June 30, 2007
As the project ended, I looked back at all that had been accomplished. The year since I learned of the splendid exhibit, Rembrandt and the Golden Age of Dutch Art, was filled with research, discoveries, experiments- both failed and successful, new acquaintances, travel, frustrations, and elation. Most importantly, I have a wonderful body of work and extensive experience in the preparation and handling of historical pigments.
It is odd how an idea is spawned. Thoughts spin, curiosities surface, and conversations commence. All of these components played a role in the development of Lessons from the Low Countries, setting all into motion. The plan was to benefit and learn from the exhibit but concentrate on one extrinsic subject, the pigments.
Throughout my many years of study and painting, historical pigments have been a cursory interest. The mad scientist side of my personality provokes cooking of oils, varnishes, and mineral spirits for mediums; grinding paints occasionally. For this new project, paint making became the focus, color the concept, and now both have become a matter of course in daily studio duties.
It is easy to see amazing beauty in the actual pigment colors. They each exude a slightly muted glow. Reds, yellows, and blues placed all on one canvas blend in harmony without alteration. Vermilion red has a pure but not overpowering appearance, likewise lead tin yellow, and azurite. Surprisingly few pigments are necessary to accomplish grand results.
Without a doubt this year has been the most exciting since my initial dabbling into the painting/art world, 37 years ago. It is thrilling to gain a fresh approach that will only enhance my painting process. Now that I have learned first-hand the scope of these amazing historical pigments, they have replaced the moderns on my palette forever.
There is undoubtedly a long way to go. More study is necessary to understand fully the interactions of pigments and drying oils or of one pigment mixed with another. Unfortunately, many of the historical paint mixing techniques of the past are lost. However, because of the rising interest in this subject, there are those who will do research to recover this information, and more books will be written about new discoveries. I hope those discoveries will launch another project like Lessons from the Low Countries, and another year of exciting painting.