![]() ‘ Hague Blue oozes period grandeur and creates a really dramatic, glamorous feel. This blue has a green undertone which gives it warmth and makes it a great choice for rooms that are north- or east-facing and which receive cooler natural daylight. ![]() ![]() And so, the ranch pictures had new life breathed into them.This strong blue takes its name from the fantastically colored woodwork much used by the Dutch, and still works wonderfully to ground skirtings or as an accent color. I decided to emphasise not the ranches but the skies by utilising a low-horizon. To be sure, there are no cherubs floating above the herds of cattle in Yuma County or the dusty fields of Washington or Kiowa County. An idea began to form: the skies of the Colorado prairie might be the secret to the ranch pictures. Without a lot of hesitation, she asked if I knew Francois Boucher and his legendary skies. Yet, I couldn’t make them click.Įventually I showed several work prints to my wife, Lynn who has a degree in photography with a strong background in art history. ![]() An American oasis in the frying pan of the western high desert. My focus was drawn to the clusters of buildings and trees making up individual homesteads, each tiny in the expanse of utterly flat land spreading for miles in every direction. I’d been sitting on a stack of photographs of ranches, stewing over how to highlight these isolated settings on the eastern Colorado prairie. It not only shows a beautiful woman in a garden setting but marks out Pompadour as both powerful woman at court and singular patron of Boucher. Pink is thereby transferred from more traditional allegorical realms to add symbolic weight to the representation of Pompadour. Similarly in Mercury confiding the Infant Bacchus to the Nymphs and Jupiter and Callisto, the male gods appear in pink. Here, pink is not gendered female, but instead associated with power. In the Rising and Setting of the Sun, the figure of Apollo (the symbol of the French kings) is swathed in pink fabric. By 1759, the year that Boucher painted Pompadour in a shell-pink dress in a garden, she had already commissioned two images that utilised pink as the central colour. ![]() The inclusion of Pigalle’s Love Embracing Friendship suggests Pompadour’s own hope for fecundity in her relationship, as titular mistress to Louis XV. These dual associations (maternal succour and carnal love) are evident in Boucher’s Portrait of Madame de Pompadour. ![]()
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