SC - Re: A question of re-creation

[Laura C. Minnick]

Ok- gotta put in my two cents here-

Weird (stooopid?) comments, like the 'did you use modern tools to make
to period tools?', in my experience seem to come from those who have
nothing better to say- either because it really isn't their field or
they can find nothing else to criticize. Once, years ago, I took some
examples of some calligraphy and illumination that I was working on, and
displayed it on a portable writing desk that was also part of the
display, and took it to one of the so-called Laurel's Prize Tourneys.
(The desk is covered with scenes from the Manesse Codex and I also
copied an ivory tryptich in colored enamels on the back panel.) I didn't
get many comments except those of the 'Oh! I know that picture!' type,
until one woman (who is not a painter that I know of) came through,
looked at it, and then asked if I had used period paints. Well, no, I
hadn't, and I told her so. She wanted to know why- and my answer was? A)
many period pigments are difficult to get BECAUSE THEY'RE POISONOUS! B)
I was working in an enclosed space (very small apt) and didn't need the
haz mat team visiting me, and C) three children were sharing this
enclosed space with me...

She sniffed and said "Well, I guess we all make our compromises."

Frankly, I was looking more for dialogue on the illumination technique-
working with the rather cartoonish Manesse Codex style is harder than it
looks. I felt rather as though I'd just played a piano concerto in from
of a roomfull of critics and instead of talking about technique, all
they can come up with is "Why didn't you play this on a Steinway grand?"
Because the 100-year-old Mathushek is what is in the living room. And
while the choice of piano may affect the overall product, it is the
keyboard technique that I was seeking advice on... 

And some people wonder why I don't play the contest game.

'Lainie