Love Letter to the Big Empty

End of Day in the Big empty

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.



Blue

Since I wrote this blog post, “How Green is Blue?” I’ve painted with REAL ultramarine blue made of lapis lazuli. I found it very very different from synthetic ultramarine which is more uniform in texture, more opaque and more intense in oil paint, anyway.

The mountains here are synthetic ultramarine; the sky cerulean blue; the shadows synthetic ultramarine tinted with white and gray
Cerulean and real ultramarine sky. The mountains and snow shadows are ultramarine blue made from Lapis Lazuli.
Blue chart from Gamblin Oil Paints, the brand I usually paint with

As for the other kind of blues? I’m feeling it today.

https://ragtagcommunity.wordpress.com/2020/05/21/ragtag-daily-prompt-thursday-the-blues/

Pocket Relics of Beauty and Human Life

Several years ago I was at the Getty Museum in LA looking at an exhibit of medieval books of hours. The raison d’être for the exhibit was the 14th century Tres Riches Heures of the Duc de Berry that had traveled from the Metropolitan Museum of Art in New York. Along with the exhibit of books was an exhibit of pigment, but I’ll refrain from another rhapsody in THAT direction. 😉

A book of hours, “…derives from the practice of reading certain prayers and devotions at the different ‘hours’ of the day.” Not a literal hour (as we think of it) as back in those days time was not measured as we measure it now, in sixty minute increments, but a space of time “…allotted either to business or religious duties.”

Books of hours that belonged to nobility — such as the Tres Riches Heures — are elaborately decorated. Others are worn, plain, well-thumbed and simple. These books are small enough for a person to put in his/her pocket; pouch hanging from a cord worn around the waist. General literacy in the Middle Ages was higher than we usually give them credit for.

In the Getty exhibit, some of the books were intact. Some were just loose pages. All of them were in glass cases. Many of the pictures depict life as it was at the time the books were painted — agricultural scenes frequently illuminate the passing seasons. The little books could give their owners a sense of order in the universe, calm and hope in the unpredictable storms of human life.

Most of the paintings are of moments in the life of Christ, important moments from scripture, the lives (and, more often, deaths) of the various saints.

One of the pictures in the exhibit — a loose page, part of the Getty’s own collection — was of a man sneezing. All the people around him looked at him in fear and were leaning away from him.

The first symptom of the plague was said to be sneezing. “Bless you!” probably accompanied by the sign of the cross, a kind of anticipatory last rites.

The 14th century was the first known epidemic of bubonic plague in Europe. Paleoarcheologists now know that there were earlier bubonic plague events, but the 14th century was unique in that Europe’s population exploded in the 13th century, and people were writing down their history.

*Books of Hours, Phaidon Press, 1996 — a beautiful small semi-replica of a book of hours that contains hundreds of pictures from various books of hours from the 13th — 16th centuries.

https://ragtagcommunity.wordpress.com/2020/03/14/rdp-saturday-calm/