Mary and Martha Diptych

Elspeth recently finished the first half of a diptych depicting Mary and Martha of Bethany serving, as the two sisters are described in John 12:1-9. The finished painting of Martha shows this devoted disciple of Christ preparing the dinner at which her sister, Mary, anointed the Savior's feet with oil. Like Mary, whose service the Savior commended, Martha's offering of selfless service is also, "spoken of for a memorial of her" (John 12:9).

For more about the story and symbolism within this painting of Martha, please visit the following link:
And Martha Served

The second half of the diptych, showing Martha's sister, Mary, is well underway, pictured left. Elspeth is working on adding layers of glazes and scumbling to the face and hair, and blocking-in the lavender bushes in the mid-ground of the painting, preparatory to blocking in the rest of the figure. Both Al and Elspeth paint on a ground of acrylic gesso, usually four or more layers thick, that has been sanded between the application of each layer. Then an undiluted layer of raw umber is rubbed on the panel and allowed to dry before work on painting the image begins.

Custom Frames Ready for Easter Exhibit

Preparing for the upcoming Easter exhibit involves framing two of the four paintings to be included in the show. Since 1995, Al Young Studios has not only maintained its own frame shop, but has developed a unique approach to meeting its custom framing needs, particularly in terms of museum-quality frames.

Framing can be one of the great riddles that must be solved in the ongoing work of any studio. Not only is cost an important factor, but getting the desired result from even the best of framers can be a very difficult challenge. In the early years of trying to figure out how to meet our framing needs, we had the great good fortune to have a very fine experience with a world-class framer; however, businesses come and go, and it eventually turned out that the best approach for us was an in-house solution; not the best choice for everyone, but it worked for us.

The Studios' need for custom frames dates back to the early 1980s when Al's work focused on miniature pencil drawings. Framing costs were high, the sizes of the artworks to be framed were small, and Al's skill in woodworking and other handcrafts made framing a natural subject of interest. As his work moved from miniatures to 4 ft. x 8 ft. painted panels, the Studios' framing techniques also expanded.

Today, the Studios' need for large-scale frames is met by a methodology in which the frames are “stick built” from such materials as rough-cut alder milled in the Studios' woodworking shop, vendor and custom-milled mouldings, composition ornaments, metal leaf and sizing, acrylic paints and sealer, as well as wax. Creating the frames in-house has made it possible for the influence of the artist to be present throughout the presentation of the artwork.

Not all of the Studios' frames are stick built. Some consist of moldings that are cut and assembled by the vendor, to be modified and then gilded at the Studios. Vendors play an important part in the Studios' diverse approach to framing. Our list of long-time vendors, for the more hard-to-find framing products, and those few services that we do use, includes Style Craft, Decorator's Supply, Wall Moulding, and Easy Leaf.

The following photographs were taken during the week or so that has been devoted to creating the frame for I Shall Be Whole. The painting measures 42 in. x 48 in. With the thickness of the frame being 8 in., the outside dimensions of the frame are approximately 57 in. x 63 in.

In the following photograph, a ledge is attached to the perimeter of the alder liner that will surround the painting in the completed frame. The ledge makes it possible to mount the liner to the layer that serves as part of the backing for the frame.

After construction is complete, the frame is prepared for gold leaf. The following photograph shows part of the process of antiquing the leaf. Antiquing is done with an eye toward the overall presentation of the image. Colors and textures play an important part in that presentation, and various techniques are employed to layer them in much the same way that glazes are applied to a painting.


After the antiquing is done and sealed, the frame is waxed and buffed.

Canyon Birds To Stay

Our Studio windows are always a delight in winter. Birds from the nearby mountains come to eat the berries on our crab-apple trees and peck at the birdseed in our feeders. This winter we've enjoyed cedar waxwings, yellow-rumped warblers, lesser American goldfinches, downy woodpeckers, flickers, house finches, robins, and juncos (the starlings don't count).

