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Figured Art

Diamond Painting - Sailboat and Vase

  • Description
  • How does it work

Model: Sailboat and Vase Method: Diamond Painting Type: Full Drill (covered entirely with diamonds) Size: FromĀ 8"x10"/20x25cm to 32"x40"/80x100cm Diamond shape:Ā Square or Round Support: Self-flattening numbered premium canvas Packaging: Securely wrapped Packaging

ThisĀ Diamond Painting kit contains all the necessary materials to create your artwork:

sailboat diamond painting

Note: If you want to create a very high quality masterpiece, we suggest you to select a size from 16"x16"/40x40cm orĀ 16"x20"/40x50cm in order to avoid any pixelated effect. Same as in photography, one diamond can be considered as a Pixel. The bigger the size (or resolution) of the masterpiece, the better the result.

What is Diamond Painting? This creative hobby that initially started in Russia and Asia has become very popular in USA and Europe in the past few years. It can be considered a combination of Paint by numbers and Cross-Stitch. Diamond Painting lets you create dazzling masterpiece using rhinestones called "diamonds". Perfect to let your mind wander and escape the stress of everyday life.

1) Choose from our wide selection of diamond painting kits, we have the largest collection available online and you can choose various sizes.

2) You will receive a ready-to-use kit which contains the numbered canvas, diamond bags according to your design, and all the accessories you need to complete your artwork.

3) Place the diamonds according to the symbols indicated on the canvas using the applicator. You can refer to the side legend, it’s very practical.

4) Once your Diamond Painting is finished, lightly press the diamonds with your hand or a book to make sure they will stay on the canvas. 5) DONE, share it with your friends and family and hang it up on the wall!

Diamond painting is a great hobby that is fun, easy to start and will let you create Art that you’ll be very proud of.

At USA Figured'Art , customer satisfaction is our top priority and this means 100% secure payment methods .

We accept the following payment methods:

- Credit/Debit card

Our website has an SSL encryption system to protect your personal data and the means of payment used. We use the secure payment system Stripe.

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All our orders are validated and shipped within 24 hours of your purchase.

We are proud to be a USA-based company with a warehouse in Los Angeles, California. This allows us to provide fast and reliable shipping for products that are in stock in the USA.

USA Stock: Products displaying the green label "USA Stock: Delivery in 1-4 days" indicate that the specific size/format is available in our California warehouse. Expect delivery within 1-4 days across the USA. For international addresses, such items ship from our workshop.

Custom Kits & Large Formats: Products with a blue label are made-to-order and will be shipped directly from our workshop. The typical delivery time for these ranges from 1 to 3 weeks. All canvases are shipped rolled, never folded. For the largest sizes, we employ a carrier specialized in handling extended length packages, ensuring the safe delivery of your kits.

Depending on the products ordered your order may sometimes arrive in several packages and we will then send you several tracking numbers.

Once shipped, we will email you a carrier tracking link allowing you to track the progress of your delivery until you receive your order.

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Trusted by more than 100,000 happy customers in the USA and worldwide! Discover our Figured'Art Diamond painting kits for adults!

sailboat diamond painting

A complete diamond painting already framed on a wooden frame

sailboat diamond painting

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Figured'Art is the most trusted brand for Diamond Painting with high-quality kits
Over 1,500 verified customer reviews ā­ā­ā­ā­ā­
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Sticky canvas Perfect Diamonds don't stick properly
Printing of the symbols Perfect Difficult to read
Diamonds
Diamonds with perfect shape and shiny colors
Quality control
Shimmery effect
Quantity of diamonds We add 30% more diamonds No extra diamonds
Shape of the diamonds Identical Regular size difference

sailboat diamond painting

Customer Reviews

it took a while but i got it doneoutstanding

Relaxing as usual, we can't wait to do others that are just as beautiful.

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Sailboat And Golden Sunset

Diamond shape.

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Create a majestic masterpiece with our Sailboat And Golden Sunset diamond painting kit. Imagine the sunset sailboat going to a place of tranquility and relaxation as you meticulously place each rhinestone and create a creation of beauty. Crafting is an excellent outlet for stress relief and has actual mental health benefits like increased focus, improved mood, and decreased anxiety. Our diamond painting kits come with everything you need - drill, tools, and every color of rhinestone to achieve the masterpiece you seek. Plus, DiamondPainting.com has the best prices, fast shipping, and excellent customer support 24/7! With over 500,000 happy customers, great reviews, and free shipping worldwide, itā€™s easy to find and shop for that perfect diamond painting kit.

