Flat patches of burnt sienna, umber and ochre are interspersed with high - keyed
thicker blue pigments.
Not exact matches
Japanese Koi wasn't quite
thick /
pigmented enough to competely blot out the dark
blue, and coverage isn't very even, but this is only really apparent in photos.
I use
thicker pigment from the cad yellow and add a touch of burnt sienna (hardly any) to take the
blue out of the green and begin to paint in the shadows I see on the leaves.
In Chestnut (1955), the painting's white field is broken along the center, as if a chestnut tree were pushing through the
pigment; and in Red,
blue, black (1957), the
thick, dark red ground gives way at the center to black calligraphed lines concentrated within dense gestural brushwork.
The artist first applies
thick layers of oil paint in various colors, including burnt sienna, green,
blue, and yellow, onto a white painted background, then uses her body to vigorously mix and sculpt the material until the once - vibrant
pigments meld into a rich gray tone.