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| Issue |
Title |
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| Vol 7, No 2 (2024) |
Sergey Andriaka’s Original Methodology: Teaching Plein Air Painting in the Technique of Multilayer Watercolor (Using Winter Motifs as an Example) |
Abstract
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S. S. Arustamova-Andriaka, D. V. Andriaka, D. V. Fomicheva |
| |
| Vol 7, No 1 (2024) |
On the Experience of Teaching Monumental Painting Using the Method of Visual Learning |
Abstract
|
|
A. P. Volkov |
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| Vol 7, No 1 (2024) |
Roubloff: the Secrets Behind Crafting Brushes for Artists |
Abstract
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|
T. V. Frolova |
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| Vol 7, No 1 (2024) |
Ink Drawing Technique: Prescriptions from the Nineteenth-Century Art School According to Gustave Frepon |
Abstract
|
|
E. V. Stepanian, D. V. Fomicheva |
| |
| Vol 6, No 3 (2023) |
Exploring the Art of Stained Glass. On Copying a Portrait Drawing Using Stained Glass Ggrisaille |
Abstract
|
|
L. Yu. Lifshitz |
| |
| Vol 6, No 3 (2023) |
“Rose Dusk”. A Step-by-Step Visual Manual: Painting a Winter Landscape in Multilayer Watercolor Technique |
Abstract
|
|
S. Andriaka |
| |
| Vol 6, No 2 (2023) |
New Data on Orange Mineral Pigments in the Works of the Nevyansk School of Icon Painting |
Abstract
|
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E. V. Lavrentyeva, I. F. Kadikova, V. Yu. Karpenko |
| |
| Vol 6, No 2 (2023) |
“Composing A Landscape Painting”. A New Teaching Guide from the Sergey Andriaka Academy of Watercolor and Fine Arts |
Abstract
|
|
S. N. Andriaka |
| |
| Vol 6, No 2 (2023) |
On Animalistic Art and the Spirit of Life (Analysis of a Sculptural Composition by Pierre-Jules Mêne) |
Abstract
|
|
S. L. Krivtsov, D. V. Fomicheva |
| |
| Vol 6, No 2 (2023) |
Winter Sunny Day, a Counter Light Motif. Alexander Monastery in Suzdal |
Abstract
|
|
S. N. Andriaka |
| |
| Vol 5, No 3 (2022) |
Color etching (wet printing) technique execution exemplified by copying a fresco painting |
Abstract
|
|
Alexei Borisovich Popov, Elena Mihajlovna Grazhevskaya |
| |
| Vol 4, No 4 (2021) |
Visual Image Concentration Technique. On the Early 20th Century Theory of Composition |
Details
|
|
Daria Vladimirovna Fomicheva |
| |
| Vol 4, No 4 (2021) |
“...And, Death once dead, there’s no more dying then”. Creating an Easel Painting of the Three Fates of Greek Mythology |
Abstract
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Elizaveta Alekseevna Nadezhdina |
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| Vol 4, No 4 (2021) |
Illuminated Initials of Svetlana Molodchenko |
Details
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|
Editorial Article |
| |
| Vol 4, No 3 (2021) |
Painting White Lilacs in the Multi-Layer Watercolor Technique: Special Aspects |
Abstract
PDF (Rus)
|
|
Sergey Nikolayevich Andriaka |
| |
| Vol 4, No 2 (2021) |
Alexander Samokhvalov's picture frames : tradition and innovation |
Abstract
PDF (Rus)
|
|
Oksana Aleksandrovna Lysenko |
| |
| Vol 4, No 2 (2021) |
Attributing the frame to the painting by K. Somov "The nude young man (B. M. Snezhkovskiy)" |
Abstract
PDF (Rus)
|
|
Oksana Lysenko |
| |
| Vol 4, No 1 (2021) |
Watercolor painting with no preliminary sketch. Light-colored flowers on a light background |
Abstract
PDF (Rus)
|
|
Sergey Nikolayevich Andriaka |
| |
| Vol 4, No 1 (2021) |
"Picturesque graphics": three pencil technique, multi-layered charcoal drawing |
Abstract
PDF (Rus)
|
|
Daria Vladimirovna Fomicheva |
| |
| Vol 4, No 1 (2021) |
On challenges of arranging a series of etchings as illustrated by Elena Grazhevskaya’s graduate project supervisor – Alexei Popov, honored artist of Russia and associate member of the Russian academy of arts |
Abstract
PDF (Rus)
|
|
Elena Mihajlovna Grazhevskaya, Alexei Borisovich Popov |
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