"I absolutely love this Diamond Painting Kit! Itā€™s honestly one of my favorites I have done so far and the final result is absolutely stunning!ā€ - Kelly T.

Diamond painting offers a relaxing, therapeutic outlet for anyone looking for an artistic project completed in your own time. Our expert tip - work on a flat, anti-static surface off a soft comfortable spot to create your masterpiece and enhance your craft.

Now is your opportunity to have you own moment of tranquility and create something beautiful. At DiamondPainting.com you can find the perfect diamond painting kit for you from African Art to The Great Outdoors . Get your kit today and start creating. And don't forget to shop Diamond Painting for the best prices, fast shipping, and excellent customer service.

sailboat diamond painting

All Orders are processed within 24 Hours. Items take about 14 businessdays to arrive. We ship worldwide.

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CUSTOM DIAMOND PAINTING KITS - FULL DRILL

  • Landscape & Nature

Bright Sailboat Sunset | Diamond Painting

Bright Sailboat Sunset | Diamond Painting

Bright Sailboat Sunset | Diamond Painting

  • Top-Quality Premium Materials
  • Free Worldwide Shipping
  • Lifetime Warranty
  • Free Diamond Spill Insurance
  • 60-Day Return Policy
  • 300,000+ Happy Customers

Unleash your creativity with our diamond painting kits. Spend a relaxing night in and create your own masterpiece. Everything you need is included. It's the best way to discover your artistic talent and have a relaxing, rewarding, and enjoyable experience.

  • Pasting Area: Full Drill Canvas
  • Diamond Shape: Square / Round Diamond
  • Diamond Material: 100% Safe & Eco-Friendly Resin Diamonds
  • How to Paint with Diamonds: Simply follow the step-by-step guide below
  • Canvas Size: Choose a larger size to guarantee the best result

WHY YOU SHOULD ORDER: You definitely don't want to miss out on:

  • Easy Drawing - Fun and enjoyable for craft lovers of all ages!
  • Relaxing and Joyful - Let the stress melt away as you paint with diamonds!
  • Creative and Educational - Nurture creativity, patience, and focus. Unleash your potential with each dazzling piece.
  • Enhance Relationship - Share the fun of painting with your family or friends. It can help to enhance the relationship between parents and kids, husband and wife, girlfriend and boyfriend when painted together!
  • DIY Home Decor - Create your own wall art. What can be more satisfying than decorating your home with your own art?
  • Perfect Gift - Whether it's for a birthday or Christmas, give them a gift they'll love!
  • Share - Post your own masterpiece on social media and watch LIKES pour in!

sailboat diamond painting

OURĀ KITS INCLUDE EVERYTHING YOU NEED TO GET STARTED!

  • Premium Adhesive Canvas (With poured glue and HD symbols)
  • Color Coded Diamond Drills (Sorted in labeled baggies)
  • Magic Diamond Applicator with Grip (1, 4 and 9 placer heads)
  • Wax Pad (Used to pick up diamonds with the diamond pen)
  • Diamond Tray (Shake lightly to sort your diamonds)
  • Tweezers (Used for precised diamond application)
  • Zip Lock Bags (For diamond storage)
  • Printed Instructions (For more tips and tricks)
  • *Frame not included*

Our_kits_include_everything_you_need_to_get_started

TRUSTED 5-STAR QUALITY:

300,000+ delighted customers & 10,000+ ā­ā­ā­ā­ā­ reviews from our satisfied customers testify to our constancy in committing to provide top-quality diamond painting kitsĀ and outstanding customer service .

FREE WORLDWIDE SHIPPING:

We proudly offer free worldwide shipping . We ship our diamond paintings from state-of-the-art printing facilities located overseas. Please allow 4-20 days for shipping. We manufacture and ship from Asia simply because doing so in the US would elevate costs significantly. We strive to keep our kits affordable while still offering products of the highest quality.

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OUR GUARANTEE: 100% satisfaction guarantee! Love it or your money back!

We stand by our high-quality products and your satisfaction is guaranteed! If you don't have a positive experience for any reason, please contact us and we will do whatever it takes to make sure you are 100% satisfied with your purchase.

We use the worldā€™s most popular and secure payment methods. If you're not 100% satisfied with your purchase, you can return your order for a full refund for up to 60 days from the purchase date .

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Need help with your purchase? Shoot us an email at [email protected] !

