Olga Abramova lives and works in Moscow. She is best known for her soft, atmospheric paintings created with pastel and charcoal. Here, she shares her process for plein air painting in preparation for studio works.
By Olga Abramova
olgaabramova.art/en
Plein air painting represents a significant part of a classical art education in Russia, and many artists maintain the habit for years. There are artist associations that focus exclusively on plein air, and special programs exist to help artists move between cities in order to paint in different locations. Even the National Pastel Society of Russia, of which I am the honorary president, organizes plein air events for artists. Although I frequently travel with my students to participate in plein air festivals, I’ve never taken part in an outdoor painting competition, preferring instead to engage in exhibition projects.
Studio from plein air sketch
Plein air plays a specific, but essential, role in my artistic process. I use it to discover new approaches to familiar subjects, and to experiment with color and composition. I complete more complex and long-term works in the studio — a choice driven by the materials, themes, and large formats I prefer in my work. And, of course, our long winters with rain and snow are not ideal companions for dry pastels and paper.
When I work outdoors, I most often bring back sketches rather than finished pieces. I’m mainly interested in capturing unexpected color combinations and changes in the atmosphere, so it feels natural to set aside an incomplete piece and start a new one when the light changes or the mood shifts. Later, I refine these studies in the studio, transforming the ideas into larger formats or exploring the subjects with mixed media. These quickly crafted plein air sketches help me preserve a sense of immediacy in my studio work.
I rarely sell works created en plein air because I see them as invaluable studies for future projects. However, if someone is eager to acquire one, I agree. At my exhibitions, I primarily show studio works, but sometimes outdoor paintings end up in a collection. Several plein air pieces from my small “Mood” series sold at a solo exhibition and are now part of a private collection in Kaliningrad, alongside a studio painting I made from life.
Whether outdoors or in the studio, the artist engages with volume, color, and form. But en plein air, there are always constraints: weather, time, shifting light. These challenges push the artist to quickly grasp the essence of a scene, often resulting in small masterpieces.
My most challenging yet unforgettable plein air experience was during my time at university, when we painted animals at the zoo. That’s when I truly understood the concept of a “living line,” how it flows with form and movement. Since then, I love working quickly, striving to capture my immediate emotional response to a subject rather than overthinking it.
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Story originally edited by Kelly Kane; Blog post prepared for the web by Cherie Dawn Haas, Editor of Plein Air Today
