Photo
Embraces of the Bulgarian sun

Daniil Belov, 2014, oil on canvas on hardboard, 39x54 cm

I am, a man from Moscow, quite unaccustomed to the July heat in Bulgaria. And the work in the middle of the day en plein air in the south climate is something special for me. It is just the time when you can not only to see the difference between countries, but also to feel physically the differences in their beings. In Moscow, for example, the whole winter lasting round-the-clock twilights are urging to be in dormancy. And when you come to a place where the sun is not just giving light but heating, you began to boil like a vigorous kettle. It seems for me that it expresses very clear in the differences of the mentalities of south and north countries.

For five days in a small coastal town in Bulgaria I had been taking the easel and the umbrella after the dinner and going to the narrow yard where were an abandoned building with pillars and small wooden houses. In the center of the yard amidst burnt out grass was growing a high cypress. A shadow was falling from it, moving on the ground as on a sundial. In that shadow I found a sanctuary from the sun. To seat just under the umbrella was hard: the sun began to burn.

The wooden houses, which for many years had been grilling in that yard, were looking like a scorching baked log. The black abrupt shadows, erasing each object they could reach, were slipping on their walls. Between the houses the tenants were drying the washing on the taut strand.

The yard was imperceptible for people, surrounded by the hedge from three sides. Only rare observant passersby and tenants came to me. Mostly they didn’t have the slightest doubts if I understand them. However I do not know Bulgarian and hardly could understand anything. Attentively listening to them, I’ve noticed a similarities in languages so some words became understandable.

One tenant, a young Turk, every day came to me to inquire how the work is going. When the work on the study was near completion, he pointed on the image of the green towel and said that it was wrong. Then he pointed on the white towel and said that this was correct: “White means a man and instead of the green should be red, because red is a woman”. After this I’d changed the color.

Calm afternoon work in the yard assembled experienced warm embraces of the evening beach and the morning observations and thoughts, creating not just an image of the piece of visible world, but the image of my whole short bright Bulgarian life.

www.daniil-belov.com

Embraces of the Bulgarian sun

Daniil Belov, 2014, oil on canvas on hardboard, 39x54 cm

I am, a man from Moscow, quite unaccustomed to the July heat in Bulgaria. And the work in the middle of the day en plein air in the south climate is something special for me. It is just the time when you can not only to see the difference between countries, but also to feel physically the differences in their beings. In Moscow, for example, the whole winter lasting round-the-clock twilights are urging to be in dormancy. And when you come to a place where the sun is not just giving light but heating, you began to boil like a vigorous kettle. It seems for me that it expresses very clear in the differences of the mentalities of south and north countries.

For five days in a small coastal town in Bulgaria I had been taking the easel and the umbrella after the dinner and going to the narrow yard where were an abandoned building with pillars and small wooden houses. In the center of the yard amidst burnt out grass was growing a high cypress. A shadow was falling from it, moving on the ground as on a sundial. In that shadow I found a sanctuary from the sun. To seat just under the umbrella was hard: the sun began to burn.

The wooden houses, which for many years had been grilling in that yard, were looking like a scorching baked log. The black abrupt shadows, erasing each object they could reach, were slipping on their walls. Between the houses the tenants were drying the washing on the taut strand.

The yard was imperceptible for people, surrounded by the hedge from three sides. Only rare observant passersby and tenants came to me. Mostly they didn’t have the slightest doubts if I understand them. However I do not know Bulgarian and hardly could understand anything. Attentively listening to them, I’ve noticed a similarities in languages so some words became understandable.

One tenant, a young Turk, every day came to me to inquire how the work is going. When the work on the study was near completion, he pointed on the image of the green towel and said that it was wrong. Then he pointed on the white towel and said that this was correct: “White means a man and instead of the green should be red, because red is a woman”. After this I’d changed the color.

