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Posts Tagged ‘color’

INTRODUCTION:

THE REVELATION PAINTING

La Pittura di Rivelazione

 

The Revelation Painting was inspired from so many sources throughout my lifetime including the “Old Masters” and their impeccable styles.  The most prominent inspiration beyond a doubt was my mother, Mary Ann.  She was also a very talented artist who put her painting on the back burner in a sacrifice to be a wife and for motherhood and for that I am grateful.  Within her motherly love, she instilled within me a powerful imagination giving me the ability of vision and creation.  My mother ignited the passion of The Revelation Painting mainly through something that happened to her when she was twelve years old; an event that changed not only her life but also mine as her daughter.  Sometimes we receive more than genetics from our parents; we receive the seeds of dreams and through those seeds, gemstone foundations become a magnificent and massive painting!

 I cannot say that I am religious, but I am learning to find my own answers.  The Revelation Painting and 12 years of its creation have offered insight beyond what I could have expected to receive from even formal study.  There was one white bible in our home and it was my mothers.  Although I had spent countless hours trying to read it from the beginning, I returned to the Book of Revelation.  Visual imagery of creatures with six wings covered with eyes, locust with men’s faces, woman’s hair, golden crowns and tails like scorpions overwhelmed my imagination.  Although I found my heart, pounding often times, it was not in fear of what I was reading, it was the image I conjured up through imagination and its glorious power often times carrying me to sleep on the back of a horse with a head like a lion!  My love for the visuals was very inspiring.

Becoming an adult, I began to realize the natural resources of the world and their unsurpassed beauty, which cannot be mimicked even through  science, such as a true rainbow during a soft rain, the blue to violet hues within a red ruby, and the sparkle of a human eye filled with innocence, fear or sorrow.  I began to develop a sense of humbleness while searching for the gemstones that play such a critical role in the New City of this painting.  I saw humanity crushed by diamond thieves, the life, spirit and passion carved from people’s hearts, and in countries where the citizens should be living like kings of the earth due to the natural resources they sleep upon, children are starving to death!   The Revelation Painting developed into a global endeavor through the stones of the New City and the new world it represents.

In creating a global endeavor, I felt it appropriate to utilize as many languages as possible in subtitles of the painting as well creating a sense of unity.  The effort was to pull as many cultures, races, ethnicities as possible into the painting even offering messages in forward, backward and hidden formats within the painting.  People across the globe were and continue to be offered opportunities never seen before to become a part of the painting, of history in the making.  Never before has an artist offered humanity to become intertwined within his/her art as it is being created.  It is an exciting endeavor!

 

  

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Dedication

 

To my children:

 

This journal, associated journals and The Revelation Painting are dedicated and belong to my three children in effort to help them understand that sometimes in life, there are things beyond our understanding and that we are all placed on this earth for a reason.  We may never know our own specific reason if we do not search for answers and look for beauty in ordinary, not just extraordinary things.  Ultimately, we are the masters of our own destinies regardless of whom or what we feel may be the blame for our misfortunes.  I want the three of you to realize that when each of you were born, within your first breath of life, you filled my heart with a passion I have never known since, it is something very rare and sacred which I carry.  The most important thing in life to remember is that it does not matter what material things you have when you leave this earth, what is important is what you take in your heart, leave in other hearts and what you leave behind for the earth.

  

To my family:

 

Always remember the warm, balmy nights where we gazed up and into the stars with our mother who rest amongst them now.  She traced giant purple people eaters, cut our hair in ways we almost shaved bald but little did we realize, she was planting our footsteps amongst the giants.  Our father was not born with a book in his hand on “fathering”, as we were not either.  The most important thing to remember is that a measure of a man or woman throughout a lifetime is to have the ability to realize our mistakes and remedy them.  I know this will sound familiar:  “You will never learn by talking, you will learn by listening.”  How will you measure a man for what he has learned in almost a century if you do not simply take the time to listen?  To all of you, thank you for giving me the honor of knowing you in our lives, you live within me.  Without you all, I would have been blind!

