet Watercolor”), and it is certainly impressive. In my opinion, this is the most difficult aspect of watercolor painting. The artist’s skills and exclusively personal experience are very important here. The “Wet Watercolor” technique is that before you start painting, a sheet of paper is completely moistened with water, and then you quickly write on the still wet surface. By spreading, watercolor paint can convey soft transitions from one color to another. If you need to draw small details, then you need to wait until it dries completely, and only then make additions.

Wet watercolor is especially sensitive to the quality of the materials used. Paper, paints, brushes - everything is important here. In this watercolor technique you have to work quickly and confidently. The artist must be extremely concentrated and ready for anything. We must give the watercolor some freedom, but at the same time create conditions in which it will flow exactly as we need it. And the watercolor should dry when we need it. In this watercolor technique, the most common mistakes are a poorly wetted sheet and a lack of understanding of the depicted form. And most importantly, wet watercolor is beautiful in its lightness and ease. But we are often afraid to “let go” of the paint, we try too hard to control it, we try too hard, thereby losing that very lightness and ease. This technique requires constant practice, and if you want to work in the technique wet watercolor, then I advise you to practice it more often.

Conclusion

In this article I described the main effects and watercolor techniques that I work with. Of course, this list can be continued for a long time, and I am sure that there will always be something that I have not tried yet, which will inspire me to new works and experiments. I wish you creative success and inspiration!

Type of technology oil painting with quick, bold strokes, which involves completing a painting (or a fragment of it) immediately, in one step or session. That is, it is written without preliminary registrations and underpainting, before the paints dry. In some cases it is determined by the specifics artistic material, and in others it is an indicator of skill. While seemingly simple, it requires skill and talent from the artist, and is therefore quite rare.

Using this technique, the painting is ready after the first session. The prerequisite for this is the artist’s confidence and experience with paints. The colors are mostly mixed on the palette, where they appear fresh and luminous. During painting in the open air, with spontaneous pictorial transmission, this is very suitable way work. Paints are applied with bristle brushes. Rough-textured canvas works well as a canvas, but also cardboard. The application of paints in alla prima painting creates a typical compact, sometimes relief structure. It can be “shaded” by rubbing or “blurring” sections of the contours. At the same time, the layers of paint can be easily rubbed dry, soft brush from cow hair. The edges of colors and contours thus become softer and appear a little “blurry”. This method is also called “sfumato” (“with blurred contours”).

This direct, direct method of painting is technically very effective. Its advantage is that all paints on any part of the painting are applied during one painting session or, according to at least, during their drying period. This means that all the problems associated with the use of different volumes of oils or resins, as well as uneven drying times between paint layers, are effectively eliminated, since, in essence, there is only one layer in the painting. This technique strengthened in painting with the advent impressionists, which, in search of the possibility of longer work “in the wet,” were often used in paints as binder semi-drying poppy seed oil.

Principles of the alla prima technique.

In many ways, painting alla prima is the most complex method of working with oil paints, since it relies to a great extent on the correct formation of each individual stroke, and not just on its own expressive capabilities. In addition, the result depends on the color and tonal characteristics of the chosen paint, as well as on the color, tone and shape of the brush strokes adjacent to the one already applied. Of course, the artist can always remove the failed area from the surface of the base by scraping while the paint is still wet, and then rework it. Many artists resort to this; therefore, elements of the work that seem fresh, light and agile may in fact represent the result of the sixth or seventh attempt. This is quite acceptable if in the end you achieve the desired result. Typically, the ability to carefully study an object and accurately transfer it in paint directly onto the canvas is the result of long practice - usually in more systematic painting techniques. This practice helps the artist gradually develop his own, “personal” language in working with paint, which can be transferred to any other painting object.

