Dmitry Revyakin’s work is very diverse and covers a wide range of areas - from oil painting and tempera to wood carving and creating custom items in the “Steampunk” style. A special place is occupied by works that are business card the author - painting and wood carving in one work. Versatility artistic skills And high level Dmitry Revyakin's mastery allows him to create original creative works, representing the organic unity of painting and wood carving - the picture and the frame as its semantic continuation.
Dmitry Revyakin's paintings are imbued with love for Russian nature. His paintings speak of the endless variety of beauty, the beauty of all seasons and the artist’s reverent attitude towards his native land. Landscapes and still lifes in oil are characterized by brightness of writing, expressiveness of details, beauty of light nuances, and a general feeling of cheerfulness
Copies of paintings
(paintings made during master classes)
Choose a picture(s), in the order, instead of the name of the film, indicate the name of the picture and within 1-6 hours you will receive payment details by email
Do you want to buy a painting at the lowest price in Moscow? Contact us, because at painting master classes, explaining to students how to paint this or that landscape or still life, Dmitry paints a picture, and then we sell it. The most cheap oil painting Only here! If you find paintings in Moscow cheaper than in Leonardo's studio, write to us where this place is! You can look and order an oil painting or purchase from those below. Dmitry Revyakin is an excellent painter and master of his craft, you can order him copy any known paintings or order a painting from a photograph. Below is a selection of Dmitry Revyakin's original works (all paintings are for sale).
Wood carving D.V. Revyakina.
Dmitry is engaged in wood carving and works using the marquetry technique. You can see photographs of D.V.’s works. Revyakina below.
Wood carving - traditional Russian art, which has received worldwide recognition. Items made of natural wood fill the interior with special comfort and warmth, creating the image of a home rich in tradition and valuing stability. The site presents the following wood carved products that you can buy: shepherd (tea board), mirror frame, box, carved furniture, etc.
Steampunk.
D.V. Revyakin performs work in the Steampunk style (see photo below). You can order a steampunk portrait framed in a steampunk frame. The artist will be able to fulfill any order. Steampunk (or steampunk) is a direction based on fantasy, creating new reality, objects, using mechanical and technological elements of steam engines. Steampunk as a style is common in painting, graphics, sculpture and design, and everyday items created in the Steampunk style are very popular in youth environment. You can also order a fantasy portrait, and Dmitry will paint an excellent picture.
Plein air.
Dmitry Revyakin very often paints from life. Any artist will confirm that you can only gain the experience of a real painter by working in the open air, studying nature. A fun activity to find a place in nature and write early in the morning beautiful landscape from nature. It is best to work in the morning or evening because the colors are most interesting to the artist at this time. By studying nature, you learn real, not fictitious shades, find and compare complex color combinations with the reality around you.
“The painter’s painting will not be perfect if he takes the paintings of others as inspiration; but if he learns from natural objects, he will produce good fruit.” Leonardo Da Vinci.
Anna Klimova
Project " Amazing Features painting"
Project« Amazing painting possibilities»
Relevance project
Advanced pedagogical experience shows that modern stage For the development of society, it is not enough to simply teach a child something. Activity, independence, initiative, creativity are leading in determining the direction of personal development in modern conditions. Implementation of independent, practical and creative activity children in the field of art - aesthetic development is aimed, first of all, at the comprehensive development of the child’s personality.
The influence of art on the formation of a person’s personality and development is very great. V. A. Sukhomlinsky wrote: “During childhood thought processes should be as closely connected as possible with living, bright, visual objects of the surrounding world. The emotional richness of perception is the spiritual charge of children’s creativity.”
Meeting outstanding works of art, preschoolers learn to understand the harmony of nature, learn the culture and history of Russia, learn the norms of behavior and spiritual values accepted in society, get acquainted with the life and work of people in various fields activities, special place painting plays a role in speech development. By using painting thinking develops activity: the ability to make generalizations based on analysis, compare and explain, develop inner speech (inner speech helps the child plan and express his judgments, correlate conclusions that arise as a result of perceiving the artist’s plan, and it also contributes to the manifestation of his own intellectual and emotional associations). Art contributes to the perception of different feelings and the formation of the initial foundations of a worldview. Children enrich their moral experience, they develop moral consciousness. They learn to compare their experiences with the experiences of people depicted by the artist, and transfer those perceived into the genre painting ways of relationships between people in real life situations.