Frequently Bought Together

Bright Sailboat Sunset | Diamond Painting

How to Paint with Diamonds

So Easy! You donā€™t have to have any art related skills. Just follow the simple instruction and create magnificent art pieces.

sailboat diamond painting

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David Kordansky Gallery

Martha Diamond

For more than sixty years, Martha Diamond (1944–2023) created paintings and works on paper that capture the essence of the metropolis. Beginning in the late 1960s, Diamond immersed herself in the downtown Manhattan art and poetry communities of the New York School, finding direct inspiration from her lived experiences and from such earlier painters as Willem de Kooning, Franz Kline, and Jackson Pollock. While the city has become her signature motif, her work exhibits a keen sense of exploration, placing her on a trajectory that has taken her far beyond the Manhattan skyline and into the realm of abstraction. Her deft command of her materials produces rich greens and blues, vibrant reds and yellows, rendered in bravura brushstrokes that demonstrate an intuitive understanding of color and light as well as structure and shape. The textures and colors that characterize Diamond’s work—more commonly associated with sweeping landscape vistas—encourage contemplation, meditation, and a deep engagement between viewer and canvas. While Diamond admits to connecting through her art with the outside world, she also responds directly to the materials she works with. “If I express anything, it's how the brush works,” she has said. “Not my emotion.”

In 2024, Colby College Museum of Art in Waterville, Maine and The Aldrich Contemporary Art Museum in Ridgefield, Connecticut co-organized Deep Time , a major exhibition surveying five decades of Martha Diamond’s work. Other solo exhibitions of her work have been held at the New York Studio School (2004); Bowdoin College Museum of Art, Maine (1988); and Portland Museum of Art, Maine (1988), among many others. Diamond has also participated in important group exhibitions, including Beautiful, Vivid, Self-contained (curated by David Salle), Hill Art Foundation, New York (2023); Visionary Painting (2017) (curated by Alex Katz), Colby College Museum of Art , Waterville, Maine; Changing Soil: Contemporary Landscape Painting , Nagoya/Boston Museum of Fine Arts, Nagoya, Japan (2010); Invitational Exhibition of Painting and Sculpture , American Academy of Arts and Letters, New York (2001, 1991, and 1990); Inventing the American Landscape: A Dialogue with the Visual World , North Carolina Museum of Art, Raleigh (1998); Whitney Biennial 1989 (curated by Richard Armstrong, John G. Hanhardt, Richard Marshall, and Lisa Phillips), Whitney Museum of American Art, New York (1989); American Painting Since the Death of Painting (curated by Donald Kuspit and presented in association with the USSR Union of Artists), Kuznetsky Most Exhibition Hall, Moscow (1989); and MetaManhattan , Whitney Museum of American Art, New York (1984). Her work is in the permanent collections of many institutions, including the Art Institute of Chicago; Brooklyn Museum, New York; Colby College Museum of Art, Waterville, Maine; Guggenheim Museum, New York; High Museum of Art, Atlanta; Minneapolis Institute of Art; Museum of Fine Arts, Boston; Museum of Fine Arts, Houston; Museum of Modern Art, New York; National Gallery of Australia, Canberra; North Carolina Museum of Art, Raleigh; and Whitney Museum of American Art, New York. The recipient of an Academy Award for Art from the American Academy of Arts and Letters (2001), Diamond has taught at the Department of Visual and Environmental Studies, Harvard University, Cambridge, Massachusetts, and at the Skowhegan School of Painting and Sculpture, Madison, Maine. For thirty-six years (1982–2018), Diamond served on the Skowhegan School’s Board of Governors.

Featured works

Martha Diamond, New York Purple No. 1, 2000

New York Purple No. 1 , 2000

oil on canvas

96 x 48 inches (243.8 x 121.9 cm)

Martha Diamond, Cityscape with Yellow Sky, 1994

Cityscape with Yellow Sky , 1994

Martha Diamond, Cityscape with Indian Yellow, 1994

Cityscape with Indian Yellow , 1994

oil on canvas 96 x 48 inches (243.8 x 121.9 cm)

Martha Diamond, Water No. 2, 1993

Water No. 2 , 1993

oil on linen

48 x 96 inches (121.9 x 243.8 cm)

Martha Diamond, Untitled, 1992

Untitled , 1992

water-soluble ink on Japanese paper

23 1/2 x 18 inches (59.7 x 45.7 cm)

Martha Diamond, Bone Fire, 1991

Bone Fire , 1991

96 1/8 x 48 inches (244.2 x 121.9 cm)

