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A Colour A Day: Week 49

Ruth Siddall28 February 2021

A Colour A Day: Week 49. 22nd – 28th February

Jo Volley writes…

This weeks colours are mainly produced by Ruth Siddall who says of them;

These slates and shales represent the Palaeozoic stratigraphy of north west England and Wales. The coal-black, black shale from Britannia Quarry in the Pennines and was collected during a field trip to the South Pennine Coalfied with Onya McCausland. The slates from Penrhyn (Cambrian Slate) and Blaenau Ffestiniog and the red shale from the shores of the Menai Straits were all collected in North Wales over the past year. I would like to dedicate this set of pigments to my late mother, Anne Siddall (8th June 1940-22nd November 2020) who grew up in Lancashire, the daughter of parents from North Wales and with ancestors who worked in the slate quarries of the region. The Plas Brereton red ochre slate outcrops close to her final home in Caernarfon.

All colours are bound in gum Arabic on Winsor & Newton watercolour paper and read from left to right.

Cambrian Heather Slate
Cambrian Sage Slate
Blaenau Grey Slate
Blaenau Ochre Slate
Plas Brereton Red
Britannia Black
Cote d’Azure Violet from Kremer Pigments

 

A Colour A Day: Week 48

Ruth Siddall21 February 2021

A Colour A Day; Week 48. 15-21 February

Jo Volley writes…

This week are colours are seven earths generously gifted to me by their makers and accompany George Szirtes’ wonderful poem Soil.

Soil takes place in England on a train journey. I was taking a ride I think from London up to Yorkshire and I looked out at the soil, the earth and I thought I recognise that colour – where does that colour come from? And what does it mean to me? It seemed to be saying something, it seemed to be saying something and it brought to my mind the subject of belonging – to the soil, or to that soil.’ George Szirtes

Soil

What colour would you call that? That brown
which is not precisely the colour of excrement
or suede?
The depth has you hooked. Has it a scent
of its own, a peculiar adhesiveness? Is it weighed,
borne down
by its own weight? It creeps under you skin
Like a landscape that’s a mood, or a thought
in mid-birth,
and suddenly a dull music has begun. You’re caught
by your heels in that grudging lyrical earth,
a violin
scraped and scratched, and there is nowhere to go
but home, which is nowhere to be found
and yet
is here, unlost, solid, the very ground
on which you stand
but cannot visit
or know.

From The Budapest File (Bloodaxe, 2000) George Szirtes 2000; used by permission of the owner. Click to listen to George reading Soil.

Colours read from top to bottom on W&N watercolour paper:

Christine Chua’s Singapore Ochre
Chalybeate – Cohen’s Fields Fountain JV/2020
Gail Lamarche’s Arizona Red
Penelope Kupfer’s Waterfall Red – Brazil 2019/20
Penelope Kupfer’s Roadside Red – Brazil 2019/20
Hampstead Heath no.6 JV/2020
Onya McCausland’s Six Bells Burnt Ochre (oil paint)

Chalybeate Fountain, Cohen’s Fields, Hampstead Heath

A Colour A Day: Week 42

Ruth Siddall10 January 2021

A Colour A Day: Week 42. 4-10 January

Jo Volley writes…

This week we have more earth pigments collected and manufactured by Ruth Siddall who says of them;

These are a series of British earth colours derived from some of the geological formations of southeast England. Ashdown Orange, Galley Hill Gold, Galley Hill Red and Road Works Red are all from the Cretaceous Wealden facies and all were collected in and around Bexhill in East Sussex. These strata expose terrestrial deposits which include fossil soils (palaeosols) as well as ochre-stained sandstones. The Road Works Red was procured from some kindly municipal workmen who were digging up the road outside St Mary Magdalene’s Church in Bexhill. River Ching and Walton-on-the-Naze clays are both derived primarily from the London Clay deposits of the London Basin. The River Ching flows through Higham’s Park in NE London, once a landscape garden laid out by Humphry Repton in the 1790s. The lake in the park is Repton’s construction, and the banks of the Ching which flows alongside the lake, are largely ‘made ground’ which mixes the London Clay with the overlying Ice Age Woodford Gravels. Here in NE London, the London Clay is dark grey and the clays from the Woodford Gravels is pale brown. At Walton-on-the-Naze, London Clay underlies a spectacular sequence of Ice Age strata. Again largely of continental origin, red beds dominate the sequence here. The red ochre from Stone Point, extracted from a thin horizon of red sandstones is possibly very recent in age and certainly Holocene. The pigments derived from these geological strata required a lot of processing, including washing, levigating, grinding and sieving to extract a suitable pigment.

All pigments are bound in gum Arabic on W&N watercolour paper and read from left to right:

Walton-on-the-Naze London Clay
Ashdown Orange
Galley Hill Red
Galley Hill Gold
Road Works Red
Stone Point Red Ochre
River Ching Ochre

A Colour A Day: Week 30

Ruth Siddall18 October 2020

A Colour A Day: Week 30. 12th-18th October.