It seems important that the formation of a comprehensively developed personality of a preschooler occurs in a single process of introducing children to the fine arts, folk art, culture, aesthetic values, with nature native land. Work painting rich in their own way ideological content and perfect in artistic form. For this reason they form artistic taste preschoolers, the ability to understand and appreciate beauty, not only in art, but also in life, nature, and everyday life. Painting recreates all the richness and diversity of the world with spatial depth, volume, color, light and air.
Thus, a contradiction arises between painting possibilities as a means of comprehensive development of the personality of a preschooler and its insufficient use in the pedagogical process.
Target project: Comprehensive development of preschool children in the process of familiarization with painting.
Tasks project:
1. To introduce children to Russian artists and their works and to arouse in children a sustained interest in painting;
2. Encourage parents and children to actively interact with teachers, stimulating the desire to seek additional information on the topic;
3. Develop a system of classes to familiarize children with painting(forward planning for the academic year);
4. Increase the level of knowledge of teachers and parents about the possibilities of painting's impact for the comprehensive development of the child.
Type project
In terms of time – long-term;
Duration project– September – April (2013-2014 academic year)
According to the dominant project activity - practice - oriented;
By the nature of contacts – intragroup;
By the number of participants – collective;
Children's age: 5-6 years;
Participants project - teachers, children senior group, parents;
Product design activities - long-term planning, a cycle of classes, materials and additional information on the topic.
Expected results
1. Formation of a system of knowledge about artists and their works in children;
2. Systematization of methodological information;
3. Selection of literature and development of a long-term plan for introducing children to painting;
4. Systematic use in work of cycles of classes to familiarize children with painting;
5. Saturation of the methodological base additional information and materials for classes to familiarize children with painting.
Main stages project
1 – creation of a practice-oriented problem
Coming to a lesson to familiarize children with painting, I am exhibiting reproductions of the image autumn landscape. During the lesson, we listen to music, read excerpts from poems that help perception pictorial painting . Children correlate musical and literary works with reproduction and justify their choice, but there is only one reproduction (Savrasov A.K., "Autumn. Village by the stream", for which there is no suitable music and poem. Rises question: "What to do?".
2 – putting forward hypotheses to solve the problem
The children suggest inviting a librarian who comes to them weekly and asking him to help compile a selection of poems about autumn. And also, contact music director with a request to pick up musical works. Suddenly Valya remembers that not so long ago her sister, a schoolgirl, taught a very beautiful poem about autumn and promises to ask her mother to write it down for us, etc.
3 – distribution into groups
After we have decided what we need for further work, I suggest that the children discuss this problem at home with their parents and involve them in a joint search for information, and perhaps in addition to our plan for solving the problem. Thereby, having discussed problem and ways to solve it again, children and their parents are united in micro-groups to collect the necessary information.
4 – practical resolution Problems:
Creating a music library classical music, children's songs;
A selection of works of literature (stories and poems, Russian folklore (Proverbs and sayings);
A selection of illustrations for viewing;
Exhibition of children's works on drawing, appliqué, modeling and manual labor;
Excursions to Showroom, Winter Garden CDC "Arctic";
Walks and excursions;
Formation of an electronic catalog of works painting;
Drawing competition "Seasons";
5 – presentation of results
All information collected, with the help of parents, teachers, and a librarian, was accumulated, summarized and systematized. After processing the collected information:
Written long-term plan to familiarize children with painting, indicating sources and a selection of additional materials;
A number of notes have been developed classes: “What and how does he speak? painting» , “Colors of evening landscapes. Examination of a painting by I. I. Levitan "Summer evening", "Golden autumn. Examination of a painting by I. I. Levitan « Golden autumn» , “Such a different autumn. Examination and comparison of landscape paintings "Gold autumn" I. I. Levitan and "October" E. E. Volkova,” "Winter" I. I. Shishkina" and others;
Thematic presentations: "Hello golden autumn", "Signs of Autumn", "Autumn through the eyes of artists", "Russian landscape painting» , "Still life", « Primitive art» , "Landscape painting. Russian landscape artists" and etc. ;
Consultations were held for teachers about the impact painting for child development: "Russian landscape painting» , “Organization of children’s perception of still life preschool age» , “Autumn, sung by poets and painters in works of art”, etc.;
Seminar-workshop for teachers “The nature of winter in the works of artists”;
Thematic week « Winter fun» , "Autumn Sketches";
Folders were put on display for parents « poetic image nature in children's drawing» , "Art and Education", “Learning to observe nature” and etc. ;
Open session for parents using the collected information “The sorceress Winter is coming...”;
Monitoring the enrichment of children’s knowledge and the level of formation of ideas about painting.