Calm afternoon work in the yard assembled experienced warm embraces of the evening beach and the morning observations and thoughts, creating not just an image of the piece of visible world, but the image of my whole short bright Bulgarian life.

www.daniil-belov.com

Photo
Yellow color of rudbeckia
2013, 30x40 cm, oil on canvas
www.daniil-belov.com

Yellow color of rudbeckia

2013, 30x40 cm, oil on canvas

www.daniil-belov.com

Text

How to use a palette (subtitles)

Click on subttiles button (left to the “gear” on youtube)

Summary: 

  • Place paints on the palette in a certain sequence. For example, the cool paints - vertically and the warm paints - horizontally, in the rainbow’s colors sequence.
  • If the colors will be adjacent on the artwork, then they should be adjacent mixes on the palette. 
  • After the work you can clean the paint by palette knife and rag. If you need to safe the paint, put it in the tube and knock with the tube so the paint will fall inside.
  • You can save the palette with the mixed colors in dark and cold place, and then to start the work again, after thawing out the palette.
  • If it is possible, avoid adding in the paint additional substances like thinners, lacquers and oils.*


*It is not about underpainting. Because the layer of underpainting is thin and the color is often is covered by the next layers of paint, underpainting is painted with the right thinner.

More lessons here

Photo
Towards autumn
Autumn weather came early to Moscow this year. The end of the summer was very dull and depressing. In its last day friend got me out to the studies in Abramcevo. The weather was just cloudy, but without rain, and in the morning even the sun was gleaming. 
After the sleepy trip on the train we came out on the empty local station and, went several meters aside, we appeared in dark and wild forest, like from the Shishkin's paintings. I was walking and thinking: probably, right now we are going the same road and are seeing the same nature, which seen more than hundred years ago great Russian painters, who loved this place so much: Korovin, Levitan, Polenov.
We came to the museum, the surrounded by forest estate, the most famous owner of which, I suppose, was S. Mamontov. This Russian entrepreneur is living in the memory of the people as Maecenas, which was a big friend and supporter for creative people. Here, in Abramcevo, he made meetings and gave opportunity to work without worries for artists, whose names are recognized all over the world.
This view disturbed my childhood memories about trips to country cottage. Somehow this place awoke in my memory the sense of the sorrow of those autumn days, passed in the country. Suddenly, I had a feeling for a moment, that here I understand Levitan, his sadness, spread in the nature.
My site

Towards autumn

Autumn weather came early to Moscow this year. The end of the summer was very dull and depressing. In its last day friend got me out to the studies in Abramcevo. The weather was just cloudy, but without rain, and in the morning even the sun was gleaming. 

After the sleepy trip on the train we came out on the empty local station and, went several meters aside, we appeared in dark and wild forest, like from the Shishkin's paintings. I was walking and thinking: probably, right now we are going the same road and are seeing the same nature, which seen more than hundred years ago great Russian painters, who loved this place so much: KorovinLevitanPolenov.

We came to the museum, the surrounded by forest estate, the most famous owner of which, I suppose, was S. Mamontov. This Russian entrepreneur is living in the memory of the people as Maecenas, which was a big friend and supporter for creative people. Here, in Abramcevo, he made meetings and gave opportunity to work without worries for artists, whose names are recognized all over the world.

This view disturbed my childhood memories about trips to country cottage. Somehow this place awoke in my memory the sense of the sorrow of those autumn days, passed in the country. Suddenly, I had a feeling for a moment, that here I understand Levitan, his sadness, spread in the nature.

My site

Photo
An interview with me is published.
"When I was a child I loved to draw with blue pen all kinds of spaceships and cars, so my parents decided that I should go at art school. I didn’t like to draw at school. Artworks “on the theme” were boring to me. And I didn’t like to paint still-lifes and plaster heads, also I couldn’t be proud of my works. After school I was going back home and draw there what I really love: spaceships, for example. 
Read more…”

An interview with me is published.

"When I was a child I loved to draw with blue pen all kinds of spaceships and cars, so my parents decided that I should go at art school. I didn’t like to draw at school. Artworks “on the theme” were boring to me. And I didn’t like to paint still-lifes and plaster heads, also I couldn’t be proud of my works. After school I was going back home and draw there what I really love: spaceships, for example.

Read more…”

Link

Daniil Belov landscape paintings world map 

I recently made a map of landscape paintings on pinterest and the Outdoorpainter.com (Plein Air Magazine) wrote a review about my idea. 

