plate no. 7623
After a Rain. Rainbow
recreation guide
Arkhyp Kuindzhi’s 'After a Rain. Rainbow' belongs to his mature period, characterized by an aspiration to capture the most expressive illuminative aspects of natural conditions (Source 2). Unlike traditional realism, Kuindzhi employed composite receptions, such as high horizons and panoramic views, to create an illusion of intense illumination using light effects and intense colors shown in main tones (Source 2). The work likely reflects his lifelong interest in the study of light, color, and perception, influenced by his friendship with chemist Dmitri Mendeleev (Source 2). The painting is not merely a topographical record but a constructed visual experience where the sky and weather forms are central elements of the composition (Source 5, Source 6).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glaze layers
materials
4 items
steps
5 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Vermilion/Red Lead) | For the initial grisaille underpainting and subsequent glazing | Titanium White, Ultramarine Blue, Ivory Black, Cadmium Yellow, Cadmium Red |
| Linseed oil or Oil of Copavia | Medium for the first and second paintings, as per Reynolds' method cited in sources | Stand Oil or refined Linseed Oil |
| Varnish | Mixed with oil for later glazing stages to gain mastery over transparency | Dammar Varnish or Synthetic Resin Varnish |
| Canvas | Support for the oil painting | Linen or Cotton Canvas |
preparation
surface prep
Prepare a standard oil-primed canvas. Kuindzhi’s practice involved building up color through layers, so a neutral or slightly toned ground is preferable to a stark white one to facilitate the 'grisaille' underpainting method described in historical oil painting practices (Source 1).
underdrawing
No specific evidence exists regarding Kuindzhi’s underdrawing for this specific work. However, given his focus on light effects and panoramic views, a loose sketch defining the high horizon line and the placement of the rainbow arc is recommended to establish the 'composite reception' structure (Source 2).
underpainting
Execute a monochrome underpainting (grisaille). According to historical practice relevant to this era, one should mentally extract red and yellow colors, translating what would be left in nature if these two colors were not present (Source 1). Use black, ultramarine, and white with oil of copavia or linseed oil to establish the tonal values of the landscape and sky (Source 1). This step creates the structural foundation for the light effects Kuindzhi is known for (Source 2).
color palette
Ultramarine/Blue
Ultramarine pigment
Sky and shadows in the grisaille stage; later glazed for depth
White
Lead White or Titanium White
Highlights and mixing with ultramarine for the grisaille
Black
Ivory Black or Lamp Black
Shadows and defining forms in the grisaille
Yellow/Red Tones
Yellow Ochre, Vermilion, or Cadmiums
Glazing over the dry grisaille to introduce the 'intense colors' and 'illusion of illumination' characteristic of Kuindzhi (Source 2)
composition
Kuindzhi characteristically used composite receptions, including high horizons, to create panoramic views (Source 2). The composition should likely feature a dominant sky area to accommodate the rainbow and atmospheric conditions, as weather is often an element of landscape composition (Source 6). The arrangement should prioritize the 'expressive illuminative aspect' over strict topographical accuracy (Source 2).
step by step
underpainting→first pass→refining→finishing
underpainting
step 01
Create a grisaille underpainting using only black, ultramarine, and white. Mentally exclude red and yellow tones to establish the value structure of the scene.
Tip — Ensure the grisaille is completely dry before proceeding to glazing.
Monochrome Underpainting
first pass
step 02
Apply transparent glazes of yellow and red tones over the dry grisaille. Use oil as a medium initially.
Tip — Treat the glazing like tinting an engraving with watercolors, allowing the underlying monochrome to show through.
Glazing
refining
step 03
Introduce semi-opaque scumbles over darker grounds to create coldness or grey blooms, particularly in the sky or distant landscape areas.
Tip — Scumbling tends to coldness when employed over a darker ground; use this to balance the warmth of the rainbow.
Scumbling
step 04
Enhance the rainbow and sky using the principle of simultaneous contrast. Place complementary colors adjacent to each other to heighten the intensity of the light effects.
Tip — Remember that when two colored objects are regarded at the same time, neither appears of its peculiar color but of a tint resulting from the peculiar color and the complementary of the other (Source 3).
Simultaneous Contrast
finishing
step 05
Apply final glazes using a mixture of varnish and oil to gain sufficient mastery over the transparency and luminosity of the light effects.
Tip — This technique was practiced by old masters and helps achieve the 'illusion of illumination' Kuindzhi sought (Source 2).
Varnish Glazing
critical techniques
Glazing and Scumbling
Kuindzhi’s intense light effects are achieved through layered transparency. Glazing adds color without obscuring the underpainting, while scumbling adds texture and cold tones. This method was common among old masters and is described as essential for achieving specific tonal modifications (Source 1).
Simultaneous Contrast
To depict the rainbow and sky accurately, the artist must account for how adjacent colors modify each other. The eye sees the result of the color and the complementary of the previously seen color, which is crucial for rendering the 'feeble intensity' modifications in light (Source 3).
Composite Receptions
Kuindzhi used high horizons and panoramic views to create an illusion of illumination rather than a literal snapshot. This compositional choice supports the expressive goal of the work (Source 2).
common pitfalls
- →Applying opaque color directly without a grisaille underpainting, which prevents the luminous depth achieved through glazing (Source 1).
- →Ignoring simultaneous contrast, leading to flat or inaccurate color perception in the rainbow and sky areas (Source 3).
- →Attempting to mix all colors opaquely, which contradicts the 'old masters' method of glazing and scumbling that Kuindzhi’s era respected (Source 1).
- →Focusing on topographical accuracy rather than the 'expressive illuminative aspect,' which is the hallmark of Kuindzhi’s mature style (Source 2).
what the sources don't tell us
Where the corpus is silent, we say so rather than guess. These are the gaps a complete recreation guide would normally cover that our source passages don't.
- ·The exact year of creation for 'After a Rain. Rainbow' is not available, making it difficult to pinpoint the specific phase of Kuindzhi’s career (early, mature, or late) with absolute precision, though the style suggests the mature period.
- ·Specific pigment recipes used by Kuindzhi for this particular painting are not detailed in the sources; the guide relies on general historical practices and his documented interest in chemistry.
- ·The specific visual details of the landscape (e.g., type of trees, specific terrain) are not described in the sources, so the recreation must rely on general landscape conventions and Kuindzhi’s known preference for panoramic views.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
The Practice of Oil Painting↗
- COLOURING A MONOCHROME — applied to Underpainting (grisaille), glazing, and scumbling techniques
Laws of Contrast of Colour↗
- 315-318 — applied to Simultaneous contrast for accurate color perception in rainbows and skies
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia bio — Arkhyp Kuindzhi↗
- part 2 — applied to Artist’s style, use of light effects, composite receptions, and high horizons
Wikipedia: Landscape painting↗
- part 1 & 13 — applied to General landscape composition and inclusion of weather/sky elements
Read more about the corpus on the sources page and how the guides are built on the methods page.
tips & new artworks in your inbox
no spam — unsubscribe anytime.
or to save artworks, chat, and track progress
related guides
in this vein