Martha Diamond, Contracts/Jigsaw, 1991

Contracts/Jigsaw , 1991

72 x 60 inches (182.9 x 152.4 cm)

Martha Diamond, Yellow Sky, 1986

Yellow Sky , 1986

96 x 120 x 1 1/2 inches (243.8 x 304.8 x 3.8 cm) framed: 97 x 121 x 2 inches (246.4 x 307.3 x 5.1 cm)

Martha Diamond, Wind, 1986

Wind , 1986

108 x 72 inches (274.3 x 182.9 cm)

 , Martha Diamond

Towers , 1986

60 x 48 x 1 1/4 inches (152.4 x 121.9 x 3.2 cm) framed: 61 x 49 x 2 inches (154.9 x 124.5 x 5.1 cm)

Martha Diamond, Hudson Group (Detail), c. 1982

Hudson Group (Detail) , c. 1982

36 1/8 x 36 x 1 1/8 inches (91.8 x 91.4 x 2.9 cm) framed: 36 3/4 x 36 5/8 x 2 inches (93.3 x 93 x 5.1 cm)

Martha Diamond, Study for High-C, 1982

Study for High-C , 1982

oil on board

21 1/4 x 14 3/8 x 1/8 inches (54 x 36.5 x 0.3 cm) framed: 26 7/8 x 20 x 2 inches (68.3 x 50.6 x 5.1 cm)

Exhibitions

Martha Diamond

Los Angeles

Selected Public Exhibitions

Publications.

Martha Diamond

David Rhodes

Peter Schjeldahl

Michael Kimmelman

Bill Berkson

Edmund Leites

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  • History Of A Painting Barge...

History of a Painting: 'Barge Haulers at Volga' by Ilya Repin

Barge Haulers on the Volga by Ilya Repin (1872-1873)

Barge Haulers at Volga by Ilya Repin is one of the most controversial, yet iconic paintings in Russian art history. Depicting the hard labour that barge haulers suffered, the painting is highly emotional, showing all the different characteristics and personalities of the people that were made to do such work, as well as expressing a social critic towards the phenomenon. We wanted to learn more about this incredible artwork, so we took a closer look.

Repinā€™s Barge Haulers at Volga is one of his early paintings; the artist was still studying at the Fine Art Academy after he completed it. At that time, Repin mostly worked on religious paintings based on Biblical passages, so his sudden shift to realism was unexpected.

In the 1860s, as a part of his plain air preparatory work for a painting about Iov, Repin took a short trip to Ust-Izhora, a small town near St Petersburg. Soon the artist noticed a group of barge haulers at work. The contrast of poor, hard-working people breaking their backs against the flourishing and rich upper class made a strong impact on Repin. Right away he created the first watercolor draft of the painting. The composition of this first draft was too vague and didnā€™t express well all the emotions that Repin wanted to show, so the artist took a trip to the Volga river to learn more about the lives of barge haulers. There he continued working on each character and the composition of the future masterpiece.

Barge Haulers on the Volga by Ilya Repin (1872-1873)

Repin stayed in the town of Samara , located on the Volga river, for the whole summer, getting acquainted with the everyday life of barge haulers, speaking with them and getting to know them. One person Repin became familiar with was barge hauler Kanin, who used to be a monk, but left the monastery. Kanin is one of the central figures in the painting.

The composition of the painting was created in such a way that the viewer feels like the group of barge haulers is moving towards the frame of the painting, as if they are trying to step outside of the canvas. Each barge hauler has a different expression based on the real life impressions Repin gathered during the months he spent on the Volga. On the far right of the painting we see a ship, which is Repinā€™s symbol of progress that would eventually replace barge haulers with machines. The painting in its entirety was a critique on the social issues of the nineteenth century.

The painting was first shown to the public in 1873 in St Petersburg at an exhibition that would eventually go to Vienna for the World Exhibition event. The reaction of the public was controversial: academic painters reacted negatively, criticizing the painting. Other artists, writers and poets praised the work, among them Nikolai Gogol and Fyodor Dostoevsky. At the World Exhibition in Vienna the reactions remained controversial, although the painting was bought by duke Vladimir Alexandrovich. Currently Barge Haulers on the Volga is on display at the Russian Museum in St Petersburg .

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Saint Basil's Cathedral - Russia

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  • Description
  • Whats Inside

A sparkling beautiful diamond painting will both adorn your wall and bring out your best artistic ability. When you put this together with your own hands and put your time and attention to detail into creating this masterpiece, it is likely to be close to your heart for a long time- or even forever. You can choose this theme or many others and let your artistic flair thrive, or gift it to someone special.