 

Humanity:

 

The muddy red African tribes of today survive similarly, to how my ancestors once did which is an appealing attribute; forging the earth for food and using their hands to acquire what is needed to survive although the click of technology would make it much simpler a task.  The echo of mystical chants thanking the creator for life remains throughout time and encircles the globe but we are oblivious.  We cannot hear past our televisions, our pounding, angry music, we cannot see past our selfishness.  Within a twenty four hour world, those sacred sounds are drown out by the sounds of bars dumping beer bottles several times a night, sirens wailing on their way to pick up a drug overdose who has stopped breathing, a gunshot victim, or some other “unfortunate” victim.

 

We have lost many of the beautiful things given us to create a paradise.  We have ignored the cries of the earth and its members as they drown in naked agony.  The difference between us and the wild beast of the land is that we are supposed to have higher intelligence, we are supposed to be able to find solutions, we are the caretakers bound to help one another, we are the future and only as strong as our weakest member.  At this very moment, our weakest member is dying and it does not take the unsurpassed intelligence of man to realize what that means for the future of humankind.  I am guilty as well, I am hypocritical but I am learning to hear the echoes of mystical chants and within those chants, there is a profound sadness as urgency fades and time waits for no one, not me or you.

 

The Revelation Painting began as simply the religion of the book and through research and evaluation ended in an exposure of truth.  It is a truth of the corruption of humanity and selfishness of humankind.  Mysteries of Revelation revealed and it is self which self ultimately destroys.  To look at the bible, it is a book to teach us the “right” way to exist amongst one another and it states that at the end of time, sons and daughters will become prophets.  We can ask ourselves if God gave those gifts, or in simply evaluating our actions, our past and ourselves, we develop the tools required to create change and save not only our world but also our very lives.  If only we could sacrifice convenience for time, we could reverse the ignorance and damage we have created while given command of our paradise.

 

I imagine this masterpiece scattered upon the ruins of a world we once called home.  It is massive in size and in its messages.  It seems as though the world is spinning out of control in so many ways.  There is no place to jump off and start anew, this is what we were given and we are squandering it away and in the end it will be too late to ask who will save us now?  Although I am unsure if we are teetering on the edge of the Apocalypse, my Instincts of survival push me forward, yet my intuition tells me to prepare myself and to make things right with our creator.  I can start from today to create change, there is no one who can stop me, and I can become responsible and use the charge given me over the earth.  In my humility, my effort may create change and inspire another.

 

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CHALCEDONY

THE THIRD FOUNDATION IN THE NEW CITY SCENE VII

Chalcedony is a quartz, specifically a microcrystalline (the crystals are too small to be seen by any other means other than high magnification) quartz.  Named after the ancient seaport of Chalcedon in Turkey or Greece (I will research more into the origin and edit appropriately).  It is usually sold as Chalcedony if translucency is visible and of a single color.  Other microcrystalline sold under various names which do not meet the before stated criteria.  Visually Chalcedony is the finer specimen.  An example stone not meeting the criteria is Jasper; a close relative, (please see the blog on Quartz).

 Chalcedony comes in a variety of colors and is most known for its sky blue.  Initially a far better stone in the 12 foundations to illuminate the heavenly blue skies I imagined.  Upon soliciting stones from all over the world, it was the blue which I requested unknowing then, it was the wrong color.  My collection of carat weight Chalcedony in rough and faceted form is vast in the blue colors.

I only found within the last year that it was the red I needed for accuracy in the mystery I have uncovered about the foundation stones which have been missed throughout all time!  Translucent red chalcedony; otherwise known as Carnelian, owes its red to color to hematite (iron oxide).

 

RED CHALCEDONY

 
Chalcedony has been used as an ornamental throughout time all over the world in carvings and jewelry and is known by several names including:  Agate, Bloodstone, Carnelian, Chrysoprase, Onyx, Sardonyx, Plasma, Sard, among other names.  Interestingly enough several of these stones are mentioned within the 12 foundations of the New City.  Many of the stones are related, or very closely related in fact.
 
Chalcedony is said to aid in prevention and curing of melancholy and driving away evil spirits, and a preventive of danger during sinister events.  It is known as an antinflamatory, lowers fever, helps the eyes, eliminates fluid retention, decreases blood pressure, helps the body with changes in temperature.
 
 Chalcedony is found worldwide but main sources are:  U.S., Brazil, Madagascar, India, and Uruguay.  Chalcedony is one of the earliest materials used by humans; flint is a form of chalcedony, and these hard stones were made into weapons and tools.  Hot wax does not stick to chalcedony, so seals were made of it in ancient times.
 
