Not only is her palette limited, it is very deliberate and cerebral, a la Joseph Albers. Her work table, like her painting, reflects this studied approach, whereas mine exposes the chaos in which I usually work. My colors choices can appear to be wild and random, though there is actually a degree of method to my madness.
Anyway, while in New York recently, I saw the Morandi show (see my post of September below) at the Met and marveled at his subdued palette (among other things). I’ve been thinking a lot about color lately........so…….last week I decided to experiment: I randomly (of course!) picked three tubes of paint: Alizarin Crimson, Indanthrone Blue, Quinacridone Gold (plus black and white) and began a small piece using just those colors. Ouch.! As I worked and moved from square to square attempting to balance the images and tones, I had to occasionally slap my own hand so that I would not pick up a Cadmium Red or an Indian Yellow. How do I use just these three colors (which, of course, I grew tired of quickly) and keep the work vibrant, and not let it get muddy or monochromatic? (An aside for anyone reading who is not an artist - we see our own work under a microscope: small changes that go unnoticed to most people loom huge in front of us……)
I am used to pairing complementary colors; with this subdued palette I had to rely on a different eye, one I don’t have a name for. Lots of questions arise: should I go back and study color theory again?? Have I lost the ability to be subtle? (Did I ever have it??) If intense color equals a certain kind of energy in my work, how does a less intense palette translate? No answers, but plenty of questions. The bottom line is, I would have to repeat this “three color” experiment at least ten times - do a lot more paintings - before I could begin to made real sense of it. Time will tell if I choose to do that. A part of me fears that without vivid color, I would simply disappear and wake up in a muted world – like The Wizard of Oz in reverse.
And as is often the case, I notice choices I make along the way only when the piece is finished or nearly finished. Often these hit me like a ton of bricks and a big loud “Duh!”. For this piece, I opted to put a palette image right smack in the center. I would like to say that it was premeditated, but nope. Sometimes my best decisions are made in spite of myself, so to speak.
So here is the little painting – tah-dah! - next to a same size (12” x 12”) piece using my “normal”, (i.e. everything-but-the-kitchen-sink) palette:
I am used to pairing complementary colors; with this subdued palette I had to rely on a different eye, one I don’t have a name for. Lots of questions arise: should I go back and study color theory again?? Have I lost the ability to be subtle? (Did I ever have it??) If intense color equals a certain kind of energy in my work, how does a less intense palette translate? No answers, but plenty of questions. The bottom line is, I would have to repeat this “three color” experiment at least ten times - do a lot more paintings - before I could begin to made real sense of it. Time will tell if I choose to do that. A part of me fears that without vivid color, I would simply disappear and wake up in a muted world – like The Wizard of Oz in reverse.
And as is often the case, I notice choices I make along the way only when the piece is finished or nearly finished. Often these hit me like a ton of bricks and a big loud “Duh!”. For this piece, I opted to put a palette image right smack in the center. I would like to say that it was premeditated, but nope. Sometimes my best decisions are made in spite of myself, so to speak.
So here is the little painting – tah-dah! - next to a same size (12” x 12”) piece using my “normal”, (i.e. everything-but-the-kitchen-sink) palette:
Are they noticeably different? I don't think so. (btw, the "muted" one is on the left....) Is one more successful because of the color? I don't think so. Is one more accessible? I don't think so.?? Do the colors complement the imagery? I hope so. There is really very little difference.
When all is said and done, what matters is not the finished painting, but the questions that lead me to try this little experiment....as well as the ever fascinating process of putting the paint on the canvas.
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