All of our Kits are "Full Drill" . All of our kits include essential high quality tools for diamond painting, BETTER tools than other vendors.Ā 

Diamond Art is a very unique form of image creation and often leaves the viewer awestruck. Prepare to awe and inspire with this gorgeous diamond painting kit!

paint by diamonds Art offer a warranty and will last you a long time. However, we understand that accidents happen and we don't want our customers to ever be sad, so we offer free accidental insurance .

Premium Tool Set for Diamond Painting:

  • 1. Self Adhesive Canvas
  • 2. Diamond Applicator Pen
  • 3. A set of Tweezers
  • 4. A Tray to sort Diamonds
  • 6. Labeled bags of diamonds

premium diamond painting tools

Shipping times:

United States 14-24 days
Australia 15-25 days
Canada 15-25 days
United Kingdom 15-25 days
Finland, Sweden, Norway 12-25 days
France, Netherlands 10-25 days
Rest of the World

12-35 days

Factors such as logistics and delays at customs may impact delivery time.

If you don't receive your order (excluding custom prints) in 45 days, Please contact us.

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Customer Reviews

This is a wonderful, high quality kit and I will be returning for many more in the future. Highly recommend this item and this company. Tracking service is excellent as well! Received my item in about 30 days.

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sailboat diamond painting

Sailboat On The Water

Ā© Caleb Smith. All Rights Reserved.

Create, Relax, and Unwind with a Stunning Masterpiece!

Escape into a world of vibrant colors and creative tranquility with the ā€˜Sailboat On The Waterā€™ Diamond Painting Kit. This exclusive full-drill design by artist Caleb Smith is available only at Paint With Diamonds. Let your mind unwind as you piece together shimmering diamonds to create a beautiful masterpiece.

Why You'll Love It:Ā 

Premium Quality Diamond Painting Kit : Includes a velvety-soft adhesive canvas, eco-friendly shimmering resin diamonds, and a premium toolkit - everything you ned to get started on your next masterpiece.

Hand-Poured Canvas Adhesive:Ā  Guaranteed to keep your diamonds securely in place for life, so your artwork will last for years to come.Ā 

Crystal-Clear Symbols: Printed in ultra high-resolution using PrecisionDot Screening Technology, ensuring every symbol is easy to use.

Officially Licensed Artwork : Support talented artists like Caleb Smith. With every purchase, you can feel good knowing the original artist is fairly compensated.

Oh Sh*t Insurance With Every Order : Life gets messy, but we're here to help. With FREE "Oh Sh*t Insurance." we'll replace your canvas or diamonds at no extra cost - whether it's a pet mishap or spill, we've got your back!

SHIPS FROM USA : Please allow 2-5 business days for delivery. Shipping timeframes not guaranteed. See full Shipping Policy .

SHIPS FROM CHINA : Please allow 12-30 business days for delivery. Shipping timeframes not guaranteed. Additional customs fees and duties may apply to EU customers. See full Shipping Policy .

Ready to relax and create something beautiful? Add the 'Sailboat On The Water Diamond Painting Kit to your cart today and start your journey to creative calm.

sailboat diamond painting

What's In Your Diamond Painting Kit?

Each Diamond Art Kit comes with everything you need toĀ  get started !

ā€¢ 1x stay-flat adhesiveĀ canvas featuring DMC color-coded pattern

ā€¢ 1x set of shimmering resin diamonds packaged conveniently in resealable baggies

ā€¢ 1x double-sided Diamond Pen tool with 3- and 5-diamond multiplayer attachments

ā€¢ 1x wax pad used to pick up diamonds

ā€¢ 1x grooved diamond tray (shake lightly to sort your diamonds)

ā€¢ Reference sheet with canvas legend

ā€¢ English printed instructions

Please note that smaller kits may be shipped in padded envelopes. Storage box not included (just baggies).

How To Paint With Diamonds

sailboat diamond painting

Pour diamonds onto tray & shake lightly. Apply a bit of wax to tip of pen.

sailboat diamond painting

Reference the canvas legend to match each diamond color to its square.

sailboat diamond painting

Apply diamonds to entire canvas. Once finished, apply weight to lock in diamonds.

Why Choose Paint With DiamondsĀ®?

sailboat diamond painting

Trusted 5-Star Reputation

Paint With DiamondsĀ® is a US-based company with over 500,000 customers and 10,000 5-Star reviews. We stand by our Diamond Painting Kits!