Achieving fluency and fluidity in the “language” of painting requires the artist to be able to intuitively evaluate and prepare on the palette a mixture of the right tone and color for each area of ​​the canvas, as well as choose the right brush and working technique. In addition, mastering one's own "language" includes the ability to make quick decisions and the willingness to take risks. In many ways, the alla prima technique is most applicable to small-format works that can be completed in a single painting session. This is a great way to create oil studies that can later be developed into larger paintings in a studio setting.

Not all works in the alla prima technique are characterized by expressive characteristics. Some artists prefer to work in an immediate and direct manner, but apply paint to the empty space of the canvas slowly, consistently and methodically - until the surface is completely covered; in this case, a pencil drawing can be previously applied to the surface.

From the book “Color and Line”, Y. Aksenov, M. Levidov

“Technique is the language of the artist; develop it tirelessly, to the point of virtuosity. Without it, you will never be able to tell people your dreams, your experiences, the beauty you saw.” (P.P. Chistyakov. Letters, notebooks, memories.)

“Technique is only a means, but an artist who neglects this means will never solve his problem... he will be like a rider who forgot to give his horse oats.” (Roden).

Along with similar statements by masters about the importance of technical skill developed to the point of virtuosity, you will come across warnings not to get carried away with technical techniques as an end in themselves, and especially not to blindly borrow them from your favorite masters.

“Whoever follows others will never overtake them, and whoever does not know how to work properly will never be able to make proper use of other people’s works,” Michelangelo categorically stated. (A. Sidorov. Drawings by old masters.)

The famous Soviet artist and teacher I.P. Krymov seemed to continue this thought, saying: “Many of us try to imitate great masters. They imitate their manner, and manner is the last thing. They often imitate Konstantin Korovin, but they write falsely... It would be better if his imitators tried to repeat his path. Following this path, they perhaps began to write not in Korovin’s way, but in their own way.” (P.P. Krymov - artist and teacher).

Think about these wise sayings and don’t look for recipes for mixing paints and mandatory methods of applying strokes.

The very first question that young or adult aspiring artists ask is: Where to start?

Of course, you need to start with a drawing directly on canvas or cardboard, even better with a small sketch - a sketch on paper with a pencil or charcoal, which can then be transferred to canvas. In a sketch, you have more opportunities to look for an interesting point of view, think through the composition, clarify proportions, etc. However, you can preliminary work do this directly on canvas or cardboard, while better drawing make coal, which can be easily brushed off the surface with a piece of rag and thus corrected and refined. You can draw on the ground with a pencil, but you have to erase it with an eraser, which disturbs the surface of the ground.

The drawing made with charcoal must then be wiped off with a rag so that only a trace of it remains. If the carbon is not shaken off, it will mix with the paint and contaminate it. After brushing off the coal, the barely noticeable pattern can be outlined with thinly diluted blue or brown paint.

And again the question is: where to start actually working with paints? The answer can be: from everything at once. This strange answer is easy to explain. It is wrong to start at the top or bottom, right or left, etc. It is necessary to immediately determine the basic relationships of colors in terms of lightness and color tone and let us - for now approximately - outline them, determining at the same time what is the darkest and what is the lightest. This marking, which is usually called underpainting, is recommended to be done with thinly diluted paints.

It is more important for beginners to know that you cannot write a sketch in parts, but need to open it broadly, holistically. You cannot finish a piece of painting, leaving a motley canvas or approximately outlined shades all around.

B.V. Joganson recommends that beginners paint all over the canvas at once with strokes that are laid out and correlated by color, just as colored pebbles of a mosaic are selected. At the same time, it is necessary to maintain the same degree of elaboration of all parts of the image, to work “from the general to the specific.”

The first experiments should be done on simple still lifes, consisting of two or three objects.

First, you need to paint the entire still life with thinly diluted paints, roughly determine the colors of objects and their lightness ratios, then move on to thicker writing. At the same time, the work must be carried out in its entirety all the time, moving from one subject to another, and not in such a way as to completely finish one part and then proceed to the next. If the work is interrupted for a day or more, then when continuing, the top layer of paint must be removed with a palette knife or soaked in oil, or even better, “Retouch” varnish. A layer of oil paint begins to dry with the formation of a thin film on the surface, which then becomes increasingly thicker and finally dries to the full thickness of the paint layer.

