By Rosemarie T. Anner Peter Layne Arguimbau smears a dab of iron oxide on a strip of wood with a palette knife. “Look at it,” he says. “It’s a beautiful tonal sepia soup.” He mixes in a bit of powdered light-blue pigment and meshes the two substances together with his fingers. Suddenly, as if he were an alchemist, he achieves a fierce blue color with tremendous depth. He picks up one of his paintings, of a young woman with luxurious […]
Peter Layne Arguimbau smears a dab of iron oxide on a strip of wood with a palette knife. “Look at it,” he says. “It’s a beautiful tonal sepia soup.” He mixes in a bit of powdered light-blue pigment and meshes the two substances together with his fingers. Suddenly, as if he were an alchemist, he achieves a fierce blue color with tremendous depth. He picks up one of his paintings, of a young woman with luxurious dark, wavy hair that […]