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Dog walk on your canvas? Kids turn your diamonds into confetti? We'll replace your kit for free. Never cry over spilled diamonds.

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For earlier styles of in Russia, please see our article on the (1100-1500). For later painting styles from the 17th century, see: (1686-1725) in St Petersburg, under Tsar Peter the Great. This introduced , dominated by religious murals and portraiture. After this, the modern school emerged: please see .

by ,
an early master of the Muscovite School.

Introduction

, the centre of gravity of shifted to Novgorod (as well as Yaroslavl, Vladimir-Suzdal, Pskov and Tver) before settling in Moscow. By the sixteenth century, the great interest the Muscovites took in mundane affairs loosened the ties which had so far knit the Russian people and church into a single entity. Religion still stood at the basis of Muscovite life, but henceforth both the Crown and the people tended to react to events differently from the clerics, and although all remained for the time unconscious of the split, the effect of the layman's more worldly outlook can be clearly perceived in the decreased religious intensity of Muscovite . The appearance in Moscow of large numbers of Western religious etchings likewise had an important impact on icon-painters, increasing their doubts as to the need for the severe limitations which the old iconographic tradition imposed upon their .

the Moscow school, see: , Founder of Novgorodian school; , noted for the (c.1416); and other (1100-1400).


For details of art movements
and styles, see: .
For a basic chronology, see:
.
For a quick guide to individual
styles, see: .

 

Muscovite Icon Painting

. It is tempting to ascribe Viscovati's intervention to professional jealousy, aggravated by a warped and prejudiced mind somewhat akin to that of John Knox, the Scottish Reformation preacher. Whatever his reason, Viscovati criticized the panels of produced by his contemporaries on religious grounds, claiming that they deviated from iconographic tradition. He demanded that the second Stoglav council be summoned to sit with Silvester, Ivan IV's favourite cleric, to examine the icons from an ethical standpoint. Compliance with this request introduced official, as distinct from traditional, control over icon-painters, who were henceforth expected to adhere to the authorized versions of religious scenes as recorded in the ancient manuals called " " (Authentic versions).

 

at thus having to exchange deference to traditional opinion for obedience to rigid ecclesiastical legislation turned to annoyance when they found that the very clerics who were most thorough in enforcing adherence to the "Podliniki" did not object to the newly introduced art of portraiture (that is, non-religious known as ), and that even the patriarch , though he was bitterly opposed to the naturalism of Western and continually confiscated and burnt examples of Western religious painting, nevertheless more than once sat for his portrait.

by Ivan IV, nicknamed the Terrible (1533-1584). The finest Muscovite paintings, illuminations and metalwork were created by the artists employed there, many of whom were greatly attracted by Western naturalism. Nevertheless, these artists succeeded in producing sufficient icons of quality during the later half of the sixteenth and the first quarter of the seventeenth centuries to constitute a distinctive and highly creditable school of Muscovite icon-painting.

Characteristics of Muscovite Icons

- typically executed in rather than the older paint, or more modern oils - are easily recognizable by the profusion of detail in their exceedingly decorative backgrounds. The abundance of architectural features is especially characteristic, as well as the fact that these buildings reproduce contemporary architectural trends instead of imaginary outlines. On the other hand, such non-Russian features as, for instance, mountains, are handled purely decoratively instead of either naturalistically or in the traditional manner. The saints have the round faces of Muscovites, but the colours of their robes, though still pleasing, cannot compare with the magnificent vitality of the schemes used by the , and tend to be dull and metallic. Broadly speaking, the full extent of Moscow's colour palette ranges from blood-reds and yellows to browns, with black shadows.

Stroganov Workshop, Solvychegodsk

were talented amateur icon-painters, and both were men of very great taste. It fell to them to furnish the incentive which inspired the final great spurt in Russian icon-painting. The brothers were great admirers of , and the artists they employed probably derived their sense of style and colour, their love of white highlights, and the elegant elongation of their figures from a study of Novgorodian work. The workshop's output soon attracted widespread notice and admiration, for in their day no finer icons were produced in Russia. Nevertheless the connoisseurship which inspired them places these icons in a class of their own, for although the Stroganov painters approached their tasks with a devout spirit, their sophistication and their preoccupation with asthetics left no room for the intense religious fervour which was as essential for the production of a truly fine icon as was first-rate workmanship. Technical skill is the prime appeal made by the Stroganov icons; to be appreciated they have to be examined closely, like a Persian miniature. In their mass of tiny detail they are akin to the medieval of Western Europe, yet they lack the directness of such miniatures, and can perhaps be more aptly compared to the detail in the work of pre-Raphaelite painters.