Bibliography
1. Ashikov V. Preschool education in the new century // Preschool education. -2000. - No. 1. - P. 8-11.
2. Raising and teaching children of the sixth year of life. / Ed. Ushakova O. S., Paramonova L. A. - M.: Education, 2001. - 160 p.
3. Grigorieva G. G. Visual activities preschoolers. - St. Petersburg: Detstvo-Press, 1997. - 224 p.
4. Children and landscape painting. Seasons. We learn to see, appreciate, create beauty. – SPb.: CHILDHOOD – PRESS, 2004. – p. 272 / Program library "Childhood"
5. Zubareva N. M. Children and fine arts. Still life and landscape in aesthetic education children 5 – 7 years old. M., "Education", 1969. – 111 p.
6. Kazakova T. G. Develop creativity in preschoolers. - M.: Education, 2005. - 146 p.
7. Komarova, T. S. Children’s artistic creativity. - M., 2005. - 160 p.
8. Krasnushkin E.V. Fine arts for preschoolers: still life, landscape, portrait. For working with children 4-9 years old. – M.: MOSAIKA-SYNTHESIS, 2012. – 80 p.
9. Medvedev L. G. Formation of graphic artistic image in drawing classes, 1986.
10. Mikhailova T. Feeling and color. Technology of “emotional mood” of children in the process of mastering technology painting. //Art at school. With. 39, 2010.
11. Panksenov G. I. Painting. Shape, color, image: tutorial for students higher thin educational institutions. - M.: Publishing Center “Academy”, 2008.
12. Psychology of giftedness in children and teenagers: Textbook/Yu. D. Babaeva, N. S. Leites. - M.: “Academy”, 2000.
13. Sakulina N. P., Komarova T. S. Visual activities in kindergarten. - M.: Education, 2003. - 208s
14. Chumicheva R. M. For preschoolers about painting: Book. for kindergarten teachers garden – M.: "Education", 1992. – 126 p., 16 l. ill.
15. Federal state educational standard for preschool education (approved by order of the Ministry of Education and Science of the Russian Federation dated October 17, 2013 No. 1155)
the past fascinates with its colors, the play of light and shadow, the appropriateness of each accent, the general condition, and flavor. But what we see now in galleries, preserved to this day, differs from what the author’s contemporaries saw. Oil painting tends to change over time, this is influenced by the selection of paints, execution technique, finishing coat of the work and storage conditions. This does not take into account minor mistakes that a talented master could make when experimenting with new methods. For this reason, the impression of the paintings and the description of their appearance may differ over the years.
Technique of the old masters
Technique oil painting gives a huge advantage in work: a picture can be painted for years, gradually modeling the shape and filling in the details with thin layers of paint (glaze). Therefore, corpus painting, where they immediately try to give completeness to the picture, is not typical for the classical manner of working with oil. A thoughtful step-by-step approach to applying paint allows you to achieve amazing shades and effects, since each previous layer is visible through the next one when glazing.
The Flemish method, which Leonardo da Vinci loved to use, consisted of the following steps:
- The drawing was painted in one color on a light ground, with sepia for the outline and main shadows.
- Then a thin underpainting was done with volume sculpting.
- The final stage was several glaze layers of reflections and detailing.
But over time, Leonardo’s dark brown writing, despite the thin layer, began to show through the colorful image, which led to the darkening of the picture in the shadows. In the base layer he often used burnt umber, yellow ochre, Prussian blue, cadmium yellow and burnt sienna. His final application of paint was so subtle that it was impossible to detect. Own developed sfumato method (shading) allowed this to be done with ease. Its secret is in heavily diluted paint and working with a dry brush.
Rembrandt – Night Watch Rubens, Velazquez and Titian worked in the Italian method. It is characterized by the following stages of work:
- Applying colored primer to the canvas (with the addition of some pigment);
- Transferring the outline of the drawing onto the ground with chalk or charcoal and fixing it with suitable paint.
