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Hi Joan. Thanks for noticing my "cool greys"! I've been really working lately on even just seeing the cool colours in people's skin. I tend to squint oddly at the people around me.
The palette I used for this was based on the palette of Gilbert Stuart and the only two reasons for this were that I had read an article on his palette in one of my art magazines and I had most of the colours already. See, I really am making this up as I go along. I must have that magazine at work, because I can't find it here. What I'll do is scan the page when I find it and see if it translates into an emailable image that is still legible. If not, I'll type out the important bits for you. As I recall, the palette involved white, yellow ochre pale, vermillion, alizarin, cobalt blue, ivory black and raw umber. I obviously have sienna in there, but I can't remember if I snuck it in. It's a very simple palette and I thought it might not be all that different from the one Bouguereau used.
It seems to me that this was really a lesson in colour relationships, in that it only works as a whole. Those pearly blue greys, without the wonderful golds and pinks in all the right places, would produce "Death By Drowning". I also wonder if Bouguereau's flesh colours would work all that well in a contemporary context; few women these days have the leisure or desire to lead a lifestyle that produces that type of hot-house flower complexion. Blame it on better nutrition if you like, we seem to be more robust these days.
Enough, I'm on my second cup of tea and running off at the mouth! I'll get that information to you sometime next week.
Janet
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