THIS ONE!! prob. my Favorite of all your works I’ve seen. What a fantastic application of those greys!!! so excellent! love that.
and then, the reds with some blue bits…. and the Black to unify. Yep, LOVE this one! cheers, Debi
There’s so much to learn about what you can do with layering in acrylics or oils. I need to try to remember what I was doing back when I worked with oils… about laying a ground and building from there. With oils… unless you’re doing one up and a lot of impasto, you have to work that way. Maybe not so much with abstracts, but absolutely with representative work. With acrylic, because it dries so fast–it’s both easier to lay those ground tones, and tempting to skip over it. You wouldn’t so much with representative subjects… but it so adds to the complexity of abstract work if you apply those same methods.
Truth: I started this–with those neutral grounds, after seeing your recent watercolor… the one with the grayed,Naples yellow and cool blues–and that lovely shaft of violet. Came out way different. I love that kind of visual dialog.
Dufay built this mass on a secular tune… varied in temi, inverted, exchanging which voices carry it– through the whole piece–this is where Bach came from.
We sang this in an amateur a capella Renaissance singers I was with for a few years…. many many years ago. It is sublime.
Jacob Russell's Magic Names 
THIS ONE!! prob. my Favorite of all your works I’ve seen. What a fantastic application of those greys!!! so excellent! love that.
and then, the reds with some blue bits…. and the Black to unify. Yep, LOVE this one! cheers, Debi
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I love color so… I have to stop remind myself how important those neutrals are–that they really are what makes the purer hues come to life.
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There’s so much to learn about what you can do with layering in acrylics or oils. I need to try to remember what I was doing back when I worked with oils… about laying a ground and building from there. With oils… unless you’re doing one up and a lot of impasto, you have to work that way. Maybe not so much with abstracts, but absolutely with representative work. With acrylic, because it dries so fast–it’s both easier to lay those ground tones, and tempting to skip over it. You wouldn’t so much with representative subjects… but it so adds to the complexity of abstract work if you apply those same methods.
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Truth: I started this–with those neutral grounds, after seeing your recent watercolor… the one with the grayed,Naples yellow and cool blues–and that lovely shaft of violet. Came out way different. I love that kind of visual dialog.
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Got my mind spinning here… there’s a Roger Van der Weyden in the Philadelphia Museum of Art… that always brought to mind, Manet’s Flute player… almost modernist, and in its austerity, associated it with Dufay–early Netherlandish polyphony. It’s Van der Weyden’s colors… and maybe more, that must be deep background in my piece…https://en.wikipedia.org/wiki/Crucifixion_Diptych_(van_der_Weyden)#/media/File:Rogier_van_der_Weyden,_Netherlandish_(active_Tournai_and_Brussels)_-_The_Crucifixion,_with_the_Virgin_and_Saint_John_the_Evangelist_Mourning_-_Google_Art_Project.jpg
And Se la Face ay Pale for … listen to this, and look at that painting…
http://musc520-musical-styles-s14.wikia.com/wiki/Dufay-_Missa_Se_la_face_ay_pale
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Dufay built this mass on a secular tune… varied in temi, inverted, exchanging which voices carry it– through the whole piece–this is where Bach came from.
We sang this in an amateur a capella Renaissance singers I was with for a few years…. many many years ago. It is sublime.
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Here’s the entire missa, Se la Face ay Pale
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This is beautiful — there’s so much movement and grace in here!
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