paintgeom

"now you walk him through the gardren, waiting in the wings, painters shade their dreams, with falling colors see me wave good bye forever, happiness the goddess lover, hurry back remember last time, the hits of sunshine, the hits of goldmine"

The painting below entitled "Venus draws the veil..." was one i painted a few years ago, a composition invented around a figure copied from a photograph i took specifically to build the picture around. The general theme of the painting i intended to be an allegory in the classical style of a figure representing Venus drawing a veil of pure rationale from the waters as she moved toward the horizon, which was obscured by the figure, and thus, suggesting the horizon was already reached, or was unreachable, with the suggestion of no furthur progress.

The waters reflected the colours of the sky, Venus being generally associated with the waters, and the white veil the clouds of mystery, or Mercurial communications, the foliage was generally meant to personify the myriad planetary aspects in their colours.

The painting was executed fairly quickly over a few weeks, i didn't have any pre-conception of how the end picture would look, and the pre-sketching and planning was minimal, i tend to make things up as i go along, as far as painting goes, but always basically in accordance with a few pre-conceived notions of what i want the picture to represent, in allegorical terms. When completed i did however begin to become aware of certain structures and formalizations that i had employed.

Being able to deduct the underlying geometry of paintings was something i had always had a particular apptitude for, seeing beyond the veil as it were, of the superficial veneer of an image, and i began to be intrigued by the geometry of this painting which i had sub-conciously created. It became apparant that the centre of the picture was offset toward the left, and ran down the spine of the figure ending in an inverted chevron at the bottom of the picture.

Once a central vertical axis for the design had been established, it was then neccesary to examine the angles of pattern given out by the foliage and land-masses, and to find what basic measures of unit might be underlying the pattern. The picture is oil on wood board and measures 38" x 45" and it became apparant to me over studying the period for some time, that the basic units determined by the horizontal and vertical indications were 9" square sub-units of measure, the composition was rising and spanning in increments of this measure, and half units of this measure (ie 4.5" sub-units). The diagonals of the picture appeared principally to be of 2:1 ratio. With these considerations in mind this is the geometry i eventually came up with that best works, this taking me a considerably longer period of time than it had to paint the picture itself...!!!

Whilst the picture is 45" inches in height, the essential pattern of the geometry suggested that to complete the schemata then a speculative furthur nine inches be added in height, thus the pattern extends to 54" in height. There is a 2" margin to the left of the picture, as it measures 38" across, whilst the pattern fits in across the horizontal within 36", four units of 9"

The 36 " of the horizontal start from the right hand edge, but due to fore-shortening due to lens inadequacies in taking the photograph, and subsequent cropping to square, an inch or two has been lost from this side. The vertical axis rises at 22.5" from the right hand side with a furthur 13.5" to the left.

.Whilst it had taken a period of weeks to paint the picture and of months to discern the underlying geometry, it has actually taken me years to understand the implications of the numerics. The picture had been loosely conceived as being about the planets and their symbolism, so it was only proper in contextual terms that this is what the numerics should turn out to have been about.

The vertical axis set at 13.5/22.5" equates with the Ark of Covenant ratio of 1.5?2.5 cubits (x 9). At the time of painting i had practicaly no knowledge of sacred geometry or mathamatics, but have since studied that these are the key numbers of Israel, as i've outlined in the Israel Schemata. There is a geometrical configuration of the four inner planets based on a geometrical progression of 135/225 degrees of angle, which relates to the numbers of the twelve tribes being multiplied by a factor of 9, as set out in the Dead Sea Temple scroll.

The same schemata also has read-offs of 162 and 1620, which is the perimeter of the painting matrix (36 + 45 =81 (x2)=162 ) whilst the area is 36 x 45 =1,620. Mathamatic formulations very much based upon the multipars of 9.

Another system very much based on multipars of 9 is that of the Planetary distances, a 9 million mile unit is the basic unit that can be taken from the implications of Bodes law as outlined in Planetary Distances, these as quarter units of a full 36 million mile unit of planetary distance, based on Mercury (rather than the irregular variable AU based upon Earth)

Thus the 36" horizontal measure of the picture equates with the 36 million mile distance of Mercury from the Sun, a furthur 27"/million miles takes one to Venus from Mercury (the position of the top of the head in the painting) then a furthur 27"/million miles to the top of the extended painting matrix at 54", which is the distance of Mars from Earth also (54 million miles, though this also reduces to 36 million mile closest approach).

The perimetewr value of 162 equates with the distance of the asteroid belt from Earth at 162 million miles, or 252 million miles from the Sun (90 +162=252)

There are a few other aspects, such as the vertical axis multiplied by the height of the head is 13.5 x 27=364.5 close to the number of days in a year, how the full measure of the horizontal axis at 38" x 2=76, equating with the lunar cycle of such a periodic, but essentialy the read-offs relate to planetary distances and the geometry relating to the four planets...and Israel of course.

The photo i based the figure on lends itself perfectly well to the understanding of geometry, a Venusian woman rather than a Vitruvian man, as the artiste's model was born on 2:25, the number of days in a Venusian orbit, or as we British would have it, 25:2...the distance of the Asteroid belt, and all the devastation therof.

One thing that is certain though is that the painting and the events surrounding it's composition, was the direct starting point of all the study of ancient mathamatics and geometry that i have undertaken, and that this putting things into context here was the proper ending of such, one should always know when to lay one's brush down, enough is enough...