Photo
Bloom 
2013, oil on canvas on hardboard, 30х20,5 cm
This study with flowers I painted at the plain air where I taught senior schoolchildren and students painting. This subject fitted very well into the appointed by me plan of exercises as it gave an opportunity to work on expression and to try a new technique. The thing is that the previous task was to depict the field of shriveled prickly wheat. That subject demanded the according implementation: I suggested to paint it “dryly and poignantly”. The color was painted “in wipe”, the ears were painted by abrupt slashes of brush, forming the thin sharp strokes, the coloring was picked up restrained, grey with ochre.    
Subject with the blooming flowers was dramatically contrasting to the field of wheat. It was rather a green entangled ball of stems and leaves, with sticking out daises, some of them completely withered and some of them full of life. Somewhere through the thicket had shown up orange marigolds. Their petals, so thin, let the sunshine through, glowing as if they were lights by themselves. They stand out from the green background so much that I decided to make one of the marigolds the main hero of my picture. This time I set before my students, and surely myself, the task to depict this dense mess of greenery in the contrast with the impression from the shriveled wheat filed. Therefore was chosen the next method of painting: the color was painted densely, creating thick layer of texture, which depicted stems and leaves by itself. It only remained to search for this images and to adjust them a bit, giving completeness. Only one marigold we painted by transparent orange paint to convey its “fire”.
www.daniil-belov.com 

Bloom 

2013, oil on canvas on hardboard, 30х20,5 cm

This study with flowers I painted at the plain air where I taught senior schoolchildren and students painting. This subject fitted very well into the appointed by me plan of exercises as it gave an opportunity to work on expression and to try a new technique. The thing is that the previous task was to depict the field of shriveled prickly wheat. That subject demanded the according implementation: I suggested to paint it “dryly and poignantly”. The color was painted “in wipe”, the ears were painted by abrupt slashes of brush, forming the thin sharp strokes, the coloring was picked up restrained, grey with ochre.   

Subject with the blooming flowers was dramatically contrasting to the field of wheat. It was rather a green entangled ball of stems and leaves, with sticking out daises, some of them completely withered and some of them full of life. Somewhere through the thicket had shown up orange marigolds. Their petals, so thin, let the sunshine through, glowing as if they were lights by themselves. They stand out from the green background so much that I decided to make one of the marigolds the main hero of my picture. This time I set before my students, and surely myself, the task to depict this dense mess of greenery in the contrast with the impression from the shriveled wheat filed. Therefore was chosen the next method of painting: the color was painted densely, creating thick layer of texture, which depicted stems and leaves by itself. It only remained to search for this images and to adjust them a bit, giving completeness. Only one marigold we painted by transparent orange paint to convey its “fire”.

www.daniil-belov.com 

Photo
Terminal Station
2013, oil on canvas, 20х20 cm 
The first spring study of this year. Right in such deceptive weather when it seems that it’s already warm but after four hours of sitting you get so frozen that you need to warm up for a very-very long time after. Not every trip for the study is accompanied by a cheerful and merry mood. 
I had wanted to paint the trains from this point already for four years after the first effort, which proved unsuccessful. Nothing had changed since this time, except the new inhabitant – the machine at the left. But, as it was four years ago, the blue locomotive attracted most of my attention. 
I knew the subject quite well, but up until the last moment I didn’t know how to design it. There were two options: to paint it bright and strictly or as it looks now. If the sky was clear and blue I would make it strictly ceremonial. It would be mainly done in blue coloring. But the weather wasn’t good and nor was my mood, so with the great pleasure I let the paint to behave itself as it wanted.
My landscape paintings 

Terminal Station

2013, oil on canvas, 20х20 cm 

The first spring study of this year. Right in such deceptive weather when it seems that it’s already warm but after four hours of sitting you get so frozen that you need to warm up for a very-very long time after. Not every trip for the study is accompanied by a cheerful and merry mood. 

I had wanted to paint the trains from this point already for four years after the first effort, which proved unsuccessful. Nothing had changed since this time, except the new inhabitant – the machine at the left. But, as it was four years ago, the blue locomotive attracted most of my attention. 