 

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EMERALD

The Fourth Stone

Beryl has been considered a valuable gemstone since prehistoric times. There are many colors of beryl known under many names.  Green beryl is called emerald

.  In the 1800s green beryl was removed from the beryl family and called emerald.  Blue beryl is aquamarine, colorless is goshenite, pink is morganite and yellow is heliodor ranging from a bright yellow to a honey-golden yellow.

Red beryl is extremely rare and mimics shades of red from bubble gum to to scarlet, or the color of blood.


 

Mainly found within the Wah Wah Mountains of Utah, only an estimated 60 pounds were ever mined in the history of the world!  Some smaller amounts have been found in other countries recently.

 

Oddly enough it seems people are drawn to this stone yet do not understand why.  The reason will be revealed later via an exerpt from The Stones Journal.  The most common thread between this stone, its rarity, and the similar color of blood is in fact that the bible pounds a message to its readers that we should never forget that Jesus shed his blood for our sins.

What better way to elevate the significance of that sacrifice than to mark it with the rarest gemstone in the world?  These facts seem confusing but within The Revelation Painting there is a mystery of Revelation which has been overlooked since the bible was written and it will be revealed in The Stones Journal.  Once revealed, the mystery is easily seen in the painting.

 

The price for red beryl or Bixbite is astronomical!  For one faceted carat, you can expect to pay $20,000.00 or more.  Although I have obtained 6 carats of rough stone and the collection required for this section of the painting (an estimated 272 carats) will obviously have to be forfieted in lieu of a replacement stone of similar color or some other meaningful way to express the significance of this most important section.

I once spoke to a man who had worked in the mines in Utah and asked for the owner’s contact information.  He was very put off when he found that I needed to crush it for the painting.  He went on to say that the stone was highly coveted and that the owner would never sacrifice it for the painting.  I will never know if I do not ask, so time will tell if the mine owner will sacrifice a handful of the stone.

 

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©PLEASE NOTE THAT THIS IS INTELLECTUAL PROPERTY AND THIS IS COPYRIGHTED INFORMATION.  USE OF THIS INFORMATION IN REPRODUCTION or ANY OTHER MANNER CONSTITUTES COPYRIGHT INFRINGEMENT AND IS A CRIME PUNISHABLE BY LAW©

These are the journals associated in part with The Revelation Painting.

The blogs are rough drafts of sections of the journals which will be published after the painting is released (projected 12/2010).  I have chosen to publish these blogs and not keep them private as it will give the audience an opportunity to learn and grow with The Revelation Painting in this last year which I term:  The Finale’.

The blogs are in no particular order visible to you but they are being separated into their respective journals behind the scenes.  These journals hold several mysteries unveiled in The Book of Revelation from the bible which have been missed throughout history and once revealed will change history as we know it.  So you are reading history in the making!

The Revelation Painting is created for the people of the globe and for the past eleven years, people have participated in its creation.  The overall endeavor is to create visual peace in these times of turmoil throughout the world.  It is an opportunity to focus on something beautiful and designed to place the viewer in awe. 

Please see the blog about the painting at:  www.therevelationpainting.wordpress.com 

See the blog about the Journals at:  www.therevelationpaintingjournals.wordpress.com

 

The Journals included with this painting are as follows:

Journal I  The Journal of Dreams

This journal summarizes where and how the painting originated, the initial attempts at its creation, essentially the beginning of the work through its completion.  Background on the artist, past experiences, current experiences and thoughts, ideas and feelings while working on this masterpiece are captured within the pages of the journal.  It contains rare insight into an artist mind while working on a masterpiece!

Journal II  The Journal of Visions

Exploring imagination and visually preparing for this endeavor, the journal recalls where the vision arose and how it developed throughout the twelve total years required to complete The Revelation Painting.  It explores the artist views and personal battles with religion, God, the “calling” as a messenger to complete this massive religious painting.

Journal III  Journal of Measures

The Journal of Measures covers not only the grids and precise measurement required for a 12 foot by 40 foot creation, but the numbers and coincidences found throughout the twelve years required to complete the painting.  Small sketched works were required to become at times “larger than life”.  The journal is in graph form to help facilitate readability and understanding of the creative and sometimes scientific processes required to manually enlarge drawings without the aid of electronics or other artificial means.

