GREEN SPACE, THE LATE COLOR
Not a single plant in nature showing the full range of the green is capable of producing. It's a tricky color. Sample a wide variety of shades from bluish green to grayish green or yellowish. The current facility for any color makes us understand more costly restrictions on the tones present in the paintings of the past. And there's a reason that has little to do with the taste or preference of the artist, but with other more practical values.
Wednesday, September 22, 2010
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The oldest known green color is obtained from malachite, a semiprecious stone that is copper carbonate.
The Malachite green is a bright color, very stable to light when it is pure and quite opaque. But it is also expensive. The Egyptians got their sites in the Sinai, and malachite green, which covers the body of Osiris and the eyelids of their hieroglyphics and paintings of gardens. Green is a color sacred to the Egyptians associated with immortality.
green lands from green clays, and easily found throughout Europe, but especially in the area of \u200b\u200bthe Veneto, Verona. They are easy to mix with other colors, which get more variety of shades, but with respect to malachite, are duller.
are green lands that frame the Flora on the wall fresco in Pompeii .
isolation and loss of consciousness that led medieval years was immersed in an apparent oblivion to malachite green. In the Middle Ages working with the land. And with a green called verdigris, which comes from the oxidation of copper in contact with alcohol residue. It is a very old recipe that was used extensively with the monastic, especially in Ireland. Much of its illuminated manuscripts contain this color.
Book of Kells
also served this green land for the base of the carnations in the frescoes. Under the figures of Giotto, the green shade is painted on the skin, helping to build the volume.
Giotto. The Nativity. About
XIV century, reappears, possibly through the Arab world, a color that captures and fascinates the artists. Mixed with egg tempera, miniatures decorating the "very rich hours of the Duke of Berry."
Then, with oil, the former malachite recovers all its splendor in Dutch painting of the late Middle Ages. Is, with red and ultramarine blue, the brightest color of his compositions.
's wife "Arnolfini Marriage" displays a magnificent malachite green dress, who has been with the same brightness for five centuries.
Hugo van der Goes, a contemporary of van Eyck uses it in his colorful "Portinari Triptych"
And here a note. As I said in the post about the ultramarine blue, none of these fabrics reflect actual dresses. It would have been prohibitive. To get a green, dyers had to mix blue and yellow, but it turns out that some dry cleaners are dealing with other yellow dyes (in another part of town) of blue. When they got together to do this, they had to take both a mordant in the dye to coat the fabric, the fabric immediately Ahab, and lasted very little. Only
farmers used some gray-green cloth, dyed with mineral pigments, but in muted tones, nothing to do with the meshes of Robin Hood.
Christ among the Doctors, a display of Naples yellow, green and crimson Verona.
Unmistakable rich tone from the seventeenth century Venetian color. The Marriage of Cana
Veronese Green Baroque is green, with green obtained by mixing blue and yellow. And until the nineteenth century will be the green represents nature, obtaining results very artistic, but also very artificial.
Swing. The artificiality of the Rococo nature. Watteau.
development will chemical industry to provide the widest range of shades of green, stable and cheap. Dye fabrics are manufactured to the burgeoning English textile industry, and from there go to the world of artists' colors. Illustrates the emerald green gardens of Monet and Renoir, and it is impossible to conceive without it Matisse or Kandinsky.
For our trained eye, the twenty-first century, this profusion of green in our power, much more difficult to approach the baroque landscape, lacking our means. We can never shirk the feeling of strangeness that we produce reddish brown landscapes of Claude Lorrain or Poussin. But at least we can try to understand why.
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