Jo Volley writes…

In October 2015, whilst on research leave, I travelled around Provence visiting pigment quarries, mines and factories to look at pigment manufacturing methods and processes. In this marvellous red landscape, I have never felt such a strong emotional relationship between the landscape and painting.  The trip was also something of a pilgrimage to visit the bibliotheque in Aix en Provence to view a remarkable manuscript made by the C17 Dutch artist A. Boogert who in 1692 completed an educational manual of how to mix every colour available to him. Each pigment is bound in gum Arabic and applied to paper with instruction as to their properties, proportions and potential. It is an extraordinary document of the pigments available at that time and of an artist’s dedication to learning. It was a humbling experience to hold in one’s hands this rare and beautiful manuscript, and to feel a connection with Boogert’s endeavours. The timeless and common manufacture of binding colour and making paint. The sheer pleasure of it… and its desire to communicate. It has also been the inspiration for this project.

Each red earth is bound in gum Arabic on W&N watercolour paper.

Collected: Sentier des Ocres, Roussillon.
Purchased: Sentier des Ocres, Roussillon.
Purchased: Sentier des Ocres, Roussillon.
Collected: Les Mines des Bruoux, Gargas.
Collected: Mathieu Ocre Usine, Roussillon.
Purchased: Les Mines des Bruoux, Gargas.
Purchased: Mathieu Ocre Usine, Roussillon.

 

A Colour A Day: Week 28

Ruth Siddall4 October 2020

A Colour A Day; 28th  September – 4th October

Jo Volley writes…

This week’s colours are seven Russian earth pigments gifted by Ruth Siddall who says of them. ‘These seven pigments are supplied by Moscow-based company Colibri Premium Pigments. Many of the earth and mineral pigments they supply are sourced in Russia. This is a selection of their ochres, which include iron ochres (red and yellow ochre) and aluminium-rich earths known as bauxite (deposits much overlooked as ochres). Siderite is iron carbonate. Also included here are two very ‘Russian’ pigments made from minerals mainly known only from deposits in Russia. Shungite is a black, carbon-rich earth pigment. It is found in very ancient, 2 billion year old rocks in Russian Karelia, in the region of Lake Onega. It is named after the town of Shunga. It formed as biogenic deposits, probably from algae preserved in anoxic conditions and then subsequently metamorphosed. Volkonskoite is a green-coloured, chrome-bearing smectite clay mineral. It is sourced from the Okhansk region of the Urals. Tuff is a volcanic ash deposit, in this case coloured purple by iron oxides.

Ruth suggests listening to Sibelius’s Karelian Suite whilst viewing the colours.

All pigments are bound in gum Arabic on W&N watercolour paper and read from left to right:

Tuff Purple
Siderite
Mumia Bauxite
Shungite
Sankirnaya Ochre
Volkonskoite

A Colour A Day: Week 23

Ruth Siddall29 August 2020

A Colour A Day Week 23. 24th August – 30th August.

Jo Volley writes…

This week we celebrate Goethe’s 271st birthday, 28th August, with earth pigments from Cyprus collected and processed by Ruth Siddall who says of them …

Cyprus is an island long associated with the production of pigments. These are by-products of the copper mining that has been active since the Bronze Age when Cyprus was the main supplier of copper ingots in the eastern Mediterranean region. But it was not copper-based pigments that were in abundance, it was the iron and manganese-rich ochres and umbers which were typical of Cyprus as well as the celadonite-rich green earth deposits. The Cypriot umber is a true umber in the geological sense having formed at a mid-ocean ridge plate tectonic boundary. In fact this is the environment of deposition of all of Cyprus’s ores and pigments. They originally formed in deep ocean waters, superheated by volcanic activity and then this slab of oceanic rock, ores and all, was emplaced onto the Eurasian continent during the construction of the Alpine mountain chain. The ochres formed by the weathering of the ores both before and after this emplacement onto dry land. Such a geological environment is uncommon, and Cyprus is by far the biggest example of these processes on Earth. A unique island for pigment formation.’

All pigments are bound in gum Arabic on W&N watercolour paper and read;

Left hand column from top to bottom:
Yellow Ochre, Sia Mine, Cyprus
Jarosite Yellow Ochre, Sia Mine, Cyprus
Burnt Umber, Margi, Cyprus

Middle column:
Red Ochre, Sia Mine, Cyprus

Right hand column from top to bottom:
Raw Umber, Margi, Cyprus
Terra Verte, Cyprus
Brown Ochre, Sia Mine, Cyprus

A Colour A Day: Week 22

Ruth Siddall23 August 2020

A Colour A Day Week 22. 17th-23rd August

Jo Volley writes…In JL Carr’s novel A Month in the Country the protagonist Tom Birkin returning from the First World War is redeployed as a wall painting conservator. He spends the summer uncovering a large medieval wall painting in a country church and along with it rediscovers a sense of faith in the future. As the painting’s image is revealed and through the unknown artist’s use and choice of colours, Tom begins to appreciate and understand the man.