Painting of Martha Completed

She Hath Done What She Could: And Martha Served
(Martha of Bethany)
by Elspeth Young

Then Jesus six days before the passover came to Bethany, where Lazarus was which had been dead, whom he raised from the dead. There they made him a supper; and Martha served...
John 12:1-2

THE STORY IN THE PAINTING
The viewer sees Martha preparing the dinner at which her sister, Mary, anointed the Savior's feet with oil (See John 12:1-9). Like Mary, whose service the Savior commended, Martha's offering of selfless service is also, "spoken of for a memorial of her" (John 12:9). Similarly, the good we do, no matter how small the audience may seem, will stand "as a memorial" to our posterity and be restored to us again (see Alma 41:15).

Luke's familiar account of Mary and Martha in Luke chapter 10 is a powerful teaching moment for all who may feel overwhelmed, who believe, however momentarily that their pain is unknown or forgotten by the Lord. This encounter between Martha and the Savior is not, however, the last time we see Martha. Yet, many times it seems that this is the only story of Martha many seem to recognize and, therefore, judge her by. In the hopes of communicating a more accurate understanding of Martha's truly devoted discipleship and testimony of Christ, this image depicts a less recognized moment in Martha's life, and one which happened after the aforementioned story from Luke. After all, it is Martha who courageously declared, "Lord: I believe that thou art the Christ, the Son of God, which should come into the world" (John 11:27), even before she witnessed the Savior raised her brother from the dead.

In addition, this painting also contains reminders that peace is available to any who might be, from time to time, like Martha--"careful and troubled about many things" (Luke 10:40). Martha's heartfelt plea, "Lord, Dost thou not care?" (Luke 10:40) is much the same question the terrified Apostles asked Christ aboard a tempest-tossed ship: "Master, carest thou not that we perish?" (Mark 4:38).

During such moments of doubt or fear, the Savior's testimony to Martha is the ultimate solution: "I am the resurrection, and the life: he that believeth in me, though he were dead, yet shall he live" (John 11:25). This "one thing" (see Luke 10:42) is the solution to every worry, every stress, every fear: "Come unto me, all ye that labour and are heavy laden, and I will give you rest." (Matt 11:28). When we, like Martha, follow the Savior through service, our own burdens are made light.

SYMBOLISM OR SIGNIFICANT ELEMENTS IN THE PAINTING
When the Savior miraculously fed five thousand with only five loaves and two fishes, His disciples "took up of the fragments that remained twelve baskets full" (Matthew 14:20). Here, Martha holds a basket brim-full with tilapia, a fish well known to ancient Palestine (See Cansdale ??) as a visual reminder of the Savior's power to heal, lift, and give life.

Furthermore, when the Savior multiplied the loaves and fishes for the five thousand, He expressed thanks to God (see John 6:11)--another lesson for any who may be careworn or troubled. Our own efforts to overcome are "multiplied" as we "give thanks [to God] in all things" (Mosiah 26:39).

The two olive trees behind Martha remind the viewer of the Savior's Atoning sacrifice in Gethsemane (see Matthew 26:30 and Luke 22:39). (In addition to the fact that Bethany, where Martha lived, was also located east of the Mount of Olives.) The stone edifice behind the figure has a door with no visible handle, a visual token of the Savior's words, "I stand at the door, and knock: if any man hear my voice, and open the door, I will come in to him, and will sup with him, and he with me" (Revelation 3:20). As we, like Martha, serve even the humblest within our care, we invite the Savior in, for, "Inasmuch as ye have done it unto one of the least of these my brethren, ye have done it unto me" (Matthew 25:40).

BIBLIOGRAPHY
Cansdale, George. All the Animals of the Bible Lands. Grand Rapids, Michigan: The Paternoster Press, 1970.

Four paintings to appear in Easter exhibit

Final preparations are being made for the presentation of four paintings, from Al Young Studios, scheduled to appear in an upcoming Easter fine art exhibition. Details of the exhibit will be announced by the sponsor; however, the four paintings to be included from the Studios are Blessed Is She That Believed and As It Began To Dawn, both by Elspeth Young, and I Shall Be Whole and And I Will Not Deny The Christ - Moroni, two paintings by Al Young.

The two paintings by Elspeth, as well as Al's painting entitled I Shall Be Whole, are part of the Studio's ongoing Women in Scripture project. And I Will Not Deny The Christ - Moroni is part of the Studios' Manti Project, featuring heroes of the Book of Mormon.

