Evgeny Lushpin Canvas Art Prints

Evgeny Lushpin - Canvas Prints

Evgeny Lushpin is a celebrated contemporary artist whose work graces private collections throughout the United States, Russia and beyond. His inspiring paintings of still life and landscape reflect a complex rendering of texture, illusionistic light and an intricate attention to detail. Skillfully mastering the complex technique of texture painting with glimmering, lustrous or reflective surfaces, Lushpin created a series of photorealistic landscapes that at first glance are often mistaken for large color photographs.

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Rooftop Hideout Canvas Art Print - Evgeny Lushpin

Rooftop Hideout

Cable Car Heaven Canvas Art Print - Evgeny Lushpin

Cable Car Heaven

Paris Evening Canvas Art Print - Evgeny Lushpin

Paris Evening

Dream For Two Canvas Art Print - Evgeny Lushpin

Dream For Two

Tranquility Canvas Art Print - Evgeny Lushpin

Tranquility

Night Symphony Canvas Art Print - Evgeny Lushpin

Night Symphony

Light Canyon Canvas Art Print - Evgeny Lushpin

Light Canyon

Evening Journey Canvas Art Print - Evgeny Lushpin

Evening Journey

Montmartre Spring Canvas Art Print - Evgeny Lushpin

Montmartre Spring

Silent Evening Canvas Art Print - Evgeny Lushpin

Silent Evening

Evening in Annecy Canvas Art Print - Evgeny Lushpin

Evening in Annecy

Do You Remember Canvas Art Print - Evgeny Lushpin

Do You Remember

Placidity Canvas Art Print - Evgeny Lushpin

Dawn At Lake Tahoe

Winter Wonderland Canvas Art Print - Evgeny Lushpin

Winter Wonderland

Twilight Reflections Canvas Art Print - Evgeny Lushpin

Twilight Reflections

Autumns Aura Canvas Art Print - Evgeny Lushpin

Autumns Aura

Golden Moment Canvas Art Print - Evgeny Lushpin

Golden Moment

Canal Life Canvas Art Print - Evgeny Lushpin

Coming Home For Christmas

Our Secret Meeting Place Canvas Art Print - Evgeny Lushpin

Our Secret Meeting Place

Old Pond Canvas Art Print - Evgeny Lushpin

Love Is In The Air

Vermont Farm Canvas Art Print - Evgeny Lushpin

Vermont Farm

The Venice of the North Canvas Art Print - Evgeny Lushpin

The Venice of the North

Twilight in Krumlov Canvas Art Print - Evgeny Lushpin

Twilight in Krumlov

Seven Sisters Canvas Art Print - Evgeny Lushpin

Seven Sisters

Autumn In Brugges Canvas Art Print - Evgeny Lushpin

Autumn In Brugges

Tahoe Serenity Canvas Art Print - Evgeny Lushpin

Tahoe Serenity

Night Dream Canvas Art Print - Evgeny Lushpin

Night Dream

Evening Teatime Canvas Art Print - Evgeny Lushpin

Evening Teatime

Still Waiting Canvas Art Print - Evgeny Lushpin

Still Waiting

Xitang Melody Canvas Art Print - Evgeny Lushpin

Xitang Melody

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From Our 3rd Issue – Places of Inspiration: The Art of Evgeny Lushpin

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P ainter Evgeny Lushpin was born outside of Moscow, Russia in 1966. Inspired by the work of classic Dutch painters such as Johannes Vermeer, and the work of masters Michelangelo Buonarroti and Leonardo Da Vinci, Lushpin attended some of Russia’s finest schools of art, including Moskovskiy Gorodskoy Pedagogicheskiy Universitet (MGPU) and Moscow State University of Arts. 

