But grey as a colour elsewhere is a different story altogether. I love using grey while doing a page layout for a report or a book or even a cover design. I love the greys that one can see in a cloud covered, rain-soaked monsoon sea in Mumbai. I love it if I can bring in a touch of grey into the frame while photographing.
One day, I managed to capture not a touch of grey but a whole range of greys from a dark stormy grey to a light wispy grey, with about 50 shades of grey separating these two.
This photograph was taken almost at the end of a great day spent exploring the Docklands of London and travelling by the DLR. This was at Canary Wharf the heart of London’s financial district and also its central business district. The steel and glass and the moody grey skies put up a great show for photo-ops. I took quite a few, but this one remains my favourite. I find it interesting how the grey dominates the frame, but does not overwhelm or depress. And I love that little touch of red and glassy green from the windows, which adds that something special to the picture. It’s almost like poetry !
Don’t you think these different shades of grey convey power, business, purpose and beauty all at the same time?
Sometimes, we miss the forest for the trees. And sometimes, we miss the trees for the forest. Let me give you an illustration. Take a look at the painting below (click on the picture to see a larger view).
The painting is called “Bacchus and Ariadne”. It was painted by Titian sometime between 1520 and 1523. It depicts a tale from Roman mythology where Bacchus (the God of Wine) sees the mortal Ariadne and falls in love with her at first sight. He is so smitten that he jumps out of his cheetah-drawn chariot towards her. The painting has captured Bacchus in mid-leap as Ariadne shies away from him in alarm.
I saw this painting at London’s National Gallery in 2009. I duly noted the story that the painting conveyed, the various characters in it, the lovingly painted animals, Titian’s trademark use of bright colours… and moved on to the next artwork. It was a nice painting, but not particularly impressive. Or so I thought. Today, I bitterly regret at only looking at the painting, but not seeing it closely enough. In only looking at the painting, I had completely failed to see the colours themselves, particularly the brilliant blue of the sky — a blue which came from the ultramarine paint made from the semi-precious lapis lazuli mined hundreds of miles away in the Sar-e-Sang valley (in present day Afghanistan).
The lapis lazuli from these mines would have travelled through ancient trade routes to the colour maker in Italy, who then transformed it into the very expensive ultramarine paint through a laborious process. First, the lapis lazuli would have been finely powdered and kneaded into a dough along with resin, wax, gum and linseed oil for 3 days, after which it would have been put in a mixture of lye and water. This mixture would have been kneaded again, this time with sticks, to draw out the blue of the lapis lazuli into the liquid. The blue-coloured liquid would have been be collected in bowls and allowed to dry, leaving behind a powdery blue pigment, the ultramarine blue. The process would have been repeated with the “dough” to get different qualities and shades of blue (pg.290-291). These days making the ultramarine paint is not so laborious as it is made synthetically.
I read about all this and much more in Colour: A Natural History of the Palette (2004, Random House, pp.448) by Victoria Finlay. The book can be considered as a travelogue; it can also be considered as a book on art history. But for me, it is a book on the micro-history of colour as explored through an artist’s paintbox holding the colours of the rainbow and then some more — violet (or purple), indigo, blue, green, yellow, orange, red, ochre, white, black and brown.
In her attempt to trace and draw out the stories of how natural dyes, paints and colours were made for a European artist’s paintbox, Finlay travelled to Australia, England, China, Chile, Italy, India, Iran, Spain, Afghanistan and Lebanon. As each story, myth, legend of the colours come into life, we realise that: