plate no. 7623

After a Rain. Rainbow

oil, canvasImpressionismlandscapelandscaperainbowskyfieldstreesvillage

what to study here

It shows a landscape lit mainly by value control, with a bright middle ground held between a hazy sky and a dark foreground.

The useful lesson here is how value, not color intensity, builds light. The vision analysis describes three horizontal zones: a hazy cerulean sky, a pale green middle ground with a distant white village, and a dark foreground of deep greens and browns. The brightest passage sits in the middle distance, with values darkening both upward into the sky and downward into the foreground. Study how that arrangement makes the field glow, and how the transitions stay gradual rather than hard-edged. The rainbow is the second lesson. It is a faint peachy arc, barely separated from the sky, reading more as a shift in warmth and tone than as a defined object. Compare it with the middle ground, where the brushwork is more visible and the color warmer and more saturated, against the cooler, denser handling of the foreground. Copy the value map first in a small sketch. Check that the village stays a few white touches, and that the foreground stays darkest. If the rainbow or the foreground gets too bright, the middle ground loses its radiance.

key decision

The painter placed the lightest values in the middle distance and kept both the sky and the foreground darker. The rainbow is kept soft and close in value to the sky.

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.

read from the painting

observed from the image, not the label

6 dominant colors, measured

what the eye sees

A luminous landscape dominated by a soft rainbow arcing across the upper sky from left to right, with the light source diffuse and atmospheric. The composition divides into three distinct horizontal zones: a soft cerulean sky with atmospheric haze at the top, a brilliantly lit middle ground with a pale green field containing a distant village of white buildings, and a dark, shadowed foreground of deep green vegetation and darker tones suggesting forest or plowed earth. The eye travels first to the rainbow's delicate peachy arc, then down through the illuminated middle landscape, which acts as the brightest focal point.

value structure

The value structure creates a clear atmospheric effect: the brightest lights sit in the middle distance (the pale green field and white village), surrounded by progressively darker values moving up into the sky and down into the foreground. The foreground reads as the darkest area with rich, deep greens and browns. There is a distinct value separation between the glowing middle landscape and the cooler, subtler sky above it, achieved through gradual transitions rather than hard edges.

observed palette and mixes

#263519
Sap green + burnt umber, heavy on umber for depth
Foreground vegetation and lower left corner, providing dark anchor
#86bbd3
Cerulean blue + white, leaning cool
Mid-range sky areas and atmospheric depth
#a1c7d1
Cerulean blue + white + touch of titanium white for luminosity
Upper sky and lighter sky transitions
#6e9ea0
Cerulean blue + sap green + white, desaturated cool tone
Distant hills and horizon band
#b3d8d3
Titanium white + cerulean + sap green, very pale
Atmospheric haze around rainbow and lightest sky zones
#8cc6d1
Cerulean + white with slight green undertone
Sky transitions and atmospheric layering
#d4b896
Yellow ochre + titanium white + touch of burnt umber
Soft peachy tones within and around the rainbow
#7cb342
Sap green + yellow ochre + white, bright and warm
Middle-distance field with village, the most luminous landscape area

edges and brushwork

The sky displays soft, horizontal directional brushwork that emphasizes the atmospheric depth; strokes follow the curvature of the rainbow without harsh delineation. The rainbow itself is rendered with very soft edges, barely differentiated from the sky—it reads more as a shift in tone and warmth than a defined object. The foreground and middle landscape show more visible, textured brushwork with warmer, more saturated colors in the middle ground contrasting against the cooler, denser application in the foreground.

a working sequence

01
Block the sky zones
Establish your basic sky areas with loose horizontal brushwork. Start with the pale blue-white at the top, transitioning to slightly more saturated cerulean in the middle sky. Use soft horizontal strokes that suggest atmospheric movement. Don't worry about precision—work broadly to establish the cool, luminous envelope that will frame the rainbow.
02
Lay in the rainbow arc
While the sky is still wet or tacky, suggest the rainbow's path from upper left to right with very pale, warm peachy tones (yellow ochre + white). Keep it soft and understated—the rainbow should integrate with the sky rather than sit on top of it. Use gentle horizontal strokes and blend it subtly into the surrounding sky.
03
Establish the horizon band
Paint the distant hills and horizon line with a muted, desaturated blue-green (cerulean + sap green + white). This should read as a distinct but soft band that separates the sky from the landscape below. Keep it relatively flat and featureless to emphasize atmospheric distance.
04
Block the middle landscape
Paint the bright middle-distance field with a warm, pale green (sap green + yellow ochre + generous white). This is the brightest, most luminous area of the landscape and should feel almost radiant. Suggest the village with a few loose white touches—don't render buildings, just indicate their presence. Keep this area fresh and lively, contrasting sharply with the darker foreground.
05
Establish foreground mass
Block in the dark foreground vegetation with deep sap green + burnt umber, keeping it considerably darker than the middle ground. Use visible, confident brushwork here—let the texture and modulation show. Suggest possible terrain variations with browns and darker greens, but avoid too much detail.
06
Refine atmospheric transitions
Work the transitions between sky and landscape, creating subtle shifts in tone and color temperature. The middle landscape should feel backlit and atmospheric. Add slightly warmer, whiter notes in the sky near the horizon to suggest mist and atmospheric haze. The rainbow should feel like it's emerging from this haze rather than painted on top.
07
Deepen and model the foreground
Strengthen the foreground's dark values and add color variation—some cooler greens, some warmer browns, suggesting possible water or earth. The foreground should feel substantially darker than the middle landscape to create strong atmospheric perspective. Use directional strokes that suggest the lie of the land.
08
Highlight and integrate
Add final bright touches: white highlights in the sky around the rainbow, subtle bright accents in the middle field where light breaks through. Soften any edges that feel too hard, and ensure the entire painting reads as unified atmospheric space rather than separate planes.

where studies of this painting go wrong

Making the rainbow too opaque, saturated, or hard-edged—it must remain soft and atmospheric, barely distinct from the sky surrounding it
Painting the middle landscape too dark or desaturated; this is the most luminous zone and needs to glow with warmth and brightness to create atmospheric recession
Overworking or over-detailing the village; a few suggested white touches are more effective than rendered buildings
Losing the atmospheric quality by creating sharp transitions between sky zones; the sky should feel like a unified, soft, hazy envelope
Painting the foreground too brightly; it must remain dark and shadowed to create the strong value contrast that gives the middle landscape its radiance

measured difficulty