Lushpin’s favorite style of painting is landscapes, and he excels at visualizing and expressing realism in his artwork. “I see a secret, a hidden harmony without objects blocking it from my view,” Lushpin tells us. Details in his paintings such as snow, fog, and sunlight are stroked to perfection, bringing his work to vivid reality. “I believe I bring a unique level of detail into my work with my capacity to ‘catch’ colors. I have feelings I can interpret and transfer to canvas and show to others in a way they will feel it. It’s imperative that I feel a connection with the scenery or landscape so that I can bring those feelings to life in my paintings.”

Guild_Magazine_Evgeny_Lushpin_Art_Painting_Russia_Monmartre Spring

When he is creating, Lushpin describes his state of mind as disconnected from reality. “I’m sinking into a painting until I lose my connection to the real world. I live inside this painting. I live in the image until I successfully transform my vision on canvas for people to enjoy. It’s a different state of mind with each painting, but I always completely immerse myself into the time, place, and subject of my art.”

As mentioned, while starting his career, Lushpin was inspired by the great masters. Today, he is inspired and influenced by everything in his surroundings. He adds, “The entire world inspires me – any moment and any place. I discover hidden harmony and fall in love with what I’m seeing. I want people to see what I see with their eyes, and to feel with their souls when they look at my paintings.” Moreover, what does Lushpin feel brings him the most pride in his work? “All my paintings give me pride and satisfaction. They are like my children. I love them all. Even if some are different, as if they were children, I accept them all as they are.”

​ As a featured artist in our Travel Issue, we asked Lushpin which places he would like to travel to next to draw inspiration for his paintings. He has a few places in mind: “Canada, for its nature – lakes, creeks, and forests. There is Chefchaouen in Morocco for I am in love with its blue streetscapes; and, also Portugal, with its old trams going up the Lisbon hills.”  – GM

www.jimmywalsh.com.au

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GUILD MAGAZINE - THE TRAVEL ISSUE

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Evening Journey Oil Painting - Alexander Nasmyth

Evening Journey

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Discover the allure of art with our faithful reproduction of "Evening Journey", originally brought to life by the talented Alexander Nasmyth. Unlike posters or prints, our hand-painted oil painting breathes an unique sense of depth and texture into your space. Every detail, every stroke, and every texture is meticulously recreated, paying the perfect homage to Alexander Nasmyth and his artistic vision.

Owning this piece is more than just decoration - it's a statement of your refined taste in art. Let the vibrant colors and intricate details of this replica serve as a daily reminder of the beauty in our world. Elevate your decor and appreciate the richness of art with our replica of this masterpiece.

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Culture | Exhibitions

Capturing the Moment: a Journey Through Painting and Photography at Tate Modern - all killer, no filler

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Absolute bangers abound in Tate Modern ’s latest show. In the show’s biggest room, with Marlene Dumas, Peter Doig and Luc Tuymans close by, is arguably David Hockney ’s best painting, Portrait of an Artist (Pool with Two Figures), made in 1972. You surely know it: a depiction of his lover Peter Schlesinger looking down into a pool in which a man breaststrokes beneath the surface, with verdant French hills behind.

It’s the great summation of his Sixties and Seventies obsessions: pools and bathers, enigmatic double portraits, queer desire and longing, sardonic riffs on abstraction.

The split composition is daring: chlorine up close, chlorophyll beyond. The painting is also a marvellous exposition of the mechanics of its medium, from the glistering highlights on the stylised ripples in the pool, the subtly modulated colouring on the poolside tiles, and the inspired painterly shorthand for trees and mountains in the landscape.

Its significance in this show is its deep relationship with photography. Hockney conceived of the scene through a serendiptious spotting of a pair of unrelated photographs on the studio floor, which gave him the idea of the standing figure looking down on the swimmer. In the complex process of making the painting, he took hundreds of photographs that he then used in the two-week burst of activity that brought the painting to its completion.

evening journey painting

I was expecting much more from Hockney in this show. He’s spent decades expounding on his theories of the relationship between the camera and the brush, the human eye and the photographic lens (including some controversial statements about the limits of photography), so a show exploring what it calls “the dynamic relationship” between the two disciplines would seem an ideal stage on which to explore this in depth.

