The artist Dirk Schmitt about MUSSINI® finest artists´ resin-oil colours

Dirk Schmitt, German artist from Cologne and a representative of contemporary realism, tells us, which colours in the MUSSINI® range he appreciates most. For him, it was very difficult to choose between 108 unique and brilliant colours, based on recipes from old masters, as he uses a large spectrum of MUSSINI® in his oil paintings. Nevertheless, he has his favourite colours, due to their special characteristics and colour effects:

  • Natural Bohemian green earth (10 646)
  • Verona green earth (10 640)
  • Brown pink (10 662)
  • Atrament (10 776)
  • Warm grey 1 (10 787)
  • Alizarin madder lake (10 347)

We asked Dirk Schmitt, what makes these colours so special?


Natural Bohemian green earth (10 646)

"This brownish green I love to use for very thin and glazing underpaintings. It influences the colour impression of the colours which are later applied. It is also a good colour for making sketches before painting. And, finally, this semitransparent colour is perfect for underpaintings in portraits. Why? The appliedflesh tints seem less intense, as they were softened due to the complementary contrast of these colours, and the skin colours seem more natural."



Verona green earth (10 640)

"This cool, earth green tone doesn't exist anymore in its original. Fortunately, this MUSSINI® colour shade is a nearly perfect replacement. Verona green earth is the classic colour for landscape painting. Its coloristic is ideal for middle grounds in landscapes and at the same time perfect for mixing of warmerand cooler green shades: mixed with Attish light ochre or Indian yellow I will achieve warm tones, mixed with transparent blues, the colour becomes morecool. For transparent shadows in landscapes it can be tinted perfectly with Vandyke brown or a neutral black. The coloristic and the high transparence make this colour essential in my palette."

Brown pink (10 662)

"This colour has an incredible colour diversity already in pure application. Applied in an opaque way it is a strong, warm and dark brown (like Burnt umber), in transparent layers it changes to a nearly yellowish tone, similar to a yellow ochre. This makes this colour perfect for underpainting colour gradients, to dark tones (from red to dark brown up to black) as well as for gradients intolight, warm colours as Raw Siena or ochre shades."

Atrament (10 779) and Warm grey 1 (10 787)

"This semi-transparent, relative cool, greenish grey is an essential colour for landscape painting. It is perfectly suited for dark parts and shadow areas. Atrament has a second special characteristic: When it is mixed with MUSSINI® Warm grey 1 (an opaque, light grey) Atrament becomes not only more opaque but also lighter. This makes it perfect for the "grisaille"-painting which means a composition of a painting using only grey colour shades (tonal art work) from dark glazing application to light and opaque painting. The grisaille painting has a very long painting tradition and has been practised already in medieval panel painting. After a grisaille has been finished, it can be overpainted and coloured with several thin and glazing colours."

Alizarin madder lake (10 347)

"This MUSSINI® -colour (also known as Alizarin crimson), artificially produced since the late 19th century, is the only one which corresponds to the former original dark red tone. It stands out due to its incredible brilliance and intensity and has perfect glazing properties. In pure application it shines like a luscious dark red, mixed with Indian yellow you are going to get marvellous warm, transparent orange shades. When mixing it with Phthalo green (both coloursform a nearly perfect complementary contrast), you will get an achromatic neutral black, which is ideal for tinting other colours."