plate no. 1405
Rainbow
Arkhyp Kuindzhi, 1905
what to study here
It shows how a light effect depends on value contrast and soft edges, with the sky carrying the picture and the field kept simple.
The sky is the subject here, and the value structure shows how. The darkest note is the deep ultramarine storm cloud on the right. The lightest notes are the cream cloud and the rainbow core. The green field holds a steady middle register, so the picture reads as three zones: dark sky, luminous cloud and rainbow, green field. Study how the bright cloud is kept off pure white (the guide gives titanium white with yellow ochre and a touch of alizarin) so it glows against the blue. Look at the edges: the clouds dissolve into the blue, and the rainbow is painted with very light strokes so it reads as glow, not a stripe. Its warmer yellow-to-orange passage is the only strong warm note in the sky. Then look at the field. It is looser and simpler than the sky, with some directional grass marks. One dark winding path is the main linear element and carries the eye into depth. Copy the value relationships first and add color afterward.
key decision
The painter set the darkest storm blue next to the lightest cream cloud and rainbow, and softened the cloud edges so the light seems to come from within the sky. The field stays in the middle values so it does not compete.
recreation guide
Arkhip Kuindzhi’s *Rainbow* (1905) is a landscape that exemplifies his mastery of light and color interaction, rooted in the principles of simultaneous contrast. Kuindzhi, a Russian landscape painter of Crimean Greek origin, was known for his intense study of optical effects and the scientific laws governing color perception (Source 5). His work often deviates from strict realism in favor of heightened atmospheric effects, where the 'modifications of the light on the model' are perceived and imitated with precision (Source 1). The painting likely employs a method where inherent colors are harmonized through the juxtaposition of tones, leveraging the fact that contiguous colors modify one another’s appearance (Source 1, Source 4).
estimated time
20-30 hours over 5-7 sessions, allowing for drying times between glaze layers
materials
5 items
steps
6 in sequence
materials
| item | purpose | modern equivalent |
|---|---|---|
| Oil paints (Ultramarine, White, Black, Yellow Ochre, Red Ochre, Cadmium Yellow, Alizarin Crimson) | Primary pigments for underpainting and glazing. Ultramarine, white, and black are specifically noted in historical methods for initial layers (Source 3). | — |
| Linseed oil or Poppy seed oil | Binder for the oil paints. Linseed is common for general use; poppy may be used for lighter tones to prevent yellowing (Source 2). | — |
| Turpentine | Thinner for the paint, especially in early stages or for glazing (Source 2). | — |
| Oil of Copavia (or modern damar resin varnish) | Medium for glazing. Sir Joshua Reynolds, cited in the context of old master techniques relevant to this style, used oil of copavia for his first and second paintings (Source 3). | Damar varnish mixed with linseed oil |
| Canvas | Support for the oil painting (Source 2). | — |
preparation
surface prep
Prepare a standard oil-primed canvas. Kuindzhi’s practice, influenced by the old masters and the need for transparent glazing, likely involved a neutral or light ground to facilitate the layering of colors. The sources indicate that glazing and scumbling are effective over a prepared ground, often requiring the underlying layer to be quite dry (Source 3).
underdrawing
Contour drawing techniques may be used to establish the mass and volume of the landscape elements, focusing on the outlined shape rather than minor details (Source 6). However, specific preparatory sketches for *Rainbow* are not described in the sources. Kuindzhi’s focus on light effects suggests that the underdrawing would be minimal, serving only to block in major tonal areas.
underpainting
A grisaille (monochrome underpainting) is recommended. The source describes a method where the artist mentally extracts red and yellow colors, translating what would be left in nature if these were not present (Source 3). This monochrome layer establishes the chiaroscuro and tonal gradations before color is introduced. The use of black, ultramarine, and white for initial paintings is noted in historical practice (Source 3).
color palette
Ultramarine
Pure pigment
General use in the underpainting and for deep blue tones in the sky or water, consistent with the old master method cited (Source 3).
White
Lead White or Titanium White
Highlighting and mixing to create tints. Essential for the 'lightest tone' which is lowered by contrast (Source 1, Source 3).
Black
Ivory Black or Lamp Black
Shadows and depth in the underpainting (Source 3).
Yellow Ochre / Cadmium Yellow
Transparent yellow glazes
Introducing yellow tones via glazing, as the method involves adding yellow and red tones after the grisaille is dry (Source 3).
Red Ochre / Alizarin Crimson
Transparent red glazes
Introducing red tones via glazing, particularly for earth tones or atmospheric warmth (Source 3).
composition
The composition likely relies on the juxtaposition of tones to produce chiaroscuro and a true gradation of light (Source 4). Kuindzhi’s landscapes are characterized by great effects of light, where small details result from the overall contrast (Source 4). The arrangement of colors is determined by the subject but allows for the substitution of true colors with neighboring scales to enhance harmony (Source 4).
step by step
underdrawing→underpainting→first pass→refining→finishing→varnishing
underdrawing
step 01
Sketch the major forms of the landscape using contour lines to define mass and volume, avoiding excessive detail (Source 6).