But Capturing the Moment is emphatically not that kind of show. I imagined something exhaustive and exhausting; the kind of dense, comprehensive survey that has defined Tate Modern’s programme – dozens of rooms, a 500-page catalogue, a whole world of theory about mediated images and mechanical eyes. But while the show begins with a great Susan Sontag quote – “The painter constructs, the photographer discloses” – it’s largely pretty lightweight intellectually, with no catalogue, and a meandering thematic structure.

And while at the core of the show are a couple of rooms where photography is centre stage – including marvellous, vast pieces by Jeff Wall, key figures in the Düsseldorf School, Andreas Gursky, Thomas Struth and Candida Höfer, and the cool calm of Hiroshi Sugimoto’s seascapes – it’s mostly a show about painting that relates to photography. But even then, it doesn’t really analyse how. You could say it has a blurry focus.

evening journey painting

This is in part because it’s effectively an introduction to a private collection, that belonging to the YAGEO Foundation, founded by the collector Pierre Chen, who runs an electronic components company in Taiwan. Chen must have deep pockets – the Hockney was briefly the most expensive artwork by a living artist when it sold for more than $90m at Christie’s in 2018 – and he’s assembled a collection that’s clearly rich in both photography and painting. So it doesn’t take a huge leap of the imagination to picture how they arrived at the shape of this exhibition, which accompanies the YAGEO holdings with works from Tate’s collection.

What it lacks in intellectual rigour, though, it makes up for in stonkingly great works. Early on, there’s a rare pairing of photograph and painting of the kind I wish we could see more often – two images of mid-century humanitarian turmoil, which aptly illustrate Sontag’s maxim. Picasso’s Weeping Woman (1937), that devastating picture evoking the tragedy of the Spanish Civil War, turns to face Dorothea Lange’s defining image of the Great Depression, made a year before Picasso’s painting, Migrant Mother, Nipomo, California.

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In both images, the woman’s hand is raised to her face, but Picasso can use the fractured forms of his post-cubist language to capture a shattering grief, while Lange had to find a precise moment in which to convey a similar depth of emotion. This pairing perhaps conveys a second meaning in the exhibition’s title most effectively – that of the different ways in which painting and photography represent the times in which they were made.

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Similarly mournful is Lucian Freud’s portrait of his mother nearby, one of 18 he made of her following his father’s death, and among his most moving works. Freud, ever a painter from life, is one of the more unfathomable inclusions in the show – one senses he’s here to support his old mate Francis Bacon, whose work is one of the most remarkable explorations of how paint can respond to the photographic image. Bacon’s portrait triptych of Freud from YAGEO’s collection here is a marker of what he called the “violence” he did to his sitters, using photographs – Freud’s face is all sinew and bruised flesh amid a blood-red ground.

There are marvellously productive conversations between painters all through the show: Bacon opposite Marwan, the Syrian painter, whose painting of the writer Bader Chaker al Sayyab pictures the poet’s head with a slab of meat above it, seemingly about to crush it. Opposite the Hockney there’s a fantastic wall of British and US pop art using photographs – Pauline Boty’s wry comment on pin-ups in which the writer and artist Derek Marlowe sits cheerily beneath four bluntly severed portraits of Marilyn-esque women; a magnificent Robert Rauschenberg silkscreen painting, Almanac (1962); and a thrillingly austere Andy Warhol Brando painting. Two artists that could have commanded entire exhibitions with their relentless interrogation of the photographic image, Gerhard Richter and Wilhelm Sasnal, share a transcendent space.

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A compelling subplot is Tate showing off its great collection of contemporary painters. Works by Michael Armitage, Lisa Brice, Christina Quarles, Laura Owens and Njideka Akunyili Crosby, among others – all acquired in the past decade – show how productively and distinctively artists are grappling with the photograph and the screen.

