The project attempts to present the history of salvation in "manifestations of God" on three levels
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The oil painting shows Mary offering her firstborn son in the temple according to Jewish tradition. She has already placed Jesus in Simeon's arms, which Rembrandt showed in his last painting (Simeon in the Temple, 1669). The present painting is inspired by this one by the lighting. Simeon says, "Behold, this one is destined to cause many to fall and to be raised up in Israel, and he will be a sign that will be contradicted, and a sword will pierce your soul" (Luke 2:34). Mary reacts to these words with mixed feelings. At the same time, she stretches out her arms to receive the sorrows and needs of the onlooker. This "Presentation of the Lord" points out that Jesus became man to be in our midst and that his mother is also our mother. The original painting 29.7 x 38.5 cm is privately owned.
As a basis for portraits I usually use specially created photos, which I then execute in the chosen technique on canvas, cardboard or wood in several sessions.
See workflowThe medium and artistic technique depends on the type of work, object or intended effect. Here are two examples of oil paintings techniques.
Prior to working on an image, I typically explore how various media work.
I may try different drawing implements on practice sheets to determine value and texture, and how to apply the implement to produce various effects.
The general practice is to create a monochrome underpainting using opaque colors and then gradually build up glazes on top, allowing each layer to dry in-between. This practice is obviously very time consuming due to the slow drying time of oil paint. Depending on how many glazes are used, the time it takes to create an oil painting using this method could be anywhere from a few weeks to several months.
When multiple layers of glazes are used, the colors in all visible layers can appear combined. However, the pigments are not physically mixed, since the paint is left to dry before each successive glaze is applied.
The thin oily layers of a glaze can facilitate the rendering of details that would be more difficult with opaque paints—e.g. the complexities of skin tones.
In this example you can see how, due to the nature of the portrait, its creation involved many levels and motifs. At the base of the painting I placed a flower and two figures that are immersed in contemplation. This reflects the depth of the portrayed person.
Transforming the background into a landscape, I placed the first outline of the face on it. The concept of the painting has undergone a number of evolutions because I wanted to reflect not only the similarity of the person, but also her character and temperament.
A wide variety of nuances of character and a lush range of feelings show different species of butterflies. Each of them symbolizes a psychological tendency of the portrayed person. Everything revolves around its interior in the cover of loving hands.
There is no better way to learn how to paint than to study old masters
In my youth I was fascinated by the art of comics, especially Albert Uderzo. I decided to learn to draw like him and I copied the drawings until they were similar. Later on, my fascination passed to Leonardo da Vinci and I studied his paintings trying different painting techniques. The next master I met was Rembrandt. His fascination with light and his mastery of applying paints had a great influence on my paintings. Later I "met" Jan Vermeer and his mastery of glasing. Van Gogh has shown me how the reality of the world can be tirelessly transformed into the reality of art.
My study of painting was complemented by the works of 20th century painters, among whom only Gustav Klimt remained close to me. Fantisek Kupka developing his painting towards abstraction, later Kandynsky and Picasso, showed me how to get lost following fame and fashion.