Tip — Focus on the silhouette and spatial relationships rather than texture.
Contour drawing
underpainting
step 02
Create a grisaille using black, ultramarine, and white. Establish the full range of light and dark values, mentally excluding red and yellow hues (Source 3).
Tip — Ensure the tonal gradations are accurate, as this layer dictates the final light effects.
Grisaille
first pass
step 03
Allow the grisaille to dry completely. Begin glazing with transparent yellow and red tones, applied with oil or a mix of varnish and oil (Source 3).
Tip — Apply thin, transparent layers to build up color intensity without obscuring the underlying tonal structure.
Glazing
refining
step 04
Use scumbling (semi-opaque painting) to adjust tones, particularly over darker grounds to create coldness or grey blooms (Source 3).
Tip — Observe how the underlying painting shows through the semi-opaque layer.
Scumbling
finishing
step 05
Refine the color interactions by applying the law of simultaneous contrast. Adjust adjacent colors to enhance their perceived intensity, noting that the lightest tone will be lowered and the darkest heightened by juxtaposition (Source 1, Source 4).
Tip — Be aware that the eye may see colors inaccurately due to mixed contrast; rest your eyes to avoid fatigue-induced errors (Source 1).
Simultaneous Contrast
varnishing
step 06
Apply a final varnish, potentially mixed with resin, to protect the painting and unify the sheen (Source 2).
Tip — Ensure the painting is fully dry before varnishing to prevent cracking.
Varnishing
critical techniques
Simultaneous Contrast
Kuindzhi leverages the law that contiguous colors modify each other’s appearance. By placing complementary or contrasting tones adjacent to each other, he enhances the visual impact of light and color (Source 1, Source 4).
Glazing and Scumbling
Used to build up color and texture over a monochrome underpainting. Glazing adds transparent color, while scumbling adds semi-opaque texture, allowing the underlying tones to influence the final appearance (Source 3).
Chiaroscuro via Juxtaposition
Creating gradations of light by placing different tones of the same color or distinct colors side by side, causing the highest tone to be enfeebled and the lowest heightened (Source 4).
common pitfalls
- →Ignoring the drying time of the grisaille layer, which can lead to muddiness when glazing (Source 3).
- →Failing to account for simultaneous contrast, resulting in colors that appear dull or inaccurate due to the influence of adjacent hues (Source 1).
- →Overworking the paint, which can destroy the delicate transparency achieved through glazing (Source 3).
- →Eye fatigue leading to inaccurate color perception; the painter must rest their eyes to avoid seeing complementary afterimages (Source 1).
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.
- ·Specific visual details of *Rainbow* (e.g., exact landscape features, presence of figures, specific color distribution) are not described in the sources.
- ·Kuindzhi’s exact personal palette for this specific year is not detailed, though general old master practices are cited.
- ·The specific proportion of oil to pigment in Kuindzhi’s glazes is not provided.
grounded in
The technical procedure in this guide traces to the following classical art-instruction texts.
Laws of Contrast of Colour↗
- Simultaneous Contrast — applied to Understanding color interactions and avoiding perceptual errors (Source 1).
- Chiaroscuro and Juxtaposition — applied to Tonal gradation and composition (Source 4).
The Practice of Oil Painting↗
- Colouring a Monochrome — applied to Grisaille underpainting and glazing techniques (Source 3).
cross-referenced from
Named facts about this artwork and artist were checked against these reference pages.
Wikipedia: Oil painting↗
- General Techniques — applied to Materials and varnishing (Source 2).
Wikipedia bio — Arkhyp Kuindzhi↗
- Biography — applied to Artist background and style context (Source 5).
Wikipedia: Contour drawing↗
- Technique — applied to Underdrawing approach (Source 6).