Tate should, at some point, do the great scholarly painting-meets-photography show I expected. If you want real insight into the tension between these two disciplines, you won’t get it here. But you will see dozens of out-and-out bangers, and that’s enough for now.

Tate Modern, to January 29, 2024; tate.org.uk

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12 Famous Night Paintings and Why They Work

Let’s take a look at some of my favorite night paintings and why they work. I’ll also provide some tips for painting the night at the end.

Aert van der Neer, Moonlit Landscape With Bridge

Aert van der neer, night landscape with a river, vincent van gogh, starry night over the rhône, lesser ury, in front of the cafe (berlin at night), john atkinson grimshaw, nightfall on the thames, john atkinson grimshaw, evening on the pier, jean-françois millet, starry night, joseph mallord william turner, fishermen at sea, ivan aivazovsky, stormy sea at night, george inness, watching the sun glow, george henry, river landscape by moonlight, childe hassam, rainy midnight, what these paintings have in common, tips for painting the night, additional resources, want to learn more, thanks for reading.

What a stunning depiction of moonlight. Van der Neer contrasted brilliant highlights against stygian blacks. The moonlight gently outlines the objects in the foreground. The moon’s reflection in the water is framed by the arch of the bridge. And if you look closely, you’ll see a few people on the path, perhaps taking a night stroll.

Aert van der Neer, Moonlit Landscape With Bridge, c.1640

Here’s another example by van der Neer. He used more color here, with rich blues and tinted yellows. The sky has a wonderful sense of movement and drama about it and the foreground is busy with trees , glimmering water, and a herd of cows. Notice how light determines where our attention is drawn in the painting.

Aert van der Neer, Night Landscape With a River, c.1700

“For my part, I know nothing with any certainty, but the sight of the stars makes me dream.” Vincent van Gogh

Van Gogh had a unique approach to painting the night. He relied more so on emotion than observation. Instead of blacks and grays, he used a patchwork of vibrant blues and yellows.

Vincent van Gogh, Starry Night Over the Rhône, 1888

Ury painted many street-lit night scenes. In Front of the Cafe (Berlin at Night) is a play between the bright, bustling cafe and the dark, ambiguous street. You can really feel the warmth of the cafe lights. This is the power of color contrast. The right colors in the right spots can do remarkable things.

Lesser Ury, In Front of the Cafe (Berlin at Night), c.1920

Nightfall on the Thames has a quiet and peaceful feel to it. It reminds me of an early morning fishing trip, with not a person in sight and only the gentle sound of water lapping the shore.

John Atkinson Grimshaw, Nightfall on the Thames, 1880

I love the color theme in  Evening on the Pier . Pale green light radiates from the top right corner. Warm orange light illuminates the busy street. Silhouettes of people, horses, carriages, boats, and buildings act as dark accents.

John Atkinson Grimshaw, Evening on the Pier

In Millet’s Starry Night , the foreground is almost completely lost in darkness, allowing us to focus on the stars in the sky (including a few shooting stars). Compare this painting to van Gogh’s interpretation of the starry night shown earlier . The great thing about art is that we can look at the same subject and come up with widely different interpretations.

Jean-François Millet, Starry Night, c.1850

Fisherman at Sea is a dramatic painting. Turner pushed the value contrast, rather than his typical vague and whispy ambiance. Sharp contrast like this is known as chiaroscuro . You’ll see it used in many Renaissance paintings. The use of light focuses our attention on the drama in the ocean and the brilliant sky. And the scale of the painting makes the boat appear futile against nature’s raw and effortless power.

J.M.W Turner, Fishermen at Sea, 1796

Aivazovsky painted in a similar way to Turner’s painting, with dramatic contrast and strong focal points. In Stormy Sea at Night , yellow moonlight illuminates the scene and defines the contours and movement of the sea. Notice how the blues are restrained. Under yellow light, vivid blue cannot exist. If you shine a yellow light on a blue object, the object will appear black.

