FIRST GLIMPSE OF COLORADO

Cabins in the rocky mountains during winter in Colorado - snowcapped pines

SNOW

That is all I could see, bleary-eyed, gazing out from the car window. Snow and more snow. Then again, it was December. A vision swept by: a patriotic flag hung from a building site, whipped and pulled by the blizzard. Oliver and my brother are still talking from the front seat: "These are some of the worst road conditions we have had in ages!". I zone out again, the sinus infection stopping me from contributing any more than a few gurgling yes and nos.

Arriving in the picture perfect Vail Valley, things started to clear up - both the weather and my vision. I guess I was in awe. That landscape, the trees, all blanketed in snow and glistening ice particles glinting in the noon day sun. The gingerbread cookie cutter houses, strung up with Christmas lights. It was all so beautiful. 

That first week in Colorado was like a time lapse of snapshots in feeling:

A constant babble of Spanish, and a stream of visitors.
The smells of carne asada and chilli rellenos, and that itchy feeling in the back of my throat from the cooking peppers. 
Time spent playing pool on a table covered in red felt.
A pack of dogs roaming the house, each one with a wooly coat. 
Meeting new people.
The smell of Oliver's house, now comforting. Like candles, spices, must and cut-logs. 
The constant feeling of difference: different accents, different food, different landscape, different supermarkets, different slang words. 
A confusion about directions. I had absolutely no idea about the location of anything, including myself.
Snow and hoarfrost in the trees -  perpetual winter in Colorado
Colorado snow in a pine tree
Colorado gingerbread houses through the snow and pine trees
American flag in a whiteout of snow in Colorado
Moe's restaurant in the snow in Colorado winter
Sparkles and snow on a Colorado small town landscape
Sunset on a snowy village in Colorado

LEAVING TO STUDY

New Zealand fields and green hills from above

On December 3rd, 2013, I stepped onto a plane, sat down with a sigh, and took one last good look at my hometown in New Zealand. I was not going to be back for a very long time, even longer than I was anticipating. But in that moment, the full realisation of a life overseas had not hit me. I had no bloody idea what that next year and a half would hold, nor how much I would change.

I was headed for France, via Colorado and the house of my brother's best friend. The next year would be spent studying in both France and Scotland, and if I had anything to do with it, I was damn-well going to make sure I spent all of my spare time in galleries and cathedrals. No new friends for me, thank you. 

Well, that plan did not turn out quite the way I was hoping...

Instead, things turned out to be a whole lot better!


Here is a small extract of my thoughts after leaving New Zealand:

I feel kind of like I am stepping out into a great unknown, pushed by some force that has gotten a lot stronger as the time to leave came closer. That feeling of impatience and excitement about travelling is also confused by another feeling, which goes a bit like this...

”what the bloody heck am I doing??!”

But I think that some of the biggest adventures require a person to leave their comfort zone and place their trust into the hands of the fates. So when I rushed out of the front door, having just finished packing a year’s worth of stuff, my feelings were what you might describe as “panicky-enthusiastic.”

A person displaying such a condition can be identified by their symptoms of sudden-onset rapid breathing requiring a paper bag, lulls of silent contemplation, and outbursts of excited babble. If you think you have this condition, do not fear, it eases over time.

No truly, it does. I can say that although I might have had a severe case of “panicky-enthusiastic,” which definitely worsened on the first few nights of being away from home, my symptoms have pretty much subsided now that I am feeling more grounded in my new surroundings.
— little 21 year old Zoe

MADONNA AND CHILD

Madonna and child painting how to - Botticelli in egg tempera
 

MADONNA DEL LIBRO - MADONNA OF THE BOOK

Copy of the original,
c. 1483, Tempera on wood
Museo Poldi Pezzoli, Milan

Inspired by my all-time favourite artist, Sandro Botticelli, I painted this Madonna and Child as a gift. The hours spent in meditative silence over this painting meant I had a lot of time to reflect on the image, and on my own painting method. 

The original painting, executed with egg tempera on a wooden panel, was and still is considered to be one of Botticelli's finest works. It depicts the Virgin Mary, teaching the Christ Child to read from a prayer book. Here, Botticelli displays his usual elegance and spiritual grace; the purity of the outlines, the svelte and grave figure of the Madonna, and the deep, rich colours all enchant the viewer. Never one to overlook an allegory, he has also painted a bowl of fruit in the background, with cherries representing the Christ Child's future Passion, and the figs his Resurrection. 

However, the real beauty of the original painting lies in its sentiment. The scene is quite touching, the emotional centre of the work being the returned gaze of mother and child. Mary's eyes are bowed, and the look is one that could be described as both loving and sorrowful, as she seems to contemplate her boy's future. 

Madonna and Child Botticelli painted halo
Madonna And Child painting detail of gold

ABOUT EGG TEMPERA PAINTING:

Before the introduction of oil paint, many artists used a tempered mixture of pigments and emulsions to create their paints. One of the most popular emulsions used in the early Renaissance was egg yolk. This particular emulsion, when mixed with pigment and painted on board with a dry brush in many layers, provided the paintings with a luminous effect. The artist would begin with an underpainting, of shadows and cool tones of green and blue for skin, that would eventually be painted over with warmer colours and highlights. 

Egg tempera can be one of the most rewarding paints to work with, as although it takes a lot of patience to create the desired, layered effect, its translucency lends itself to the creation of light, colour and depth in a painting. Anyone who has a deliberate and meditative approach to art making will enjoy using egg tempera.


THE STEPS OF PAINTING:


I sketch out the picture in pencil with much detail, as egg tempera does not lend itself to improvisation.

Virgin and Child sketch
 

The underpainting begins, and I paint on many colours, looking to the original for direction. Blue undertones are painted onto areas that will be in shadow, and rosier tones are painted on areas like the cheeks. The highlights of the forehead, nose and chin are left white, as this will make the face appear more luminous.

Madonna and child painting the layers
 

Next, I glaze over the underpainting with a layer of skin-toned paint. To enhance the porcelain effect of the Virgin's face, I added quite a bit of white paint to the mix. 

I fill in the smaller details of the face with a fine brush: the eyes, the mouth and the nose.

Some people prefer to leave the eyes till last, as they really bring the painting to life. I am never patient enough to do so.

Botticelli Madonna painting the face
 

I paint the undertones on the Christ Child, and he begins to look a little like a rainbow being. 

No matter though, have faith in your abilities, and it will look beautiful in the end.

Painting Botticelli's Madonna and child - layers
 

Again, I glaze over the underpainting with a layer that is skin-toned.

Madonna and child painting how to
 

More fine brush work as the details are filled in. 

Then I prepare the underpainting for the clothing, in royal blues and carmine reds for the Virgin, and a softer blue for the Christ Child.

Madonna and Child painting in egg tempera
 

I get a little impatient to see what things will look like in the end, and move on to the hair. Darker colours first, and then dry brush strokes of golden hair strands over top. 

Layer 6
 

The deeper colours of the robes are then worked out, slowly but surely. 

Madonna and Child Botticelli painting in egg tempera
 

Finally, the fun part! I detail in the gold halos with both gold acrylic paint, and gold leaf. I also add the spangles on the Madonna's robe. Nothing on Botticelli's masterful gilding skills, gained from his experience as a goldsmith, but still quite pretty.

Madonna and Child Botticelli painting