- The underpainting, dense in places, especially in the illuminated areas of the image, and completely absent in places, left the color of the ground.
- Final work in 1 or 2 steps with semi-glazes, less often with thin glazes. Rembrandt's ball of painting layers could reach a centimeter in thickness, but this is rather an exception.
In this technique special meaning was given to the use of overlapping additional colors, which made it possible to neutralize the saturated soil in places. For example, red primer could be leveled out with a gray-green underpainting. Work with this technique was faster than with the Flemish method, which was more popular with customers. But the wrong choice of the color of the primer and the colors of the final layer could ruin the painting.
Coloring of the picture
To achieve harmony in painting use the full power of reflexes and complementary colors. There are also such small tricks as using a colored primer, as is common in the Italian method, or coating the painting with varnish with pigment.
Colored primers can be adhesive, emulsion and oil. The latter are a pasty layer oil paint required color. If a white base gives a glowing effect, then a dark one gives depth to the colors.
Rubens – Union of Earth and Water Rembrandt painted on a dark gray ground, Bryullov painted on a base with umber pigment, Ivanov tinted his canvases with yellow ocher, Rubens used English red and umber pigments, Borovikovsky preferred gray ground for portraits, and Levitsky preferred gray-green. Darkening of the canvas awaited everyone who used earthen colors in abundance (sienna, umber, dark ocher).
Boucher – delicate colors of light blue and pink shades For those who make copies of paintings by great artists in digital format, this resource will be of interest, where web palettes of artists are presented.
Varnish coating
In addition to earthen paints, which darken over time, resin-based coating varnishes (rosin, copal, amber) also change the lightness of the painting, giving it yellow tints. To artificially make the canvas look antique, ocher pigment or any other similar pigment is specially added to the varnish. But severe darkening is more likely to be caused by excess oil in the work. It can also lead to cracks. Although such the craquelure effect is often associated with working with half-damp paint, which is unacceptable for oil painting: they paint only on a dried or still damp layer, otherwise it is necessary to scrape it off and paint over it again.
Bryullov – The Last Day of Pompeii 1st year students of the specialty “Painting”
for independent homework on still life painting
List of homework
in still life painting
Exercise 1. Still life of household items using grisaille technique
Exercise 2. Still life of household items in color.
Exercise 3. Still life of household items similar in color
Exercise 4. Still life of household items, contrasting colors
Exercise 5. Still life of white objects.
Exercise 6. Still life in the interior.
Exercise 7. Still life in the open air.
Explanatory note
In the painting curriculum for 1st year students of the specialty "Painting" significant place allotted to still life: 36 hours in the 1st semester and 132 hours in the 2nd semester. Another 50% of this time is devoted to independent homework. Sequential development of still lifes is provided, starting with simple full-scale settings and ending with complex thematic still lifes. In productions composed of everyday objects, problems related to the study of chiaroscuro and tonal solution of form are solved, color relationships and color, that is, those means of expression that the artist uses when creating a work.
Simple, clear geometric shapes that underlie the study of still life provide an opportunity for 1st year students to become familiar with the means and methods of constructing a three-dimensional image on a plane in connection with the environment.
Mastering the technique watercolor painting is mandatory requirement programs for 1st year. Watercolor has great visual potential, is convenient and efficient, and allows the use of a variety of technical techniques.
Both in classroom practical classes and in independent homework Special attention addresses the acquisition of knowledge and skills in constructing a form, the ability to see and convey the varied state of nature depending on lighting conditions and the correct methodological sequence of conducting work on still life painting.
When performing a still life sketch, the number of stages is determined by the complexity of the full-scale setting, however, the main stages are considered to be the following:
1) compositional placement of the image of the entire group and individual objects on the plane of the sheet;
2) linear constructive solution of the form, taking into account their proportions, movement and spatial position;
3) determination of the overall color tone; transfer of general large tonal and color relationships, proportional to nature;
4) modeling volumetric shape objects, identifying gradations of light and shade and their pictorial elaboration, taking into account aerial perspective;
5) a generalizing stage of work on completing the sketch; identifying the main and secondary elements in the color structure of the sketch; subordination of all parts of the image to the whole.
A series of homework on still life painting, in close connection with homework on drawing and composition, leads to the development of artistic observation, imaginative thinking, creative imagination, sense of color and color relationships.
Ultimately, students should acquire a solid knowledge of still life painting necessary for independent work.
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