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 label6 dominant colors, measured
what the eye sees
A vast steppe landscape dominates the lower half, anchored by a winding dark path that leads the eye deep into space. The sky occupies the upper portion, split between a deep blue-gray storm cloud on the right and a luminous, cream-colored cloud formation that glows with internal light. A delicate rainbow arcs across the composition, connecting the two cloud masses and emanating a soft, iridescent glow. The light source appears to come from behind or within the bright cloud, creating a dramatic atmospheric effect where the sky itself seems to be the subject rather than decoration.
value structure
The darkest darks sit in the lower-right sky (deep ultramarine) and the shadowed portions of the field along the path. The lightest lights concentrate in the bright cloud and rainbow core (pale cream-yellow). These extremes create a clear value envelope that frames the mid-tone greens of the field, which occupy a consistent middle register. When you squint, the composition reads as three distinct zones: dark sky, luminous cloud-and-rainbow, and green field.
observed palette and mixes
#4162a0
Ultramarine blue with touch of alizarin crimson
Deep stormy sky, right side and upper portions
#768a8e
Ultramarine blue lightened with titanium white and yellow ochre
Mid-tone sky areas, softer transitions near the cloud
#e8dcc8
Titanium white with yellow ochre and touch of alizarin
The luminous central cloud and rainbow core
#b8c659
Viridian green with yellow ochre and titanium white
Bright, sun-lit portions of the field
#5a7d4a
Viridian green with burnt umber and ultramarine blue
Darker, shadowed grass and the winding path accent
#d4a574
Yellow ochre with alizarin crimson and titanium white
Warm tones within the rainbow, yellow-to-orange transition
edges and brushwork
The sky is rendered with soft, blended edges throughout—the clouds dissolve into the blue rather than cutting sharply. The rainbow itself is the most delicate feature, painted with gossamer strokes that feel more like a glow than a solid form. The field contrasts with looser, more impressionistic brushwork in the sky; grass receives some texture and directional marks, while the path is suggested with darker, linear strokes that guide the viewer's eye.
a working sequence
- 01
Lay in the composition and value structure
Using a thin wash of burnt umber, map out the horizon line (roughly in the lower third), the winding path as a curved shape, and block in where the cloud and rainbow will sit. Establish which areas will be darkest (storm sky), lightest (central cloud), and mid-tone (field). This is your roadmap—keep it loose and proportional.
- 02
Paint the deep blue sky
Work the ultramarine-dominated sky on the right and lower portions, leaving the upper-center area lighter. Use broad horizontal strokes to reinforce the atmospheric receding quality. Don't worry about precision yet; focus on covering the canvas and establishing the cool, stormy mood. Allow some variation in value to suggest cloud forms.
- 03
Establish the luminous cloud
Paint the central cream-colored cloud mass with soft, directional strokes that follow its rounded form. This is the painting's focal light source—keep it bright (minimal dark pigment), but don't make it pure white. Blend its edges into the surrounding blue sky with soft transitions; the cloud should glow rather than sit on top of the sky.
- 04
Paint the rainbow with restraint
Using very diluted mixes of your warm pigments (yellows, ochres, and touches of alizarin for warmth), paint a delicate arc that emerges from the cloud. The rainbow should feel ethereal—it's not a solid form but a luminous phenomenon. Use lighter pressure, softer edges, and cooler-toned whites mixed into your colors. The inner edge where it meets the cloud should be brightest; the outer edges fade to nearly invisible.
- 05
Block in the field
Using your viridian-yellow ochre mix, establish the bright green field in broad strokes. Leave the shadowed portions (lower right, along the path banks) darker. The field should feel like a continuous plane receding toward the horizon. Paint horizontally to reinforce perspective; don't fight the light direction—the right side of the field should feel slightly more shadowed by the storm clouds.
- 06
Define the path and middle ground
Using darker mixes (viridian with burnt umber), paint the winding path with confident, curved strokes that lead into the distance. Suggest the vegetation along its banks with slightly darker greens. Add subtle variations in the field—patches of slightly different green values, suggestions of grasses—to give it texture without overworking.
- 07
Refine the sky transitions and check values
Step back and assess. The sky's transition from deep blue to the cloud area should feel gradual and believable. Soften any hard edges where the cloud meets the sky. The zone around the rainbow should feel slightly warmer and lighter than the rest of the sky. Add a touch more luminosity if needed by lightening the cloud's outer edges with a whisper of white.
- 08
Add final atmospheric details
With a small round brush, add delicate touches: small white flowers or texture notes in the near field (lower edge), subtle modeling to the path edges, and any additional atmospheric haze. These aren't essential, but they anchor the viewer's eye and reinforce the light direction from the luminous cloud.
where studies of this painting go wrong
- Making the rainbow too opaque or rainbow-colored—it should feel like luminous atmospheric glow, not a painted stripe. Use very diluted color and keep it subtle.
- Losing the luminous quality of the cloud by overmixing or adding too much dark pigment. The cloud must glow; if it looks flat or muddy, lighten it and soften its edges further.
- Failing to create sufficient value separation between the dark sky and the bright cloud—this contrast is what makes the light effect read convincingly.
- Overworking the field with detail and texture; it should feel vast and simplified, allowing the sky and rainbow to dominate attention. The path is the only strong linear element needed.
measured difficulty
- beginner friendliness
- value contrast
- palette complexity
- compositional simplicity
- brushwork visibility
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