I knew the subject quite well, but up until the last moment I didn’t know how to design it. There were two options: to paint it bright and strictly or as it looks now. If the sky was clear and blue I would make it strictly ceremonial. It would be mainly done in blue coloring. But the weather wasn’t good and nor was my mood, so with the great pleasure I let the paint to behave itself as it wanted.

My landscape paintings 

Video

Recently my friend finished video, which we’ve shot for our entertainment, while I was telling him a bit how I work on underpainting and how I paint landscapes. There is a subtitles button (a button near the “clocks” button).

We now know that we need a cameraman for cases like this and that to shoot the backs is not the best our idea :) When we came back home, it appeared that we by occasion focused not on the canvas. Also we need a microphone. Next time we will try do something better, it just a pilot video. Probably, those who never was on plein air can get some use from this video.

Photo
Rapeseed
2013, oil on canvas, 50x60 cm
We were in the bus going from Kaliningrad to Zelenogradsck. The passengers were sleeping on each other’s shoulders after a sleepless night in the train while outside the windows the Kaliningrad Region landscape was sweeping past. The attention of the schoolchildren, which the most of the passengers were, was seldom attracted to the windmills and the stork’s nestles on the roofs of the houses. The rocking of the bus plunged me even more into the doze. But suddenly the bus filled with shouts of enthusiasm. I looked into the window and first time in my life saw the land covered by the dense carpet of the bright-yellow flowers. It were rapeseed flowers. Essentially, all the landscape was composed of the contrast of blue sky and brightly-yellow land and only somewhere the coloring was diluted by sparse trees. 
I decided that I definitely should go there and try to paint that. I was already seeing the place which I would paint: the yellow carpet of the flowers, the blue sky and the house with orange walls and a silver roof, surrounded by trees.  
After several days I came back to the field and peak a way right in the thick of rapeseed. It hard and heavy stems rose up highly above the ground. While I was painting the study, the cows were passing by me like vacuum cleaners, ducked their heads into the yellow sea of flowers. By tradition I didn’t finish the work that day and spent the next day in the field also.  
After some time the study ceased to satisfy me at all: I set the task to myself to give the viewer the feeling of that endless field, the combination of yellow and blue. I wished to seat the viewer into the rapeseed tangle. But the flowers appeared to be mean and didn’t convey my impression from the field at all. It wasn’t the rapeseed flowers. The sky got pale, had a some pink color tint and wasn’t contrasting with the flowers. But the subject didn’t leave me alone and I decided to make the work on the errors: to paint the full picture after the study. All the more the big size would give more opportunities to make the planned reality. 
In the end the work was done in one year. One might be surprised with such a length time. But the year is a time from the beginning of the work and till its end, not everyday painting. Usually the drying of the layers of the paint takes a lot of time. But some difficulties very frequently appear in the process, not all turns out as it should be. Sometime the other work prevents you from completing the original project. The work “matures”. So I don’t know if a year is a long time or not.  
www.daniil-belov.com

Rapeseed

2013, oil on canvas, 50x60 cm

We were in the bus going from Kaliningrad to Zelenogradsck. The passengers were sleeping on each other’s shoulders after a sleepless night in the train while outside the windows the Kaliningrad Region landscape was sweeping past. The attention of the schoolchildren, which the most of the passengers were, was seldom attracted to the windmills and the stork’s nestles on the roofs of the houses. The rocking of the bus plunged me even more into the doze. But suddenly the bus filled with shouts of enthusiasm. I looked into the window and first time in my life saw the land covered by the dense carpet of the bright-yellow flowers. It were rapeseed flowers. Essentially, all the landscape was composed of the contrast of blue sky and brightly-yellow land and only somewhere the coloring was diluted by sparse trees. 

I decided that I definitely should go there and try to paint that. I was already seeing the place which I would paint: the yellow carpet of the flowers, the blue sky and the house with orange walls and a silver roof, surrounded by trees.  