. Although Chirin is the school's acknowledged master, does not fall far short of him. The latter's icon of is a superb piece of precise painting. A close examination of its elaborate background - which can stand the test of enlargement to any size - reveals a scene as fascinating in its way as any created by the Netherlandish painter Hieronymus Bosch.

which they produced in 1580 for Solvychegodsk Cathedral. As a result of this, many of the workshop's artists were summoned to Moscow to work for the Tsar, notably , , , , and the brothers Nicephorus and and , to name but a few. Many of them were honoured with the title of "Royal Icon Painters", one usually conferred only upon the Palace of Arms artists.

Patronage of the Tsars

(1551-1605) fully appreciated the decorative quality of the Stroganov artists' work, and in 1591 he employed Nazarius Savin, Procopius Chirin and John Parseni to decorate his bedroom and dining-room at Kolomenskoe with secular scenes. It is much to be regretted that no record of this work survives, for Russian art is thus the poorer by the loss of some of its earliest, and probably its most successful secular paintings. Both Boris Godunov and his son Fedor were great picture lovers, valuing them on aesthetic grounds, and not only because of their content, and it was they who arranged for the Palace of Facets to be decorated by the Palace of Arms painters. It is again much to be deplored that these paintings have also perished; all that is known about them is that their subject-matter ranged from the biblical to the allegorical, and included scenes from Russian history.

, both Boris and Fedor encouraged . Portraits were by no means unknown to medieval Russia, for as early as the twelfth century figures of donors occasionally appeared in Novgorodian frescoes. On the whole, however, they were considered profane, and although Sophia Paleologus had sent her prospective husband her likeness, was the first Tsar to be enthralled by portraiture. He, however, satisfied his interest by indirect means rather than by patronage - that is to say, by collecting around him the portraits of the various European royalties whom he toyed with the idea of marrying, and it was left to Godunov to be the first royal sponsor of portraiture in Moscow.

(1645-1676), portraiture became customary, but the Russian painters could not break free from the old tradition, and their renderings of likenesses still savoured strongly of the iconographic. A desire for complete was, however, growing, and, as a result, towards the middle of the seventeenth century a number of foreigners were enrolled in the Palace of Arms studios. The most distinguished among these was the gifted German, , who trained the two foremost Russian painters of the period, and . A Polish charlatan was also employed, who succeeded in bamboozling Moscow for a time, The promising youths, and , had the ill luck to be apprenticed to him. The Dutchman, Daniel Vuchters, Hans Waiter of Hamburg, the decorative artist, Peter Engels, the Swedish perspective painter, Gul, and G. E. Grube of Hamburg, were the more notable westerners who taught in Moscow between the years 1667 and 1694. Simultaneously the Palace of Arms workshops maintained touch with by employing as teachers a renegade Arab calling himself Sasha Yakovlev, an Armenian called Saltanov and two Greeks, who were known by the names of Yuriev and Salomoriov.

Simon Ushakov and Naturalism in Russian Painting

But none of these teachers exercised anything like the same influence as the etchings which were percolating into Moscow from Western Europe. The most important of these appeared in , published in Amsterdam in 1650, It was illustrated by nearly three hundred copied by Piscator, alias , from the works of Western artists. The woodcuts disclosed a new world to the Muscovites, revealing the full power of naturalistic painting, and their influence is apparent in the work of more than one painter.

(1626-1686) was the most outstanding of the painters thus affected. He was obviously fascinated by Western , for he was tempted to try his hand at producing naturalistic illustrations to the Scriptures. His achievements in this sphere were thoroughly successful; were they better known Ushakov would certainly be numbered among Europe's great draughtsmen. His fine woodcut depicting is full of the vigour and conviction which are unfortunately lacking in his icons. Yet Ushakov is mainly known for his icons, which have always been greatly admired in Russia. Indeed, his contemporaries had so high a regard for his genius that Ushakov had the signal honour of being appointed "Court Painter" at the unusually early age of twenty-one. This unfortunately meant that he had to devote a good deal of time to icon-painting. His icon of the (1652); his (1657) and his (1659), though ranking as his best icons, are marred by excessive humanism and sentimentality, and suggest that Ushakov was too preoccupied with naturalism to be able to devote himself heart and soul to icon-painting. Though his panels are strictly iconographic yet they prove Ushakov to have been an icon-painter of compromise, and this very ability to compromise resulted in his icons serving as models of perfection from the turn of the seventeenth century to as late as the middle of the nineteenth.

