Very Vermilion

Back in October of 2006 while viewing the Rembrandt exhibit at the Dayton Art Institute, I knew in an instant this one must be used as a source painting for one in my Lessons from the Low Countries series. The anticipation of using this masterpiece was heightened because of the brilliant and varied pigment possibilities. After seeing this small portion here, I know you can understand why it was completely irresistible. It is now painting #8. Here are some of the notations I made in the catalog while viewing the show in Dayton back in October 2006.

.Color in catalog almost exact to painting

.Creamy satin gown with sparkling border perfect for pearls

.Gold metallic border on cloak sparkles

.Great example of azurite/malachite...muted color exact to painting

.Gold metallic in cape is sparkling and glistening all over the surface

What could I do to utilize and learn from this magnificent Dutch painting?

This painting is one of the shining stars in the Rembrandt and the Golden Age of Dutch Art Exhibit. It is a masterpiece by Salomon Koninck titled, The Idolatry of King Solomon. Just the mere size is imposing, one of the largest, 61x67 inches. Pictured here is a small detail.

Koninck used the story from the Old Testament about King Solomon. The king was swayed by his many wives and began to worship idols, which angered God. Religious reformers and Protestants admonished this idolization.

This majestic painting has an ever-moving sparkle as you walk from side to side. It could easily be mistaken for a Rembrandt, not only because of the content but also the application of the paint. Like Rembrandt, Koninck often used lavish costumes, props and rich fabrics in a grand chiaroscuro setting.

My first though while planning my painting...color! color! color! and more color! Again, I used a still life idea as a matrix. To fully benefit from the stunning color, I used lots of red, a maroon, and golds. The red is a perfect vermilion. It is bright but not garish in any way. In the source painting Soloman is wearing a splendid robe of shimmering velvet, which was replicated in my painting with carmine and umber perfectly.

Because my hand-ground vermilion has a natural subtle grayed tone, it was perfect straight off the grinding slab; then heightened with a little Naples yellow for the lighter areas, and darkened with a little umber for the shadows.

This finished painting is one of the largest in my exhibit also, measuring 30x30 inches. But no more peeking.