If a new layer is applied to a layer of paint after the film has formed, then when it dries, the paint shrinks and breaks the film of the lower layer. At the same time, the oil from this layer goes to the bottom, and as a result, so-called fades are formed, in which the paint loses its depth of tone, shine and looks dull and dull. After finishing work, dull spots can be eliminated by soaking these places in oil, but you must make sure that excess oil does not remain on the surface of the paint layer. If, after a few hours of impregnation, shiny spots remain on the painting (from oil lying on the surface of the paint layer), they should be carefully wiped off with a soft cloth.

If you did not finish the work in one session, then do the subsequent registration on the dried paint layer. Otherwise, withering and blackening of color will appear.

But in cases where no more than 2-3 days have passed between sessions, you can dissolve the resulting film of paint by wiping the sketch with a cut clove of garlic or onion. After this, you can continue to work “raw” without fear of dryness.

Oil paints adhere well to the appropriate primer and make it easy to model, shade and achieve subtle, imperceptible transitions from tone to tone, since they remain wet for a long time, and do not change their original tone when drying. But it would be a mistake to think that oil painting does not need any execution methods and allows you to apply one layer of paint on top of another with impunity without any system. On the contrary, oil painting also requires a very specific execution system. True, defects in the improper use of materials in oil painting are not discovered as quickly as they are observed under the same conditions in other painting techniques, but sooner or later they will inevitably appear.

All normal methods of oil painting come down to two characteristic techniques:
1) Painting in one step “alla prima” (alla prima) - a method in which painting is carried out in such a way that, given the artist’s artistic knowledge of the matter and favorable conditions, the work can be completed in one or several sessions, but before the paints have time to dry. In this case, the color resources of painting are reduced only to those tones that are obtained from the direct mixing of paints on the palette and their illumination on the ground used in the work.

2) Painting in several techniques - a method in which the painter divides his painting task into several techniques, of which each is assigned a special meaning, intentionally with a certain calculation or due to the large size of the work, etc.

In this case, the work is divided into the first painting - underpainting, in which the painter’s task is reduced to a solid establishment of the drawing, general forms and light and shade, while coloring is either given secondary importance, or it is carried out in such tones that only in further painting with overlying paints give the desired tone or effect, for the second, third, etc. registrations, in which the task is reduced to resolving the subtleties of form and color.

This second method makes it possible to use all the resources of oil painting.

You must always follow the basic rules of painting:

1) do not apply oil paints in thick layers in general, and especially paints rich in oil;

2) always use a moderately adhesive (oil) primer in painting, as well as the underpainting and, in general, the underlying layers of painting, saturating them with oil if its content in the latter is insufficient.

The best painting technique for the second registration is “alla prima” painting, which gives freshness to the pictorial execution.

The second registration is carried out with more liquid paints than underpainting. Painting varnishes and condensed oils are applicable here. The latter are introduced into paints in a mixture with turpentine varnishes. The second registration, in terms of the content of binders in its paints, thus exceeds the underpainting. The ancient principle of layering oil paints - “fat on skinny” - is fully observed. However, you should not overuse oils and varnishes here, but rather adhere to a certain moderation.

If the underpainting was carried out in conventional tones, then to make the work easier, it is useful to start the second registration in local tones of nature with glaze or semi-glaze, on top of which body painting follows.

Corrections in oil painting

Oil paints become more and more transparent over time. This increase in transparency is also observed in body paints, and some of them, like lead white, become translucent due to their loss of hiding power, as well as the thinning of the layer upon drying. Taking into account this feature of oil painting, it is necessary to be very careful about all kinds of correspondence and radical alterations in oil painting, which the painter sometimes needs, since all corrections and notes made with a thin layer of body paints become visible again after a long period of time. .

