298. ✮ The golden proportion in Palma’s painting and music ✮
picture 1 – Chiesa San Antonin where Palma painted the whole year 1596 on the paintings about the life of San Saba
And they remembered all the days as Palmina came with her basket with fresh bread or food from the Dogan’s Palace where Palmina played often Lute solo concerts for the international honour guests of the Republic of Venice, sometimes with her lantern and with her music instrument, her lute.
Every time Palma il Giovane painted in the church he put on his working table
a music score for Palmina.
Often she comes at Palma’s painting working place and her first look was on the little working table where also a lot of glass with colours and paint brushes are placed.
And every time she smiled if she saw a new composition for her waiting to be played by her on that table.
Sometimes she played it directly in the church – Palma’s ear and heart was in such moments direct with Palmina.
Palma was lucky and he followed every tone she played.
And Sometimes she did rehearsal it in her little room in the ‚Calle de la Pieta‘.
picture 2 – Doge’s Palace in Venice (left) where Palmina performed often Palma’s music creations for her
Sometimes she performed it then at the evening concert in the Doge’s Palace on San Marco Place.
During this concerts Palma could feel that. He could feel that she was performing his music creation, he felt it deep in his heart, even he was painting with a lantern or sleeping at the painting scaffolding in the church even he is sleeping in his little bed, he could feel her heartfelt music playing and smiled and was lucky.
Very often Palmina came with her Lute at that Church Chiesa San Antonin to play his new composition and Palma was very lucky to hear his new creation played by her and he painted during this very happy.
So in this way Palmina inspired Palma to compose little creations for her and there was no day without a new fresh composed music score, waiting on the working table beside the bottles with colours and several fine paintbrush.
picture 3 – One of the Paintings about the live of San Saba*) in Sant‘ Antonin in Venice
*) There was a scaffolding in the year 1596 on the left side on which Palma was working on the half-circle paintings till the evening. Palmina came with a lantern to bring him light and to play soft lute music for him (often she surprised him with his own music compositions)
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During they saw this Peony Gondola Vision a music creation comes from Palma’s heart to describe this Vision of the year 1596.
And Palmina put her head to Palma’s side and they listened to the music and they saw all this secret music moments and it was like that:
VIDEO:Violin and Piano (60b): https://youtu.be/rRwEHZS4Xrg
»Oh, Palma, it is composed in the 5/4 beat isn’t it?«
»Yes it symbolizes the golden proportion¹) in art. I use it in my Paintings (a:b = b : (a+b) – The smaller (a) is in relation to the bigger (b) like the bigger (b) to whole (a+b)«
»Oh, 5 beats per bar as golden proportion. Woooh, Palma, that is an amazing music idea!!!«
¹) Golden Proportion ( „golden ratio“) in Mathematics and Art – Wikipedia – https://en.wikipedia.org/wiki/Golden_ratio
»In MATHEMATICS, two quantities are in the golden ratio if their ratio is the same as the ratio of their sum to the larger of the two quantities. The figure on the right illustrates the geometric relationship. «
» The golden ratio is also called the golden mean or golden section (Latin: sectio aurea). Other names include extreme and mean ratio, medial section, divine proportion, divine section (Latin: sectio divina), golden proportion, golden cut,and golden number.
Mathematicians since Euclid have studied the properties of the golden ratio, including its appearance in the dimensions of a regular pentagon and in a golden rectangle, which may be cut into a square and a smaller rectangle with the same aspect ratio. The golden ratio has also been used to analyze the proportions of natural objects as well as man-made systems such as financial markets, in some cases based on dubious fits to data. The golden ratio appears in some patterns in nature, including the spiral arrangement of leaves and other plant parts.
Some twentieth-century artists and architects (see also art and architecture in the earlier centuries), including Le Corbusier and Salvador Dalí (Titian, Palma il Giovane, Johann Sebastian Bach), have proportioned their works to approximate the golden ratio—especially in the form of the golden rectangle, in which the ratio of the longer side to the shorter is the golden ratio—believing this proportion to be aesthetically pleasing. «
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After they listened to the music they continued to dream their Peony Gondola Vision and it was like that:
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Yes, she played his music creation for him with all her heart and Palma got more power to paint.
If she played he could feel her heartfelt personal dedication. It seems that she is hugging his heart with her music performance and Palma could feel it even they get a distance of thousands of miles / kilometers.
If they are not alone and some Titian Art School students are assisting Palma with painting work they were carefully that no one could realize that Palma and Palmina are looking and smiling at each other.
In such moments Palmina played and smiled. And Palma could feel her smile without looking in her direction and Palma smiled also secretly during he was painting on his huge painting artwork.
Also the other students painted better and are more concentrated if Palmina was there and playing on her Lute.
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And after that Peony Gondola Vision Palmina and Palma dreamed a dreaming music like to fly together over the surface of Planet Mars and the dreaming music was like that:
VIDEO: 3min Violin and Piano (60c) : https://youtu.be/Ws_Wj5eNFac
(to be continued…)
Read also the other CHAPTERS of this story
»Palma il Giovane – The Peony Gondola« here:
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