I Shall Be Whole was completed in 2009, but Al signed it today while work progresses on the frame for the painting. (A future blog post will feature the custom framing that is an important part of the Studios.)



The following links for each painting to appear in the exhibit present an artist's commentary and background for each artwork:

Blessed Is She That Believed by Elspeth Young

As It Began To Dawn by Elspeth Young

I Shall Be Whole by Al R. Young

And I Will Not Deny The Christ - Moroni by Al R. Young

Final glazes on Messiah painting

Al adds a heavy glaze of ultramarine to the scarlet coverlet in the oil painting currently on the main easel in the studio.

The support for the painting is an 18.375 in. by 37.5 in. tempered hardboard panel. The ground consists of several coats of Utrecht Professional Acrylic Gesso.

Al's painting technique for most of his paintings involves classical alla prima, a technique involving a full-color under-painting which is layered over time with scumbling and translucent glazes. Some of Al's favorite colors to use for glazing include ultramarine blue, quinacridone violet, and yellow ochre.

Most glazes are applied with a nylon-bristle watercolor brush. Ragging is also frequently involved. Glazes are suspended in Walnut Alkyd Medium manufactured by M. Graham & Co.

This oil-on-panel is the third in a series of the Studios' Manti Project.

Mt. Timpanogos at Sunset

A virtual tour of the Studios would be incomplete without some attention to the light that flows in like a waterfall through the tall windows on the north and east, and to the mountain vistas and the little worlds of wonder about the valley and the garden.

The Studios, after all, are all about learning how to see; about taking a moment now and then to watch the poetry of color in the passing of a day, or reaching with the outstretched hand of childlike wonder to touch the ever-changing textures of the earth, and with the touch to be renewed in mind and heart.

This photograph, taken with the pastel setting of the sun this evening, shows Mt. Timpanogos as the fading fire of day cools in the rising tide of frozen twilight, climbs the mountain like the passing of a cloud, and leaves the valley in an inland sea of winter gray and blue.

Custom Built-in Brush Holders

Most features of the studio are custom made by Al to fit the techniques and work habits of each artist at Al Young Studios. Each holder shown here has stood up to the trial-and-error test of years of professional painting. Brush holders are as individualized as the artists who use them. We hope these ideas help in the search for solutions that fit your needs.

The brush holder pictured above is mounted on the wall next to the 50 in. x 55 in. easel on the studio's east wall. The natural-wood portion of the brush holder is actually portable, and sets in a painted wooden compartment. In addition to the slanted "shelf" through which holes were drilled to accommodate brushes, a lower shelf is provided with handle stops to keep the brushes in place.

A shelf running across the top of the holder accommodates a large white pitcher (not shown) containing old and over-sized brushes. A miniature silver teapot stands in the middle of the shelf and is home to frequently used palette knives. Bottles of solvent occupy the right side of the brush-holder shelf. Each bottle is equipped with a cork-mounted, stainless steel pour spout.

Another free-standing easel in the studio, above, is equipped with a brush-holder tray made of fluted, trim molding. The 3-in. wide, flat molding supports the painting, and its fluting is used to keep brushes separate when in use. This is Elspeth's favorite because it keeps the brushes between the palette and the painting; she doesn't have to reach away from the easel to retrieve a brush. Besides, Elspeth's easel is too far away from a wall for a mounted brush rack to be convenient.

Below, a wall-mounted brush and tool storage area occupies the bottom shelf of a set of wall-mounted shelves on the west wall of the studio. The white porcelain flower pot also contains brushes used for a wide variety of studio chores.

The storage shelf (above) is seldom used for brushes in use during a painting session. It is also home to palette knives, pencils, smudge sticks, and other tools.

Another wall-mounted easel, on the south wall of the studio, is equipped with a simple brush holder (near the center of the photograph) that allows brushes to lay flat without rolling around.

The pliers are most frequently used to remove lids (a great way of avoiding paint stains) and getting the very last bit of paint from a tube.

Over the years, Al has moved toward the use of free-standing brush holders (to be featured in another post), depending upon which easel he uses.