After several days I came back to the field and peak a way right in the thick of rapeseed. It hard and heavy stems rose up highly above the ground. While I was painting the study, the cows were passing by me like vacuum cleaners, ducked their heads into the yellow sea of flowers. By tradition I didn’t finish the work that day and spent the next day in the field also.  

After some time the study ceased to satisfy me at all: I set the task to myself to give the viewer the feeling of that endless field, the combination of yellow and blue. I wished to seat the viewer into the rapeseed tangle. But the flowers appeared to be mean and didn’t convey my impression from the field at all. It wasn’t the rapeseed flowers. The sky got pale, had a some pink color tint and wasn’t contrasting with the flowers. But the subject didn’t leave me alone and I decided to make the work on the errors: to paint the full picture after the study. All the more the big size would give more opportunities to make the planned reality. 

In the end the work was done in one year. One might be surprised with such a length time. But the year is a time from the beginning of the work and till its end, not everyday painting. Usually the drying of the layers of the paint takes a lot of time. But some difficulties very frequently appear in the process, not all turns out as it should be. Sometime the other work prevents you from completing the original project. The work “matures”. So I don’t know if a year is a long time or not.  

www.daniil-belov.com

Photo
Eastern Slopes of the Balkan Mountains
2012, oil oncanvas on hardboard, 20х29,5 cm
More landscapes

Eastern Slopes of the Balkan Mountains

2012, oil oncanvas on hardboard, 20х29,5 cm

More landscapes

Photo
Stupinka
2012, oil on canvas on hardboard, 29,5х20 cm
My site

Stupinka

2012, oil on canvas on hardboard, 29,5х20 cm

My site

Photo
Painting on plein air  :) 
www.daniil-belov.com

Painting on plein air  :) 

www.daniil-belov.com

Photo
“Byala”
2012, oil on hardboard canvas, 16,5х30 cm 
The bus delivered us right up to the port. We descended to the quay by the road dotted with chicory and poppy. It was hot and stuffy. Sometimes the sun was gleaming through the shroud of the clouds. The sea, reflecting the muddy sky, was splashing, slightly rocking the boats densely painted with color. That morning I was neither wishing nor waiting for anything. I just came to paint to the quay.
I took an elongated horizontal format and composed the landscape on the fourth attempt. I was soothing it, transforming the port in the long narrow line. I should place it so that the sea would solidly support it and the sky wouldn’t hang over with its weight. I was interested in everything that I could discern in this line but the details shouldn’t violate its calm. The lines on my canvas should become smooth like contours of the boats. The landscape should be made of nuances. The tonal and color transitions on the sky and the water should be barely perceptible. The difference between the sky and the water should be almost indiscernible. The coloring should be silver with grey, rather cold, restrained colors. 
The next two days were passed with work. The regularity of my existence there, in Byala, determined the image. Then I for the first time tried to work not on the image of the sea and the boats but on the image of the calm. The sea and the boats were helping me to immerse in it, to express it.
www.daniil-belov.com 

“Byala”

2012, oil on hardboard canvas, 16,5х30 cm 

The bus delivered us right up to the port. We descended to the quay by the road dotted with chicory and poppy. It was hot and stuffy. Sometimes the sun was gleaming through the shroud of the clouds. The sea, reflecting the muddy sky, was splashing, slightly rocking the boats densely painted with color. That morning I was neither wishing nor waiting for anything. I just came to paint to the quay.

I took an elongated horizontal format and composed the landscape on the fourth attempt. I was soothing it, transforming the port in the long narrow line. I should place it so that the sea would solidly support it and the sky wouldn’t hang over with its weight. I was interested in everything that I could discern in this line but the details shouldn’t violate its calm. The lines on my canvas should become smooth like contours of the boats. The landscape should be made of nuances. The tonal and color transitions on the sky and the water should be barely perceptible. The difference between the sky and the water should be almost indiscernible. The coloring should be silver with grey, rather cold, restrained colors. 