The earliest surviving piece of Russian writing on indicates that Ushakov's shortcomings as an icon-painter were not caused by incompetence or insincerity, but were due to his sympathy for Western naturalism. This important document was written by an icon-painter called Joseph, and dedicated by him to Ushakov in memory of their many talks on art matters. Joseph wrote as a passionate advocate of Western religious art, attacking the retrograde clergy for killing the inspiration of creative artists whilst encouraging hack painters. "Would you lay down," he hotly inquired of them, "that only Russians be permitted to paint religious pictures and that the Russian icon is alone to be venerated, whilst Western ones be spurned and never used for worship? Know then that in foreign lands not only are Christ and the Virgin depicted realistically, but that their features are cleverly reproduced on sheets of paper, and whenever we icon-painters see either printed or skilfully painted likenesses of Christ or the Virgin whether in the possession of foreigners or of our own people, our eyes are filled with exceeding love and happiness, nor are we inflamed with jealousy, nor do we revile the foreigners because we see them in possession of well painted religious pictures. On the contrary we esteem such blessed objects above all worldly chattels, and we lovingly either purchase them or beg for them as gifts of inestimable value, and we receive Christ's image with veneration, and kiss it lovingly. Whence comes it then that we are now instructed to represent all saintly faces as swarthy and sombre? Is it that the human race is cast in a single mould? Were all saints dusky and haggard looking?" Joseph proceeded to plead for permission to depict saints as physically beautiful, and reminded the clerics that God referred to "the good as fair and comely, the evil as dark, bloody and emaciated", and recalled that when Moses descended from Sinai afier hearing God's words "none could look upon him, such was the radiance of his countenance".

Although we do not how how Ushakov reacted to this appeal, his superb woodcuts shows that he was in sympathy with many of Joseph's views, and there are suggestions that he welcomed every opportunity to work on anything but icons. He appears to have spent a good deal of his time designing gold-and-enamel church vessels in the Palace of Arms metal workshops, and he is also known to have decorated firearms, and drawn maps and plans. Certain contemporaries refer to his paintings on paper, but give no information about their subjects or style, so Ushakov's reputation as an artist rests today on his panels, frescoes and woodcuts.

Church Mural Paintings: Yaroslavl and Kostroma

was hurried, and the result is often rough and unpolished, but it is at the same time so individual and so attractive that this murale murals cannot be dismissed as worthless. The best of the Moscow style of is blended in them with the new conceptions evoked by Piscator's woodcuts, and this result is dominated by the superb feeling for colour and decoration and the innate sense of spacing and presentation so characteristic of the work of Yaroslavl, to be seen alike in the toys, embroideries, and painting produced in that centre. Like the earlier Muscovite icons, these wall-paintings abound in elaborate architectural backgrounds featuring buildings in the Muscovite style, The saints have round, central-Russian faces, and their robes as well as the backgrounds are brilliantly and gaily coloured.

is an indication of the interest which Russia as a whole, the provinces no less than Moscow, took in both (c.1400-1490) and (c.1490-1530). But although the Yaroslavl and Kostroma painters drew their material from Piscator, it never occurred to them to reproduce his woodcuts in their original form, for none of them was a servile copyist. All automatically transposed Piscator's scenes into essentially Russian compositions painted in a style which reveals a surprising kinship with the designs produced today in the papier mache workshops sponsored by the Soviet Government. If space were available it would be interesting to discuss this unexpected resemblance between the seventeenth century's Byzantine-esque interpretations of Western religious art and the twentieth century's secular scenes produced by the last surviving community of hereditary icon-painters. All we can do here, however, is to draw attention to the resemblance. It is, for example, clearly evident in a wall-painting from 1691 of in the church of St. John the forerunner in Yaroslavl, which is derived from Piscator's rendering of an by Bonse, dated to 1608. The similarity is still more marked in a scene from the life of Elisha dated to 1681 in the church of the prophet Elijah at Yaroslavl. Piscator's woodcut, dated to 1640, was based on Martin de Foss's life of Elisha. The Yaroslavl version differs markedly from Piscator's, but its grouping and colouring, especially the juxtaposition of the brilliantly yellow corn, the intensely blue sky and the bright pink and red blouses of the reapers, might have been produced by a modern Palekh artist illustrating Pushkin.

in Russia, notably the Novgorod Arts Museum and the , Moscow.

 

.
• For information about Muscovite painting and sculpture, see: .

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