![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/bedouin-gold-650.jpg\" "\\"bedouin-gold-650\\"")
<\/a><\/p>\nBedouin Gold<\/em>, Mixed Media on Canvas, 24×48<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-browns-th.jpg\" "\\"golden-browns-th\\"")
<\/a><\/p>\nThe example above, Bedouin Gold<\/em><\/a>, 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<\/em><\/a>, left.)<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-gossamer-650.jpg\" "\\"golden-gossamer-650\\"")
<\/a><\/p>\nGolden Gossamer<\/em>, Mixed Media on Canvas, 24×18<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/flamenco-patterns-th.jpg\" "\\"flamenco-patterns-th\\"")
<\/a><\/p>\nGolden Gossamer<\/em><\/a> 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.<\/p>\nBy the way, these little thumbnails at the side are full-size paintings too . . . like Flamenco Patterns<\/em><\/a> 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.<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-moment-650.jpg\" "\\"golden-moment-650\\"")
<\/a><\/p>\nGolden Moment<\/em>, Mixed Media on Canvas, 30×22<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-gray-th.jpg\" "\\"golden-gray-th\\"")
<\/a><\/p>\nGolden Moment<\/em><\/a> (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<\/em><\/a> (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.<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-redhead-650.jpg\" "\\"golden-redhead-650\\"")
<\/a><\/p>\nGolden Redhead<\/em>, Mixed Media on Panel, 14×11<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-turtle-neck-th.jpg\" "\\"golden-turtle-neck-th\\"")
<\/a><\/p>\nThe 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<\/em><\/a>.)<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/masai-gold-650.jpg\" "\\"masai-gold-650\\"")
<\/a><\/p>\nMasai Gold<\/em>, Mixed Media on Canvas, 24×18<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/golden-renaissance-th.jpg\" "\\"golden-renaissance-th\\"")
<\/a><\/p>\nPainted from a photo taken by friend and master photographer, Michael Good, Masai Gold<\/em><\/a> 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<\/em><\/a> (left) is another where the gold came first, and found its purpose with the girl in the renaissance hat.<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/well-women-650.jpg\" "\\"well-women-650\\"")
<\/a><\/p>\nWell Women<\/em>, Mixed Media on Canvas, 60×48<\/h6>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2008\/11\/kimono-trio-th.jpg\" "\\"kimono-trio-th\\"")
<\/a><\/p>\nPainted over another painting I never really liked, Well Women<\/em><\/a> 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<\/em><\/a>, already featured in an e-gallery (Oct. 13, 2008), but belonging here again, what with its abundant use of gold leaf.<\/p>\nContacts Welcome<\/h2>\n
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.<\/p>\n
(949) 240-4642 (California time)<\/p>\n
<\/a><\/p>\nThe example above, Bedouin Gold<\/em><\/a>, 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<\/em><\/a>, left.)<\/p>\n Golden Gossamer<\/em><\/a> 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.<\/p>\n By the way, these little thumbnails at the side are full-size paintings too . . . like Flamenco Patterns<\/em><\/a> 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.<\/p>\n Golden Moment<\/em><\/a> (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<\/em><\/a> (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.<\/p>\n 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<\/em><\/a>.)<\/p>\n Painted from a photo taken by friend and master photographer, Michael Good, Masai Gold<\/em><\/a> 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<\/em><\/a> (left) is another where the gold came first, and found its purpose with the girl in the renaissance hat.<\/p>\n Painted over another painting I never really liked, Well Women<\/em><\/a> 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<\/em><\/a>, already featured in an e-gallery (Oct. 13, 2008), but belonging here again, what with its abundant use of gold leaf.<\/p>\n 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.<\/p>\n (949) 240-4642 (California time)<\/p>\n<\/a><\/p>\nGolden Gossamer<\/em>, Mixed Media on Canvas, 24×18<\/h6>\n
<\/a><\/p>\n<\/a><\/p>\nGolden Moment<\/em>, Mixed Media on Canvas, 30×22<\/h6>\n
<\/a><\/p>\n<\/a><\/p>\nGolden Redhead<\/em>, Mixed Media on Panel, 14×11<\/h6>\n
<\/a><\/p>\n<\/a><\/p>\nMasai Gold<\/em>, Mixed Media on Canvas, 24×18<\/h6>\n
<\/a><\/p>\n<\/a><\/p>\nWell Women<\/em>, Mixed Media on Canvas, 60×48<\/h6>\n
<\/a><\/p>\nContacts Welcome<\/h2>\n