After several months of working at a smaller scale painting patterns for silk masks, I have recently returned to painting scarves.
This change in scale is more tricky than it appears. I experienced and learnt that when I first started painting the smaller pieces for masks. With a move back to larger work I didn’t want to misjudge the gear shift whilst painting a full 90 x 90 cm square, so I have returned by first painting neckerchiefs.
Pinning out the 55 x 55 cm squares and loosely laying down the first outlines became a poignant experience as I reflected on the intervening seven months since I last worked on any scarves. I then reached for the darkest, dark blue I have and painted in the background.
2020 really has turned out to be a ghastly, ghastly year.
And, finally now, the 31st December, we can say goodbye and good riddance to it.
Last week, I finished my post with a photograph of the beginnings of my new collection based on the Wickham Market Hoard. Strictly speaking it is the designs struck on the Freckenham and Snettisham staters that have caught my attention and specifically the charming horse symbol.
Once I had my version of the horse motif worked out and drawn up I could plan out the whole scarf design. I began this series using the smallest size scarf I paint, that’s the neckerchief square, but what colours for the initial interpretation?
Well, it wasn’t difficult to decide as I had plenty of flower photographs capturing all the bright zing of summer blooms. When I pasted some of these together into various photomontages they offered a number of irresistible colour combinations. I chose the pink and red grouping. Below is a sequence of photos from start to finish recording painting the neckerchief where I incorporate my version of the glorious 2000 year old horse motif.
The first in my Freckenham series, the neckerchief ‘Freckenham Carmine’ is now finished and displayed on my shop.
My online shop has been up and running for over six years now and about three times a year I place an order for plain silk blanks. I use three different suppliers depending on what type of silk I require. All three companies offer plain scarves with hand rolled hems ready for dyeing. The two European suppliers, one in Belgium and the other in Spain, list my favourite silk twill including the classical 90 x 90 cm squares. The third company I use is based in the United States and they sell excellent quality flat crepe pieces.
Earlier this year I ordered 12 neckerchief sized squares and for only the second time in my years of painting silk I noticed one of the scarves had a fault in the weave.
Now you’ve probably guessed I do own one or two scarves that I have painted myself – actually most of mine are over 30 years old and date from the time when I was a fashion/textile student. Amongst my own collection the only red I have is a full 90 x 90 that was originally a peachy pink. It had been a gift to my mother and was returned to me on her death. She was of the generation that often wore their scarves pinned with a brooch and when I came to overpaint the peach with red (peach is not a colour for me) I noticed several of the pin pricks had become small holes. It was good to experiment extravagantly and boldly with red dyes, but I still didn’t have a wearable red scarf.
As you can now see, a faulty blank has given me the opportunity to get the red dye out again and go for it big time. The design is looser and has more swirls than my usual style with plenty of red and a dash of very bright fuchsia. Naturally, this neckerchief with a fault isn’t for sale (mmm, fortunately, it seems it’s fine for me though!).
But, as you may have already gathered, I do like this combination. And indeed, so much so I have painted another similar version on pristine silk. It, too, is the neckerchief size. A size I think works well when you feel like some bright colour, but not too much. An accent.
And, here’s the finished piece now available on my shop.
Of all the 61 painted panels that originally covered the wall of Lady Drury’s closet at Hawstead House, only one panel was painted without an emblem or a motto. This ’empty’ panel, consisting of a hilly background and two Scots pines, offers a melancholy scene.
The Reverend Sir John Cullum did not discuss this particular panel at all in his eighteenth-century account. Perhaps he simply considered it an unfinished section. However, the twenty-first century scholar, H L Meakin, suggests the ‘blank’ panel may have been deliberately left empty to encourage spontaneous meditation.
It is also possible to read the two, stark, thin pine trees as visual metaphors for Lady Drury and her husband. They’re standing mature, living apart from each other within a dark and hilly landscape. After all they had existed in a world of challenges and grief following the loss of their young daughters.
More generally, in her summary of Lady Drury’s closet, Meakin offers ideas from Seneca and Montaigne as well as current research considering the lives of early modern women. She suggests there was not a simple division between the public and private spheres, and proposes this tiny, private room offered a space to both think about as well as retreat from the wider world.
Despite the gloomy appearance of the ‘pines’ panel, I find the silhouetted trees make a compelling composition.
And, I also admire the painted herb and flower decorative panels displayed at the bottom of the panel collection.
These panels show bugle, corn marigold, speedwell, dandelion, deadly nightshade, honeysuckle, scarlet pimpernel, wild pansy and a wild strawberry plant.
Overall, the panelled room is both intriguing and inspirational. So inspirational I decided to paint a series of neckerchiefs using the two pines, the scarlet pimpernel and the corn marigold. Here’s the first of the series showing how the scarlet pimpernel rapidly morphed into a larger, less delicate flower to balance the composition.