It really has nothing to do with the present state of the economy, but lately I’ve been investing in gold. That is, “gold leaf,” and imitation gold leaf at that. I’ve long known about it, but not until recently put it to use. Over the centuries it was a medium of choice for the high craft of iconography in the Russian Orthodox Church, for example. Or, the German genius Gustav Klimpt used it with high creativity in his classic, “The Kiss,” and others of the like. My approach is different, less precise, more “painterly,” but resulting in some very pleasing images that stand out from a wall like nothing else.
Bedouin Gold, Mixed Media on Canvas, 24×48
The example above, Bedouin Gold, is a combination of a number of experiments. Besides the gold there are subtle design patterns behind, top and bottom. These come straight from Anne’s printmaking. She hand carved designs on linoleum blocks and has made multiple uses of them in various of her works. I’ve found her stack of such a valuable resource. They take paint as well as ink, and she’s happy to see them used in other media, so why not? It all makes for another uniqueness that comes from the efforts of not just one artist but the combination of two. (And check the small, Golden Browns, left.)
Golden Gossamer, Mixed Media on Canvas, 24×18
Golden Gossamer started out almost completely gold, again on a ground of repetitious block pattern ever so subtle in the background. Then big areas of the gold were buried because, well, that’s sometimes what you do with gold. Viewing this one somebody said, “It’s so delicious you could eat it.” I’ll take that. The colors fairly shimmer, and change with the light of day.
By the way, these little thumbnails at the side are full-size paintings too . . . like Flamenco Patterns at left with the gold in the background instead of on the dress. Click on all of these for a larger view and the details.
Golden Moment, Mixed Media on Canvas, 30×22
Golden Moment (above), takes on a little more formal approach. Actually the leaf used here wasn’t just gold, but a variegated mix of gold and copper. With the free strokes of red oil over the acrylic background of burgundy and a face just detailed enough, it’s something one can look at for a long time. That’s what one couple decided when they bought it almost before the paint was dry. Meantime, the man in Golden Gray (left) thinks and waits. The “blur” on the left of his chest isn’t really there; rather it’s the kind of phenomenon that happens in different light with this gold.
Golden Redhead, Mixed Media on Panel, 14×11
The leaf goes on in a painterly fashion. It’s a kind of “foil,” applied with contact cement, which needs to dry an hour first. Sometimes the glue goes down before the drawing, before any painting. It’s applied with a brush, sort of scribbled in, before I really know what will happen next. Then it’s the leaf itself, which comes in sheets, as delicate as a breeze. As it hits the tack of the glue it’s fixed in place. After that it’s dry-brush work burnishing in and getting rid of the dross. Gold bits go flying everywhere. Quite a mess. Life should be such a problem, no? (Left, Golden Turtleneck.)
Masai Gold, Mixed Media on Canvas, 24×18
Painted from a photo taken by friend and master photographer, Michael Good, Masai Gold is my rendition after discovering gold leaf. There’s no such where they live, in the heart of Kenya somewhere, but if they had it they’d likely use it, loving beauty and decoration as they do. At the moment, this one sits against the hearth at our house, holding forth over the room. As the sun goes down, the gold comes out until finally it’s all you see. It’s like there’s a life within. Golden Renaissance (left) is another where the gold came first, and found its purpose with the girl in the renaissance hat.
Well Women, Mixed Media on Canvas, 60×48
Painted over another painting I never really liked, Well Women was finished some time before the gold was applied. A study in mono-chromes anyway, the gold can be hard to pick out. But again, as the light changes, the tiny highlights appear. Do you see them? They’re on the bracelet and ring. This one’s life size, full of texture, hearty yet delicate, like the women themselves, having the strength they need, yet the flowing gait of beauty wending over hard ground. At left is Kimono Trio, already featured in an e-gallery (Oct. 13, 2008), but belonging here again, what with its abundant use of gold leaf.
Contacts Welcome
All these are nice paintings looking for a good home. Anyone interested is welcome to contact us directly, as none of these are yet in a gallery. It might occur to you where these pieces, and their kind, might belong. So, as this blog is interactive, feel free to make suggestions. Or feel free to forward this to someone who might be interested in one, or the series, or a whole line to come. A river needs flow if it’s truly going to water the earth. All help will be welcome and accepted with gratitude.
(949) 240-4642 (California time)
6:45 pm
Full and bold……..each face has a story behind it, some morfe obvious than others. allan hedberg
7:08 pm
I LOVE ALL YOUR NEW WORK!!
7:16 pm
Hyatt,
Once again, you amaze me. These works are much to my liking. I, too, have used gold leaf in similar ways and
my attempts were inspired by Gustaf Klimnt, as well.
Yipeee!!!
Keep it up.
11:01 pm
I love how vibrant the movement/strokes/colors are that you use on the dresses and draping. Thanks for sharing and inspiring me. Jane
11:18 pm
How symbolic and exciting and visually pleasing to see Anne’s print designs and Hyatt’s bold colours and figures combined in a new style that is richer than either of the two separately! I particularly love Masai Gold.
10:15 am
Congratulations on the use of Annes blockprints in your backgrounds. That adds a richness that takes your paintings to a new level. I think it’s the contrast between your wild painterly strokes and the subtle, predictable repitition of Anne’s work that adds value to your paintings. Good move, and great colaboration.
9:34 pm
All beautiful work, but I always have to pick a favorite just because of the way it strikes, and that would have to be the “Golden Redhead.” It’s in the strokes that you made and the ones that you didn’t, and the colors and the sublety. It is downright beautiful. May I inquire of the materials you used?
10:28 pm
For Gail–Thanks for the feedback, and the choosing a favorite. Always helpful. As for the materials it’s simply gold leaf with oil paint on Masonite board (ungessoed). That and some Asian calligraphy brushes. Some of the color is of the Masonite board itself. Glad you love it.
5:44 am
Hi Hayatt
Blessings from South Asia,
Its great to see that you and Anne continue to create works of beauty.
3:18 pm
Great pictures, I love the effect of the goldleafing.
I am a fan of gold leafing. Sometimes I touch up frames or furniture with gold finger paint to enhance the beauty of the items.
11:28 pm
They are just beautiful, have you ever considered displaying them (for sale of course)
in a favorite restaurant? Some high end ones may be looking to update their look and
yours would be amazing. Something of the higher quality of course, maybe even a
boutique hotel. A symbiotic relationship . . . . . ?
2:10 am
Hyatt,
Is the young lady someone you know or daughter? I love the red in her dress and the way it flows.
Rebekah K.Jones
4:08 pm
Yea! Masai Gold and Well Women!I have used gold for some client pictures but never as a base for other colors. You have inspired me to use that on my next appropriate picture.
Tony Joyce
11:12 pm
Wow Hyatt,
These are so full of energy they make my chest pound with blood filling my heart. I sigh and hear my breath as I wonder how anyone could create such brilliance, so I conclude that God controls your eyes and hands. I thank Him and you for doing what He asks you to. If I had some gold of my own, I would find a home for at least one of these treasures. Thank you.
12:32 pm
These pieces are truly exciting and fantastically beautiful! Your work makes one long for a “few dollars more”!
8:23 pm
Hi, cool post. I have been wondering about this topic,so thanks for writing.