The painting is End of Day in the Big Empty. Some pretty amazing oil paint in this painting. The gray in the sky, the gray-blue in the mountains and the blue in the water are all the ultramarine blue made of lapis lazuli called sometimes “Lazurite.” I was afraid to start this painting but at every turn it seemed that color was offering to help me. I really love it. You can see all the fantastic things it can do.
The bright blue in the sky is cerulean blue hue by Gamblin; hue means it’s pre-mixed with white. The intense, joyous yellow in the background, where the late afternoon sun has broken through the clouds, is Indian yellow over-painted with flake white replacement. Flake white is an old, old color known also as lead white. Gamblin came up with a way to make a very close approximation without lead. I really didn’t see the differences in whites until I did the very snowy painting. I’ve discovered doing this painting why people loved lead white so much. It’s just “friendly.”
The green in the trees and the brown in the foreground are both from my collection of natural pigments — the green is Verona Earth (natural green ochre from the Lessinian hills) and the brown is Cyprus Umber (dirt from Cyprus). Toning down the Indian yellow is Iron Violet, made from water pollution, by Gamblin Oil Paints. It’s a fantastic color and has a big part in this painting. Along with toning down the Indian yellow, it’s the purple in the mountains, the sky and the water and the reeds toward the back of the pond. I hope they keep making it.
The painting is 20 x 16 inches on panel.
Painting this was more than just doing a painting. It was an incredible experience. I cried when I finished. So strange. Then this came on Mohammed’s Old click wheel iPod.