September 15, 2019

Watercolor studies of famous oil paintings

Lately, I decided to make watercolor studies inspired by oil paintings of famous master artists. The purpose was to interpret these paintings through watercolor and study the artists’ art styles (drawing, composition, colors, values, strokes, virtuosity etc.). This idea came after writing the Ode to daily art practice (or 9 reasons why daily art practice is important)

 Below I share 3 of my studies and the reason behind selecting each oil painting. By the way, I use a Stillman and Birn sketchbook (Zeta Series) and the St Petersburg White Nights Watercolours (36 pan set).

This is one of my favourite paintings of Matisse from his Fauvism period. I like particularly the bold use of colours and the fact that they do not blend together at all. The colours are very beautiful, especially when placed next to each other (e.g. green juxtaposed with purple, blue juxtaposed with orange).
I love this oil painting because it looks like a pastel one and it has mainly two dominant colors (the orange in the walls and the blue-green in the dancers’ tutus). I loved the experience of making this study and I like the colors combination, which I plan to use in the future.
This oil painting has captivated me more than any other in the Albertina museum in Vienna. The composition and the colors are so simple, yet the artist managed to render something beautiful. 
looking at paintings in the Albertina museum_mardatha blog
Me in from of the Moonlit night painting at the Albertina museum (usual distorted selfie)

Description of Moonlit Night in the Albertina museum  

Weary of the metropolis, Nolde joined a scientific expedition to the South Seas in 1913, which inspired him to compose several impressive seascapes. During the crossing to Papua New Guinea he noted down: “Hoisting anchor, we headed once more for the vast, silent ocean, for the infinitely wide sea, which can be so furiously wild and then, for months, so uncannily still, so oppressively still…” Such impressions captivated his senses and gave him the feeling to experience the “world in its original state”. In autumn 1914, after his return to the island of Alsen in the Baltic Sea, his memories motivated him to paint such paintings as Moonlit Night. The magically gloomy evocation of silence has been achieved by a clearly structured organization of the composition and a two-dimensional manner of painting on the one hand and by a peculiarly restrained use of color entirely based on the accord of ultramarine and pale yellow on the other.

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