Ivan Aivazovsky, Stormy Sea at Night, 1849

George Inness’ style suited the night. He and the Tonalists focused almost entirely on capturing scenes of moody atmosphere and wispy light. The light in this case is conveyed with relatively dark colors, but it still looks like light due to the dark surroundings. Remember, painting is relative.

George Inness, Watching the Sun Glow, 1887

This is one of my favorite paintings. I’ve featured it in several other posts, so you might recognize it. It’s a simple painting done well. Henry pushed the color, with rich purples and blues contrasted against the vivid yellows and oranges. It’s not easy to get away with this much color!

George Henry, River Landscape by Moonlight, 1887

Rainy Midnight features a surprisingly light color theme. Instead of using dark colors to represent the night, Hassam used fleeting brushwork , muted colors, and soft contrast. He also used the street lights to make the surroundings appear darker by comparison.

Childe Hassam, Rainy Midnight, 1890

Most of these paintings have three things in common:

  • Strong value contrast (brilliant lights against stygian darks).
  • Ambigiouty, particularly in the darks.
  • Muted colors, with the exception of Vincent van Gogh and George Henry.
  • Night scenes are tricky in terms of logistics. Painting on location is a challenge as there’s no way to clearly see the subject, your paints, and your painting under the same light. And photos are not that effective in capturing dark or subtle colors. So, to effectively paint night scenes, you should draw on numerous sources for inspiration: your observations, any color studies, photos, famous paintings, and your imagination.
  • Consider what it is you are trying to convey, and push those ideas. Is it the moonlight? The reflections on the water? The darks? The lights?
  • We cannot paint with light itself. The best we can do is create the illusion of light through clever use of color contrast. With night scenes, it’s better to err on the side of more contrast than less.

A Closer Look at Café Terrace at Night by Vincent van Gogh

A Closer Look at The Starry Night by Vincent van Gogh

You might be interested in my  Painting Academy  course. I’ll walk you through the time-tested fundamentals of painting. It’s perfect for absolute beginner to intermediate painters.

I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends.

Happy painting!

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Dan Scott is the founder of Draw Paint Academy. He's a self-taught artist from Australia with a particular interest in landscape painting. Draw Paint Academy is run by Dan and his wife, Chontele, with the aim of helping you get the most out of the art life. You can read more on the About page .

38 comments on “12 Famous Night Paintings and Why They Work”

Dear Dan, Thank you. My recovery from painting avoidance is pretty much over…the game is up.

I am up to Chapter 15 of The Artist’s Way.

I will paint and I will paint and paint and paint.

I subscribed to your email blog quite some time ago. Now, I can see why…Thank you, thank you for what you do, Kyriaki

love your posts. I’ve been playing with night scenes for awhile, working in oils. I find them challenging but fun and often surprised by the results (as opposed to where I imagined it was going to go).

A wonderful subject night painting . Thank you for raising and discussing it . I have tried it and as a landscape painter the biggest challenge is light in the darkness when the moon reveals little shadow to define form so great to know it is as difficult as i have found it ! Thank you Dan

I enjoy reading your articles and how they give insight about different aspects of paintings I wouldn’t have thought about. Thanks for sharing.

Thank you for sharing! Such a wealth of information,

Thank you Dan….food for thought.

I’ve been taking some local courses that involve either tonalism and chiaroscuro. It was fun to see you address both of these. Your discussions and demo paintings have been such a help to me as I explore the world of oil painting. Thanks for the encouragement over these past several months.

Your posts are wonderful. I’m fascinated by nocturnes and will try one soon, as the weather warms up here.

I really enjoy how you introduce me to new artists I’m unfamiliar with. It’s inspiring to see how others paint. Thank you for all your sharing.

