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Monday, June 30, 2014
Italian Paintings/Eggplant Lemon
Today was a good painting day -- and yesterday was also, although only one quarter of yesterday's painting was worth anything, but that quarter was a breakthrough. I made some leaps in my head -- or I made some connections between my head and my hand. My camera is all off though....but I can't worry over this, so I'm just moving forward. Maybe will reshoot later.
Here I am at the train station in Orvieto, ready to catch the train for Rome and get art supplies.
Long trip, but delightful: little bus from my village to Orvieto, train to Rome, on foot in horrendous Texas style thunderstorm to the art supply store. And once there I was sort of forced to buy a tube of Old Holland Veronese Green (20Euros) and a tube of Michael Harding Titanium White (12 E, and quite small). Oh, how velvety the texture....And then suddenly I was looking at the sable brushes, because they didn't have the kind I use, the Bristol brights, and I need a brush that can make a good edge, so I succumbed. And they are fantastic!
The Veronese green is one that Matisse used often and I always thought it was made from Veridian, but no -- it is a blue green, a cross between permanent green light and ultramarine, and it makes a glowing green, a sort of mid tone that radiates in the same way yellow does. Of course, it just got all over my palette and into everything, completely unmanageable today, but with practice I think I will be able to use it. Working on an 11 x 14 inch palette is definitely a significant HEMMING IN!
The other reason I need this green is because I am thinking landscape -- but I am so not a landscape painter! Never, not one! And yet, I am here is Landscape Nirvana. And there are a million greens. So I'm just sneaking up on the whole thing. Bonnard uses that green often also. It brings light to the shadow side of trees and such, quietly glowing.