Michael Price
Tempera and Oil Paintings with Gold Leaf, Natural and Mineral Pigments
Selection of Minerals, azurite, lapis lazuli, cinnabar, malachite, orpiment, realgar, vivianite, purpurite
Chromatic Sequence 21, Stepping in the Eternal, Michael Price, Nude, Figurative, casein distemper, oil on linen, panel, mineral pigments, gold leaf
Life Drawing

Nearly all my work starts with
drawing from the life model or
occasionally ancient Greek
sculptures. The work explores each
model’s kinaesthetic awareness
through spontaneous and undirected
movement. Each drawing session
thus becomes a minimalist theatre of
the imagination. The paintings are
developed from this material.
The Pigments and Gold Leaf

The natural and mineral pigments I
use not only harmonise with pure
gold leaf, but also produce a very
different palette of colour and
luminosity compared to modern
synthetic pigments whether in oil,
fir balsam resins, tempera or
distemper binding mediums. The
pigments include lapis lazuli,
azurite, malachite, cinnabar,
orpiment, realgar, vivianite,
purpurite, red and green jaspers,
stibnite, pyrolusite, cerussite,
galena, calcite, quartz and Japanese
oyster-shell white (Gofun).  Other
natural pigments include natural
indigo, the root madders, cochineal
red, and earth and ochre pigments. I
have published three papers on
mineral pigment preparation and
application since 2000.
cinnabar, crystals, natural colour, mineral pigments
Rare cinnabar crystals broken out of a calcite matrix. Purchased Aug. 2010.
Copyright © Michael Price Inc.
The Geometry of Light No.4, Contemplating Perfection, Islamic, Arabic pure form geometry, Islamic design, Michael Price
Geometry, Euclid, Islamic design, natural colour, Michael Price, nude, figure, classicism
life drawing, nude, bistre ink, paper
life drawing, nude, Michael Price
Leïla, 28th Dec 2011, No. 1
Leïla, 28th Dec 2011, No. 2
YouTube
Making a Painting:
3 Months in 3 Minutes
Michael Price, studio, oil painitngs, tempera, distemper, natural colour, mineral pigments, Euclidean geometry
The Kiss, nude, figure, figurative, Parsifal, Kundry, natural colour, mineral pigments, gold leaf
The Timeless 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. This tangible and finite world
provides the inspiration for the painting process.

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 artist in his Manhattan studio
Study for "Melancholia I, Magnum opus"
natural red chalk and casein wash on paper

New 4 minute video interview
released
April 8th 2013 by cdsavoia.com

Click here
The Geometry of Life, Double Helix No. 1
Gold leaf, natural and mineral pigments in casein distemper,
Strasbourg turpentine and oil on linen on panel
Diptych: 62 x 66 cm / 24.4 x 26 ins.
Michael Price
Michael Price, New York artist, Homage to Dürer, Durer, Duerer, octahedron
Homage to Duerer, Colericum I, cogito ergo sum, gold leaf, mineral pigments, casein, oil, linen, panel
Pen and Ink on Paper
Improvisations: Small Works on Paper

Workshops
on Natural and Mineral Pigments