Thus, in the equestrian portrait of Philip IV by Velasquez, eight legs are visible, four of which protrude from under the tone of the ground, which the author covered them with, apparently being dissatisfied with the position of the legs.

In the portrait of the artist Litovchenko by I. Kramskoy (Tretyakov Gallery), Litovchenko’s forehead can be seen quite clearly through the black hat placed on the artist’s head. on which the hat was put on, apparently, later, when the head was already painted. In Rembrandt's portrait of Jan Sobieski, the stick that Sobieski holds in his hand was originally large sizes, and then shortened. There can be many such examples.

The above examples clearly show that corrections made in a thin layer, even of opaque paints, in oil painting do not achieve their goal. Here, thorough repeated layers of paint are needed, which alone can make forever invisible those parts of the painting that they want to destroy. It is even better in this case to completely clear the places intended for alteration from painting and then write them down again on clean ground. Using chloroform, acetone and benzene, you can easily and quickly remove even very old oil-based paint.

When making small corrections in important areas (for example, the head, hands of a portrait, etc.), you need to take into account the possible swelling and the usual darkening under the varnish of the corrected areas. And therefore, when starting to correct, the areas to be altered are thoroughly dried, covered with liquid varnish and corrected with paints and painting varnish in order to avoid the appearance of dryness. In the same case, if a fade has formed, it should not be covered with retouching varnish, but the lost shine and tone should be restored to it only by oiling.

Here we present only the most general, elementary information on the technique of oil painting, information that every beginning artist should be familiar with. Of course, these brief advice The technique of oil painting is not exhausted. The artist accumulates knowledge and skills in this area himself in the process of practical work.

Learn other methods of oil painting - underpainting, body molding, glazing techniques as you gain experience. We must go “from simple to complex.”

Sections from D.I. Kiplik are quoted below: “Painting Techniques”, M.: Svarog i K, 1998, 504 pp.

Underpainting with oil paints, both technically and pictorially, is done in different ways.

Carrying out painting using this method on adhesive and semi-adhesive primers is the most appropriate, since with the use of the latter the number of oil layers decreases, which has a very positive effect on the strength of the painting, but impeccably prepared oil primers can also be used.

The color of the primer can be different: white, gray, brown, reddish and others, and colored primers can be quite dark, since they can easily be made translucent if desired and not at all visible through layers of paint, which entirely depends on the system of layering them.

One of the frequently used and quite productive methods of painting in underpainting is to do it “in a rub” with oil paints, diluted essential oils, turpentine, oil, etc., as is practiced in “alla prima” painting.

A thin, as if watercolor layer of paints establishes the forms, the general coloring of the picture and its entire ensemble.

Of course, such underpainting requires the least abrasive primer, since only under this condition can it retain its tonality and be useful to the work.

The drying of the underpainting made by this method is very fast if the paints are fast-drying, and, moreover, through due to the thinness of the paint layer, which, of course, has great value for further work on the painting.

But you can also do underpainting with impasto painting, and the technique will depend entirely on the properties of the soil used.

Paints are applied to the adhesive pulling primer in the form in which they come from tubes, without any thinners. Due to the absorption of oil by the soil, they thicken on it, become viscous to a certain extent, and take on new paint strokes well. This allows the artist to easily introduce tone into tone, thus interfering with the colors not so much on the palette as on the painting itself.

Due to the partial absorption of oil by the soil, the paints darken soon after they are applied to it, which forces the artist to withstand painting in more light tone. Soil that is too stretchy is therefore not even suitable for work and requires some additional treatment.
The positive properties of this underpainting are that its paints dry quickly and bind tightly to the ground. The disadvantage is the change in the tone of the paints during the painting process, as well as when wiping the underpainting with varnish before further registration.

Oil underpainting on an emulsion primer rich in oil, especially on an oil primer, is greatly facilitated in this regard, since the paints applied to them do not change their tone. Paints can also be applied impasto here, and a set of quick-drying paints is preferable.