Journal IV Journal of Sketches

Preliminary thoughts are sketched and worked through in order to create the perfect scene, exactly how the artist conceptualized the painting upon completion.  Starting often times as merely stick images, working through to the completed characters or scenes.  The journal also includes required experimentation to create a painting which would be durable enough to withstand the test of time, e.g., the effects of the raw mineral sulfur and its acidic effects on cloth canvas.

Journal V  The Stones

In depth coverage regarding the stones of the twelve foundations noted in The New City are covered in this journal.  Geological, metaphysical, spiritual and origins are also covered.  Stories about global participation in obtaining the stones are also covered.  Tools, lacquer, and very significant mystery of Revelation is disclosed in this journal.

Journal VI  Truth-The Hemorrhage of Pigs!

The artist reveals the profound change made in the painting in 2009 and how it occurred.  Where religion became political and how it forced the artist to find a way to make the painting stay in its original religious state, yet in moments change into a political piece revealing corruption and essentially crimes against humanity!  This is the climax behind the story of The Revelation Painting which will shock and astound followers of the series when it is realized that there has been a battle of good and evil within the painting the entire time!  The painting bleeds-a hemorrhage and returns to its normal state right in front of your eyes!

Journal VII  Journal of Acknowledgement

This is the journal where all participants globally are acknowledged for their participation in the endeavor and completion of The Revelation Painting.  A one page advertising area is offered (text only, no photography), to advertise business, make a statement to the world, or anything the author wishes.  Contributions can range from a comment, marketing, to sponsorship or obtaining materials.  Everyone is acknowledged, some to the point of limited ownership of a random section of the painting! 

SO COMMENTS ARE VERY SIGNIFICANT IN THESE BLOGS-THE MAIN PAINTING BLOG OR THE JOURNALS.  PLEASE EXPLORE WAYS TO MAKE THE PAINTING BETTER, OFFER MARKETING, DONATIONS, IDEAS, GEMSTONES WHATEVER YOU CAN…IT WILL PAY OFF AND AT THE VERY LEAST, YOUR SELECTED (WHAT YOU CHOSE) INFORMATION WILL BE ASSOCIATED WITH A HISTORICAL PAINTING IN THE JOURNAL OF ACKNOWLEDGEMENT!

The journal titles are written in english and subtitles of the journals as well as subtitles of the scenes of the painting are written in random languages.  The journals will be designed appropriately and with the highest hand quality a painting such as The Revelation Painting deserves and designed to last more than a lifetime.

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When the Lamb opened the fourth seal, I heard the voice of the fourth living creature say, “Come!” I looked and there before me was a pale horse! Its rider was named Death, and Hades was following close behind him. They were given power over a fourth of the earth to kill by sword, famine and plague, and by the wild beasts of the earth.

Revelation 6:7-8 NIV

Revelation 6:8 Aramaic NT: Peshitta
ܘܚܙܝܬ ܤܘܤܝܐ ܝܘܪܩܐ ܘܫܡܗ ܕܗܘ ܕܝܬܒ ܥܠܘܗܝ ܡܘܬܐ ܘܫܝܘܠ ܢܩܝܦܐ ܠܗ ܘܐܬܝܗܒ ܠܗ ܫܘܠܛܢܐ ܥܠ ܪܘܒܥܗ ܕܐܪܥܐ ܕܢܩܛܠ ܒܚܪܒܐ ܘܒܟܦܢܐ ܘܒܡܘܬܐ ܘܒܚܝܘܬܐ ܕܐܪܥܐ ܀

I have to admit that I was petrified these days regarding my discovery of the skulls and the races in my previous blog regarding the Four Horsemen.  I was sure I was wrong about the Pale horse.  In the Aramaic Bible (first translations), it states that the Pale Horse is the Green Horse.  It was shocking to me, a massive mistake in my understanding of what I read…see, this is why I have all kinds of bibles now!
And behold a green horse, and his name that sat on him was death, and hell followed after him, and power was given unto them over the fourth part of the earth
Odor, color changes, and bloating of the body during decomposition are the results of putrefaction. The lower part of the abdomen turns green due to bacteria activity in the cecum. Bacteria break down hemoglobin into sulfhemoglobin which causes the green color change. A formation of gases enters the abdomen which forces liquids and feces out of the body. The gases also enter the neck and face, causing swelling of the mouth, lips, and tongue. Due to this swelling and misconfiguration of the face, identification of the body can be difficult. Bacteria also enter the venous system causing blood to hemolyze. This leads to the formation of red streaks along the veins. This color soon changes to green, through a process known as marbelization. It can be seen on the shoulders, chest and shoulder area, and thighs. The skin can develop blisters containing serous fluid. The skin also becomes fragile, leading to skin slippage, making it difficult to move a body. Body hair comes off easily. The color change of the discoloration from green to brown marks the transition of the early stage of putrefaction to the advanced decompositional stages.
See the cited article here:  http://en.wikipedia.org/wiki/Decomposition

