Margret E Short Fine Arts Blog

Moving Glitches

As the excitement of the nearly sold out Lawrence Gallery exhibit, Lessons from the Low Countries , wound down at the end of June, things really got interesting. After having our house on the market off and on for 2 years things started to happen really fast. We got a buyer, who got a buyer, and they wanted in....pronto. In three weeks we packed up our home of 20 years and moved out without finding a new house to move into!! We were hired as house sitters for a two month period and....well, let's just say it didn't work out.....so we found a great apartment with a terrific view where I set up a little corner studio with my French easel. Fortunately, I saved out enough paint supplies to get by. I ordered some hand primed linen canvases from Italian Art Store in small sizes because that is really all my little temporary studio will accommodate.

Over the following months house hunting became our way of life, scouring the ads and the multiple listing sites all the while driving through neighborhoods. Do you know how difficult it is to find a house/art studio/garage/shop all in one structure? We came close several times only to become depressed only to  nearly give up and then start all over again. After broadening our location criteria things changed, and we have found a house that meets almost all of our needs including a terrific studio AND an even more terrific view. After living in this apartment with a view it sorta hooked us on having a house with one. It is an immensely exciting thought that we will be settled again soon.

An Endless Conclusion

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.