The old masters, especially those more distant from us, looked at their work in the underpainting as a preparatory rough work, where all the attention of the master was absorbed in the setting of the drawing, modeling of forms, and details of the composition; As for the coloring, only the necessary base was prepared for it in the underpainting, based on which the color of the picture was subsequently created, the freshness of which is largely explained by the method of work described above.

Modern painting adheres to general outline, the same system in work, but the “alla prima” painting method received very great importance in it. Each era, as we see, creates its own system of painting, which, of course, cannot be ignored.

The underpainting in a pictorial sense should be carried out in such a way as to simplify, if possible, all its further registrations. A correctly executed underpainting is therefore easy to finish with a small load of paints during the second registration.

In the field of underpainting and multilayer painting in general, a modern artist must have a practical acquaintance with the elementary laws of optics, which the old masters of painting used to perfection.

For example:

When applying warm tones over dark ones, insulation is obtained over the underlying tone of the paints;
When applying warm tones to cold ones and vice versa - cold to warm - the result is a weakening of the color of each of them, etc.

The second registration begins only after the first has dried, i.e. underpainting.

The duration of drying of the underpainting depends on many conditions: on what, how and on what the underpainting was made, on the composition of its paints and, finally, on the temperature and light conditions under which the painting is made.

An underpainting made with tempera will be ready for registration earlier than other underpaintings. Then, in order of readiness, come oil underpaintings on adhesive primers and, finally, impasto oil paints on emulsion and oil primers. These latter require special care when drying, since simple oil paints dry slowly in the thickness of their layers. As for oil-varnish paints, due to the composition of their binder, through-drying of paints in all layers is more intense than in simple oil paints.

A well-dried painting can be recognized by the following features:
1) it does not stick,
2) when scraped with a fingernail and a knife, it turns into powder, but not into shavings,
3) it does not fog up when you breathe.

If necessary, the underpainting can be well scraped and smoothed with a knife, a special scraper, etc., before re-painting.

Scraping, pumice and smoothing layers of oil painting is especially appropriate when underpainting with impasto (greasy) layers of paint, since here excess roughness is cut off and, what is especially important, the top crust of dried oil is removed, which, when the oil paint dries too much, prevents the layers applied on top from attaching oil paints. After this operation, the underpainting is washed clean water and dried.

When the underpainting is not impasto, there is no need to scrape it, but other processing is necessary, since the top film of a firmly dried layer of oil paints is not only impermeable to oil, but also “does not accept” oil; in other words, the oil applied to its surface does not wet it and does not spread out evenly on it, but collects in droplets and rolls off. Therefore, the newly applied layer of oil paints does not adhere tightly to the surface of the already dried layer and, therefore, does not bind firmly to it. In order for the dried layer of oil paint to regain the ability to accept paint, if it has not been scraped and sanded, it is wiped with bleached oil, which is rubbed into it with the palm of the hand. The oil is applied in the smallest amount, just to moisten the surface that is supposed to be painted again. After that, they get down to business.

Instead of oil, the underpainting can be coated with a warm liquid solution of Venetian turpentine (balsam) in turpentine, as was practiced in the old days, or with a liquid solution of turpentine varnish, since essential oils easily moisten dried oil paint. The same goal is achieved by adding painting varnishes containing essential oils to paints.

If these rules for handling the underpainting are not observed, the upper layers of the painting become prone to crumbling, and the more so, the longer the underpainting is left in place; There are many examples of this in the works of painting of a later era.

When further painting the underpainting, glazes can be introduced if they were part of the painting execution plan, or secondary painting is carried out with the so-called “half-painting,” that is, a thin layer of body paint, and the painting ends with this technique. It must be borne in mind, however, that too much build-up of colors in oil painting is considered unacceptable; Each newly applied layer must be dried, and only then can further work begin.