The next two days were passed with work. The regularity of my existence there, in Byala, determined the image. Then I for the first time tried to work not on the image of the sea and the boats but on the image of the calm. The sea and the boats were helping me to immerse in it, to express it.

www.daniil-belov.com 

Photo
Nesebar
2012, oil onhardboard on canvas, 29х19,5 cm
Old Nesebar is a small ancient town at the Black Sea coast in Bulgaria. One can walk it from one end to the other in an hour. But it is a town which keeps a vast number of monuments from the different times, some of them preserved as far back from antiquity. The town is connected with the mainland by such a narrow neck, that practically located on the island. That’s why the houses in Nesebar were built in two stories to save the precious space. The first story is made from stone and the second is wooden, overhanging the tight streets. The roofs are covered by the characteristic for this area red with orange tile, which is especially expressive when it is old and crooked, covered by moss and splits. On the balconies are planted the huge roses, which are glowing like lamps, letting the light through. 
The streets between the houses are paved with cobblestones, while by the sides there are shops with ceramics and antiques. In some of the gift shops are exhibited the painted plates. Most of them are covered by bright, spreading by all colors glaze, which miraculously combines in a geometric ornament. But in some shops one can also find plates covered by finest paintings. Their bright and wonderfully harmonious colors and intricate shape of the ornaments are attracting to look at them closer. When you approach to them and begin to examine, the shopkeeper floats over to you and by the glass with the hot tea with herbs alluring you to look on all the things in his shop. Every such plate is a real work of art. 
A subject for the painting you can find there, probably, on the every street: the orange roofs and the blooming balconies, the white walls and the colorful spots of glaze. Whole my plein air in Bulgaria I could spend there, but I had only one day on the picture. I found a spot from which I would paint on a street so tight that a car hardly can squeeze through it. Just in a day I would depict the wood, the shadows falling on the street, sharply contrasting with the stone, warmed up by the sun and the south heat in the narrow streets of the ancient town.
It is good that the overhanging stories of the houses provided me with the shelter from the sunshine, which unceremoniously boiled the town. The shadows were slipping down by the walls, crawling to the road, exposing the wood and the stone to the sun. The heat began to radiate from the walls and ground. But despite of the fact that I had to move, following my shelter, I managed to finish practically the whole work in time, on the nature. 
www.daniil-belov.com

Nesebar

2012, oil onhardboard on canvas, 29х19,5 cm

Old Nesebar is a small ancient town at the Black Sea coast in Bulgaria. One can walk it from one end to the other in an hour. But it is a town which keeps a vast number of monuments from the different times, some of them preserved as far back from antiquity. The town is connected with the mainland by such a narrow neck, that practically located on the island. That’s why the houses in Nesebar were built in two stories to save the precious space. The first story is made from stone and the second is wooden, overhanging the tight streets. The roofs are covered by the characteristic for this area red with orange tile, which is especially expressive when it is old and crooked, covered by moss and splits. On the balconies are planted the huge roses, which are glowing like lamps, letting the light through.

The streets between the houses are paved with cobblestones, while by the sides there are shops with ceramics and antiques. In some of the gift shops are exhibited the painted plates. Most of them are covered by bright, spreading by all colors glaze, which miraculously combines in a geometric ornament. But in some shops one can also find plates covered by finest paintings. Their bright and wonderfully harmonious colors and intricate shape of the ornaments are attracting to look at them closer. When you approach to them and begin to examine, the shopkeeper floats over to you and by the glass with the hot tea with herbs alluring you to look on all the things in his shop. Every such plate is a real work of art. 

A subject for the painting you can find there, probably, on the every street: the orange roofs and the blooming balconies, the white walls and the colorful spots of glaze. Whole my plein air in Bulgaria I could spend there, but I had only one day on the picture. I found a spot from which I would paint on a street so tight that a car hardly can squeeze through it. Just in a day I would depict the wood, the shadows falling on the street, sharply contrasting with the stone, warmed up by the sun and the south heat in the narrow streets of the ancient town.

It is good that the overhanging stories of the houses provided me with the shelter from the sunshine, which unceremoniously boiled the town. The shadows were slipping down by the walls, crawling to the road, exposing the wood and the stone to the sun. The heat began to radiate from the walls and ground. But despite of the fact that I had to move, following my shelter, I managed to finish practically the whole work in time, on the nature. 

www.daniil-belov.com