PORTUGUESE TAPESTRY "A multi-coloured, Indo-Portuguese design of the 18th Century. The birds have a symbolic significance, they are the mediators between Heaven and Earth and in early Christian art they signified saved souls.Specifications: 61% Cotton, 39% Viscose, Width: 122cm (48") ,Pattern repeat: 64cm (25"), The pattern repeats twice across the width at 61cm (24")".
"Beauty is a necessity, not a luxury. Beauty moves us, awakens us, provokes us, bringing freshness and newness to hearts that have too easily grown old and stale. A luxury is something extra, added on after duties are complete. But beauty is not something extra, it is what comes first. Because without beauty, the duties prove too hard and, eventually, seem pointless. An old, tired soul cannot move itself, cannot sustain itself. It ultimately fails in its tasks. Beauty renews the soul, pointing us ever back to our origins and our destiny, making life begin again." LINK
Doesn't this tapestry have a cheery spring/summer time sense about it? When its silken threads catch any light, they shimmer like the sun and in a way that only weaves can do.
This historical, imported fabric is completely sumptuous and worth the investment. I am looking forward to researching the tapestry's "pedigree"
This fabric was selected to adorn the altar and lectern of St Joan of Arc Chapel in Milwaukee. Take a look here.
tracing a Pattern to Paint
My purpose for rendering a flat study of this material is to explore the minute details of this tapestry pattern. Then, if later, I were to paint a "drapery" sprawled over a space (like in the first photo), it would be to explore patterns of light and dark for example.
Preparing a panel for the painted scene:
4/25/16 After working on layering and letting it dry for a couple days, to complete the process, I took the board outside on a sunny 75 degree day.
There I sanded it using a fine wet-sand paper. The idea is to gradually remove any imperfections and even the surface.
The procedure entails spritzing with water then sanding and repeating until you are satisfied. Ideally it should feel like porcelain to the touch. Then I flipped over the board and using regular sand paper, I removed any gesso spotting that might have happened. The board will dry for another day and then it will be finely dry sanded (buffed) one more time.
The board is ready. Now the scene can be transferred then painted.
Paradise: In a Symbol
by Christina Rossetti 1865
"Golden-winged, silver-winged, Winged with flashing flame, Such a flight of birds I saw, Birds without a name: Singing songs in their own tongue (Song of songs) they came.
One to another calling, Each answering each, One to another calling In their proper speech: High above my head they wheeled,
Far out of reach.
On wings of flame they went and came With a cadenced clang, Their silver wings tinkled, Their golden wings rang, The wind it whistled through their wings
Where in Heaven they sang.
They flashed and they darted Awhile before mine eyes, Mounting, mounting, mounting still In haste to scale the skies— Birds without a nest on earth, Birds of Paradise.
Where the moon riseth not, Nor sun seeks the west, There to sing their glory Which they sing at rest, There to sing their love-song
When they sing their best:
Not in any garden That mortal foot hath trod, Not in any flowering tree That springs from earthly sod, But in the garden where they dwell,
...The Paradise of God."
Notes, Art, Photography CMJENTZ ©2013-2018
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Christine M. (CM) Jentz.
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“It is with the smallest brushes that the artist paints the most exquisitely beautiful pictures.” (St. André Bessette)