Also from Wikipedia:   http://en.wikipedia.org/wiki/Four_Horsemen_of_the_Apocalypse

The fourth and final horseman is named Death. Of all the riders, he is the only one to whom the text itself gives a name. Unlike the other three, he carries no weapon or other object (but some versions say that Death carries the scythe, symbolizing that he is the Grim Reaper); instead he is followed by Hades.
The color of Death’s horse is written as khlômos (χλωμóς) in the original Koine Greek, which is often translated as “pale”, though “ashen”, “pale green”, and “yellowish green” are other possible interpretations. The color suggests the sickly pallor of a corpse. The natural colors of horse coats that could be indicated include dun, palomino, buckskin, or one of several color variants with dilution genes.
How absolutely appropriate!  The riders’ name is Death and he is in stages of decomposition with his green horse.  Now I have to look at decomposition bodies, I have to study them and see the true colors of early decomposition.  It is amazing, the work required to create this painting.  There is obviously never a dull moment!

So the error remains close to the surface of my brain, haunting and taunting me.  I thought:  Why in the world would the Pale Horse actually be green, such an unnatural color?  Then last night I was watching Dr. G.- Medical Examiner.  She was talking about a young man who died and was decomposing earlier than normally expected.  She said:  “Decomposition turns the skin a blue-green color.”  I found myself sitting upright and at attention!  Wikipedia talks about the decomposition process and its stages.  Here is a part of it (where the green comes from):

 Putrefaction

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In effort to create precise measurements of individuals of The Revelation Painting, the study of human bone structure lead me to Forensic Anthropology.  It is imperative that I understand the measurements and calculations required to create the correct perspective of various races of human beings.  This study became extremely important in The Four Horsemen scene previously mentioned.
Based on Forensic Anthropology’s scientific calculations, the length of a man (or woman) can be measured by several bones for a relatively accurate overall height.  I used the length of the average Caucasoid male to calculate the total height and reverified by art anatomy standards.  With those two techniques applied I have calculated the height of the white horses’ rider to be 5’7″ based on his position in the painting.
The calculations based on art anatomy are as follows:
Femur (the long bone of the thigh) is on average the length of 2 heads.  In this case, the riders’ head was approximately 8″ in length (top to bottom)= 16″.  Then I used the scientific calculation used in Forensics:
Length of the femur (16″ or 2 heads)X 1.88+32=5’7″.

Now I am able to calculate the height of all riders not only based on their position and persective, but also the base caculation of the white horses’ rider!  Therefore, all measurements will be scientifically correct.

 
The face of the rider will be designed around the general skull shape.  This is what lead me to discover the calculations required for accurate perspective in this massive design.  The bottom of the sketch exhibits the “general” layout of the horses’ areas in this scene.  In the upper left the white horse was estimated by the size of the area it will occupy, then sketched loosely to get an idea of the head size, as noted by the numbers to the left 1-4 (which are feet then unmarked in inches-estimated).

The entire page length of this sketch was suprisingly 8″, the exact size of the skull.  This gave me a raw look at the size of the head which is close to actual human size.  The white horse is the furthest back in the painting…he is receding.  By looking at the size of the black horses’ space and that he is the closest to the viewer, he and his rider will be over 9′ tall…IMAGINE!

I produced an error in the initial calculations.  I was under the impression that the scientific calculation made the length of the femur itself and calculated initally on that finding (in black), then I “saw the light” (in blue) and correctly calculated the length.  Through my research, ancient men used to be shorter in stature than they are now in modern times, so his total height is most likely correct for his time.

Please examine the sketch and if you see ANYTHING you would like to bring to my attention, please do so.

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