Thank you – very valuable information and great painting tips

Thank you for the wonderful article. I did one night painting in 2002. I just received a photo of it from a friend that owns the painting, to include it in my website. Your article is an invitation for me to look at it with new yes.

You are most generous sharing your abundant knowledge . Thank you Wishing you continued good health and the joy of life with art.

FYI I personally create my non -objective art on my iPad

Thank you ,love your posts. This collection of work is fantastic!

Fantastic article. It was great to see an analysis of different night paintings. Makes me want to tackle a night images from memory that has been lurking in the back of my mind for decades but was unsure how to go about it.

Very helpfull!

Thank you Dan! I look forward to your insight emails! Beth

Dan, can you tell me the range of sizes these painting are? I am curious as to their sizes in response to the image itself and vice versa.

I would just do a quick search on Google to see what the sizes of the paintings are. They may not have the information, but hopefully you can find some details.

Love your posts! Subject matter is spot on. Thank you.

That is a Beautiful range of night paintings you have selected and shared. Thank you for this and all the inspiration and help you give to Artist’s of all skill and ability

Thank you, once again, for your explanations of why certain artists and their paintings are considered so worthy of being admired and appreciated. The detailed breakdown of Van Goth’s Evening Cafe… was great. As someone mentioned above, if I were to take an Art History course again, I would certainly be more receptive and connect with the content if it were as interesting as this post. Thanks for sharing your expertise. Much appreciated.

Why didn’t you include “Nighthawks” by Hopper? Classic contrast “night picture”.

He REALLY is a natural teacher, isn’t he? And he’s actually becoming a good painter. Sharing like he does shows he’s also a good guy!

Thank you Dan, I always enjoy reading your posts and never fail to learn something from them. I’ve never thought about painting a night scene but the paintings you showcased are inspiring.

I’ve never heard of a couple of these painters. Thanks so much.

I can feel the swell of the sea in the ‘King of the sea’ Ivan Aivazovsky’s Stormy Sea at Night and Turners Fishermen at Sea. All you have selected are evocative, and topping them are these two… thank you for this education…

As always very helpful especially when it comes to the “the tips” Thanks.

Fabulous! Now you’ve inspired me to try this in…colored pencil! I’ve put away the brushes (for awhile) & trying colored pencils since it has been mentioned I’m a detail freak. I think it’s just part of artistic journey. Yes! I will finally call myself an artist

I’ve been invited to lead a group of (amateur) painters who asked specifically to paint a night scene of a lighthouse backlit by a full moon. I’ve been practicing with Van Gogh’s Starry Night and a couple of my own photos – with varied results. After reading this article, it’s back to the canvas! You communicate so well points I sometimes observe but can’t verbalize and therefore miss when I try painting them. Thanks for bringing focus to so many key aspects.

Love your posts. Very helpful. Thank you.

Thank you for all the wonderful information you are sharing. I enjoy your posts.

Splendid works of art, a treat to the eye. I feel so uplifted. Thank you Dan sooooo much

Great insights. Many of your selections are some of my favorite artists and works. I am drawn to the contrast of light and dark, and as you called it the “ambiguity.” Thanks. Always a pleasure reading your posts.

You are not only brilliant but very empathetic in caring and sharing your thoughts and resources.Stay blessed

What an analysis indeed !You are not only brilliant but very empathetic in caring and sharing your thoughts and resources.

Stay blessed!

Certainly opens the eye to possibilites colours that set mood good learning excerise.

It is sometimes helpful to scout a night scene and snap a photo one night in advance. Then do the illustration and block-in in the studio the next morning. When you’re in the field later in the evening, you don’t have to fuss with the preliminaries, and the values have been established under lighting that is similar to how the painting will be viewed.

I think Frank Tenny Johnson’s night scenes deserve to be shown with this group. He’s a master.

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evening journey painting

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evening journey painting

The Mi'raj (Muhammad's night journey)

evening journey painting

ca. 1550-1580

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