The paper represents an analysis carried out by a professional artist reflecting on a number of still life masterpieces by ancient, Western european and russian masters. The author analyzes specific features of imagery in a still life painting, the principles of setup, arrangement choices, work with space, light and color, silhouette, texture, etc. the article discusses the relationship between the object and the background. The principles of creating still lifes from memory and from life are described. Taking masterpieces by classic artists as an example, the author discusses a variety of tasks arising when an artist creates a symbolic and allegorical still life, a trompe l’oeil still life, a still life which aims at the utmost accuracy in the portrayal of the object, an open-air still life, a coloristic and a decorative still life. The article discusses aesthetic problems of composition in still lifes executed by classical artists, as well as a number of key principles for working with still life in the 20th century. Every artist needs the ability to analyze still lifes. The provided materials are primarily intended for professional artists and teaching artists. The paper is the second in a series of publications devoted to challenges of still life setup, which is directly related to the task of developing a creative image in a still life.

The article attempts to interpret and describe the use of the circle (sphere) and the related shape of an oval (ovoid) as a widespread basis of composition in classical european visual art. The circle and the oval in the period of antiquity, the Middle ages and the renaissance had a deep symbolic meaning and were regarded as a theological and philosophical visual text. By the 18th-19th centuries the tradition of using these symbols as the basis of a composition had gradually turned into a conventional device of vignetting, allowing one to create whole and harmonious works of art. The article quotes Plato’s Dialogues in regard to the theme of Platonic solids - regular polyhedrons and a sphere conceptualized as the most perfect, most beautiful three-dimensional figure, a symbol of perfection and infinity. Plato also described circular motion as the most perfect. In light of this, it is not accidental that renaissance and Modern Period artists not only preferred compositions based on the shapes of a sphere and an ovoid, but also motions based on spiral-like and serpentine lines related to circular movement. thus, compositions built on the basis of a circle (sphere) and/ or an oval (ovoid) are deeply rooted in theological and philosophical views, based on visual archetypes, reflected in mythology, and duly take into account the psychology of visual perception.

The article describes the basic principles of setting up a still life, based on the author’s 50 years of experience as an artist and 40 years of experience as an artist-teacher. Anyone acquainted with drawing will likely understand these clear recommendations which formulate the rules for arranging a still life and make it possible to create compositions built upon the basic laws of visual perception, the principles of subordination among minor and major elements, the organization of the notional center and peripheral parts of a still life, the competent layout of still life planes, meaningful work with contrasts and rhythms, textures and masses. The rules for the location of the brightest tonal and color contrasts, as well as the interaction of bright and neutral colors are described. The article characterizes the method of grouping the colors and composing a still life as an entity made up of unique elements. The author explains the basic rules of composition in still life painting and helps to avoid typical mistakes in the setup of a still life. The article is primarily intended for artists teaching still life painting, but will also be useful to students of art schools at all levels, professional artists and art historians.

The article analyzes Vela’zquez´s painting technique in relation to specific qualities of pigments that he used in his work. The painter´s signature method was a wide use of calcite whites (CaCO₃). The author of the article presents the results of practical mastering of painting with Vela’zquez Medium - calcite finely ground in bodied linseed oil. The usage of Vela’zquez Medium as a dyeing agent in the oil paints alters their consistency (rheology) and makes them significantly more “ropy”, “stringy” and transparent. It also enables the artist to build impasted applications of paint without the worry of cracking or peeling. Unlike modern white pigments, calcite does not cool the colors, and when the calcite is added to paints the intensity of pigments does not practically decrease. The article contains analysis of Vela’zquez limited palette, which included: lead white and calcite; yellow iron oxide (natural yellow ocher and goethite), lead-tin yellow, Naples yellow; orange iron oxide (natural orange ocher); red iron oxide (natural red ocher or hematite), vermilion, organic red lake (carmine or madder lake); azurite, lapis lazuli, smalt; brown iron oxide (natural brown ocher), manganese oxide (umber); organic black of animal or vegetable origin. Vela’zquez made greens by mixing azurite, yellow iron oxide and lead-tin yellow, and created purples on the basis of mixture of organic red lake and azurite.

The article briefly outlines the technology of producing pietre dure inlays, describes the machine tools, equipment and materials necessary for arranging the workshop, gives detailed instructions for modifying the tool grinder to elaborate mosaic details made of stone slabs.