‘I was working up the 3 brothers (see Luke 16), blissfully heedless of the judgement to come…The second magnate’s cloak was a splendid garment – red outside and green lining. A very good red, the best in fact, no expense spared, sinoper haematite that is, not to be confused with what some fatheads call sinoper which, as often as not, is red earth, the stuff they used to bring in by the shipload from Pontus Euxinus (and don’t ask me where that was). That’s the red which darkens almost as soon as you turn your back on it: it survives and that’s all that can be said for it. In fact, on damp walls, it’s all that does survive. Well, back to this chap’s cloak. It was resin-based and that doesn’t ooze out, by the gallon; they found a scallop-shell with caked deposit amongst the rubble in the Gifford Chantry at Boyton.’

‘Mr Birkin…Mr Birkin…is it an oil painting or a water colour or what is it for goodness sake?’ ’It’s all sorts of things, Mrs Keach. Item – blew bysse at 4s 4d. the pound, item – one sack of verdigris at 12d. a pound, item – red ochre, 3 pounds a penny, item – 3 pecks of wheat flour…. I suppose you could lump it all as tempera. And let’s not forget the wall itself – down in the sinful south, plastered with chalk bound with parish offerings of skimmed milk; up here, slaked limestone putty damped just enough to stiffen. That’s about what it is. …Spaynishe white,  Baghdad indigo, Cornish malachite…

But for me, the exciting thing was more than this. Here I was, face to face with a nameless painter reaching from the dark to show me what he could do, saying to me as clear as my words, ‘If any part of me survives from time’s corruption, let it be this. For this was the sort of man I was.’

Each pigment is bound in gum Arabic on W&N watercolour paper and reads from left to right:

Malachite
Verdigris
Chalk
Haematite
Red ochre
Chalk
Indigo
Blue bice

A Colour A Day: Week 21

Ruth Siddall16 August 2020

A Colour A Day Week 21. 10th-16th August

Jo Volley writes….

Extracts from Matisse on Art Jack D Flam 1973. On the occasion of an exhibition at the Gallery Maeght, December 1949 the title of which was Black is a Colour. Henri Matisse’s remarks were recorded by M. Maeght.

Before, when I didn’t know what to put down, I put down black. Black is a force: I depend on black to simplify the construction. Now I have given up all blacks*The use of black as a colour in the same way as the other colours – yellow, blue or red – is not a new thing. The Orientals made use of black as a colour, notably the Japanese in their prints. Closer to us, I recall a painting by Manet in which the velvet jacket of a young man with a straw hat is painted in a blunt and lucid black. In the portrait of Zacharie Astruc by Manet, a new velvet jacket is also expressed by a blunt luminous black. Doesn’t my painting of the Marocains use a grand black which is as luminous as the other colours in the painting? Like all evolution, that of black in painting has been made in jumps. But since the Impressionists it seems to have made continuous progress, taking a more and more important part in colour orchestration, comparable to that of the double-bass as a solo instrument. 

*Matisse does not mean he has given up the use of black, but that he no longer used it merely for linear construction as in his earlier works. Actually, at this time Matisse was making a use of black as a colour instead of an element of linear construction.

From left to right

  1. Jet – W&N Designers gouache
  2. Perylene – W&N Designers gouache
  3. Lamp – W&N Designers gouache
  4. Blue Black – W&N Calligraphy ink
  5. Mars – W&N Designers gouache
  6. Ivory – W&N Designers gouache
  7. Noir Intense – Lefranc Bourgeois Linel gouache

A Colour A Day: Week 20

Ruth Siddall9 August 2020

A Colour A Day – Week 20. 3rd – 9th August

Jo Volley writes…
This week’s colours are more earths, gifted by Steven Patterson, Chief Executive Officer, Derivan, Australian artist materials manufacturer, from their Matisse Structure Origins Range. To accompany them please listen to Mahler’s Das Lied von der Erde;

The earth breathes, in full rest and sleep.
All longing now becomes a dream.

Each colour is painted out in 3 layers on W&N watercolour paper and read from left to right:

1. Armenian Gugark Cherry
2. Morrocan Yellow Oxide
3. Armenian Lori Red Light
4. Armenian Tavush Trans Green
5. Armenian Lori Violet Light
6. Armenian Kotayk Ochre
7. Armenian Bole

A Colour A Day: Week 16

Ruth Siddall12 July 2020

A Colour A Day Week 16: 6th -12th July

Jo Volley writes…

This week’s A Colour A Day is inspired by Robert Rauschenberg’s White Painting (seven panel), 1952.

Of the series, his friend the composer, John Cage wrote:

To Whom / No subject / No image / No taste / No object / No beauty / No message / No talent /
No technique (no why) / No idea / No intention / No art / No object / No feeling / No black / No
white (no and) / After careful consideration, I have come to the conclusion that there is nothing in
these paintings that could not be changed, that they can be seen in any light and are not
destroyed by the action of shadows. / Hallelujah! the blind can see again; the water’s fine.

Read from left to right are 7 white pigments bound in gum arabic on W&N watercolour paper.

  1. Lead
  2. Zirkonium silicate
  3. Egg Shell
  4. Zinc
  5. White Earth
  6. Fluorescent white
  7. Titanium