|The Chromatic Figure and Nude
The aim of my exploration of the nude and human figure conceived within a timeless universe is to reveal that the
archetypal images carried within ourselves are just as real - or imaginary - as the physical world we inhabit.
The chromatic figure and nude is intended to transcend the restrictions of realism. The figures are not symbols,
but signs, like the figures of Nicolas Poussin, that indicate universal direction free from social mores thus allowing
ontogolical freedom focused on the study of being.
The colour is produced from rocks and crystals including lapis lazuli, azurite and cinnabar, the natural and luminous
colours of the Renaissance palette. Since 2008, pure gold leaf provides the perfect complement for the chromatic
values of natural pigments.
Through the poetry of Euclidean geometry, the structural foundation for a composition is established.
This allows the message carried within the image to attain its maximum impact and resonance to unveil the
memory of our immortality reflected from the mortal perspective.
|The Discovery of Protocols for the Use of Natural Pigments
in Oil Painting
The late James Beck, professor in Art History at Columbia
Michael Price has restored and preserved for Western culture our
Renaissance tradition, that depended on artists and their assistants
grinding the semiprecious stones and mixing them with oils
according to propriety recipes. Time - and, from my vantage point
as an art historian, industrialisation - caused the Western culture to
irretrievably lose the methods of making natural pigments.
Michael Price has single-handedly mitigated that historic loss.
His rediscovery of the lost historic methods for preparing mineral
pigments reopens and represents this medium for artists across the
world. As a teacher and professor of Art History to today’s young
artists, I am absolutely convinced that Michael’s painting and
speaking presence in the United States will signify a reawakening
of that tradition.