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11/04/2019
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Cloud study
Along the high sky along the Levante above the sleeping waves in the harbour the clouds swirl only yellowish orange, fringe out on the deep blue, some bergamot, suggesting more Davan mango and peaches, at the edges still saffron leathery shadows, rolling wildly in spicy tart wormwood.
Soon behind the clouds, far away on the horizon, the red sun looks out in the form of a rose, but its light from carnations and oud is so broken that it now colours the clouds brightly purple. The dance of the whirling clouds begins with the falling asleep harbour, where the bright, fresh-fruity fringes are soon swallowed up by the bitter-spicy leathery veils, iridescing with the slightly plum-like impression of the lilac-luminous flowers breathing towards the harbour, whose dark woods of the landing bridges still sweat out the sweet resins, extinguished spices like sweet myrrh and vanilla mix with dry earth and gain more and more the upper hand with the sinking of the rose. Dark the clouds now cover the sky, warm are the waves of the scents of the harbour.
John Constable was a romantic painter of the early 19th century who linked his work directly to feelings ("Painting is but another word for feeling") and whose work lived from the tension between close observation of nature (e.g. studies of the sky and clouds) and the neglect of the line in favour of the effect of colour. He is thus regarded as a forerunner of the Impressionists.
If one compares Penhaligon's "Halfeti", a Rose-Oud fragrance from the same "Trade Routes" series, with its predecessor "Levantium", "Halfeti" would be the impressionistic painting that virtuously juxtaposes the color dots to create the overall effect from a distance in the eye of the beholder, while "Levantium" would be Constable's cloud study, which neglects the line and lives from its color effect, a legitimate predecessor in art-historical development, so to speak.
Soon behind the clouds, far away on the horizon, the red sun looks out in the form of a rose, but its light from carnations and oud is so broken that it now colours the clouds brightly purple. The dance of the whirling clouds begins with the falling asleep harbour, where the bright, fresh-fruity fringes are soon swallowed up by the bitter-spicy leathery veils, iridescing with the slightly plum-like impression of the lilac-luminous flowers breathing towards the harbour, whose dark woods of the landing bridges still sweat out the sweet resins, extinguished spices like sweet myrrh and vanilla mix with dry earth and gain more and more the upper hand with the sinking of the rose. Dark the clouds now cover the sky, warm are the waves of the scents of the harbour.
John Constable was a romantic painter of the early 19th century who linked his work directly to feelings ("Painting is but another word for feeling") and whose work lived from the tension between close observation of nature (e.g. studies of the sky and clouds) and the neglect of the line in favour of the effect of colour. He is thus regarded as a forerunner of the Impressionists.
If one compares Penhaligon's "Halfeti", a Rose-Oud fragrance from the same "Trade Routes" series, with its predecessor "Levantium", "Halfeti" would be the impressionistic painting that virtuously juxtaposes the color dots to create the overall effect from a distance in the eye of the beholder, while "Levantium" would be Constable's cloud study, which neglects the line and lives from its color effect, a legitimate predecessor in art-historical development, so to speak.
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