setting the table

today I’m setting the table for
my friend’s indigo dyeing class
studio visit
 
walking around the table so many to thank,
including--
-india flint at haystack for her ecoprinting class
-norte maar & Jason Andrew for showing ‘a year’s worth’
-and later bewilder work with catalog
-everyone that taught & talked to me about natural dyes
-working at Naumkeag with their amazing flower gardens
-being a TA for Kathy Hattori at Haystack and dyeing with
            so many talented dyers
-learning that Shakers wore ‘any color they could dye’ as
            an artist in residence at Hancock with Smp
-showing not once but twice with like-minded artists
            interested in the Shakers, organized by Albany airport & Eric
-performing meetinghouse with miram at a moonbow event
and later eal publishing it and then adding a podcast
-working with curator Christie Jackson & all at Fruitlands on
‘anything but drab’
 
often one thing leads to another
oftentimes it's just someone’s faith in your work
or just willing to say yes to something never done
but always, I am filled with so much gratitude to all.
Thank you.

reading & writing with mrs merrifield

Date : March 18, 2026
[images from Syme’s “Werner’s Nomenclature of Colours’ found in the Stephen L. Wolf Collection at Historic Deerfield Library]

[Brece Honeycutt, reading & writing with mrs merrifield {graphite, tea, gouache, watercolor on paper}, featured in the online exhibition, The Nomenclature of Colours, The Slade School of Art]

[listen here via Soundcloud to hear me read, ‘reading & writing with mrs merrifield']


color blots

Category : Art, Books, Color, research
Date : February 28, 2026
look alikes

color blots
from Martha Gartside
tangled threads
from mending projects

crimson blot colours:
palest pink
deepest crimson
violet blue hues
purple rose
rose-leaf green
yellow seeds of rose

violet blot colours:
common crocus
purple lilac
deep purple lilac
palest green yellow
orange full tinted
An excerpt from my upcoming essay Prismatic Utopia on Gartside.  And please note the footnotes, for none of this examination of Gartside would have been possible without the scholarship of Dr. Alexandra Loske.



Martha Gartside (1755-1819), a British watercolor instructor and theorist, wrote three instruction books, including her 1808 An Essay on a New Theory of Colours. Perhaps, the earliest nineteenth century woman to write and publish on both the theory and practical aspects of color, she insisted her pupils needed a command of color theory in order to become practicing artists. [1] Of course, Gartside constructed a color wheel, but her inventive ‘color blots’ showed both range and contrast and could rightly be the first abstracted painted image. She explained, “each blot is a group of flowers…They are merely compact blots of colours, exhibiting the effect produced by arranging them according to the theory delivered.”[2] Her orange blot features the harmony of deep orange and scarlet nasturtiums contrasted with the “darkest shade of blue and darker green leaves.” [3] The blot glows golden as the sun on a horizon, grounded by deep red rocks and blue-black indigo waves or as she would have it, orange nasturtiums with deeply colored leaves.

[1] M.Gartside, An Essay on A New Theory of Colours, (London: T. Gardiner: 1808). Internet Archive, accessed January 2023. https://archive.org/details/gri_33125015119437/page/n3/mode/2up.  If one wants to read a concise and illustrative book on color theory and painting, there is no better than Gartside.  For an examination of Gartside herself, see Alexandra Loske, Mary Gartside c. 1755-1819, Abstract Visions of Colour:  A Woman Theorist in Georgian England, (London: Thomas Heneage Art Books:  2024).  Since writing this book, Loske has determined Gartside’s first name was Martha instead of Mary.
[2] Gartside, 45.
[3] Gartside, 50-51.





b&w color research

Date : January 31, 2026
ot all color research is in color
 
it all started with Newton
 
celebrating
black & white
circles
diagrams
charts
images
 
from the Stephen L Wolf Collection
aka over 1,200 books on colour
at Historic Deerfield Memorial
Library Special Collections
 
--Sir Isaac Newton, OPTICKS:  A Treatise of the Reflections, Refractions, Inflections and Colours of Light, 1718
 
--OPTICKS, rainbows in landscape, note tufts of grass
 
--Ogden Rood, Students Text-book on Color, 1881
 
--Chevreul, The laws and contrast of colors, 1859, 3D!
 
--Vanderwalker, The Mixing of Colors and Paints, 1924
 
--Bonnie Snow and Hugo Froehlich, The Theory and Practice of Color, 1920
 
--Albert Munsell, A Grammar of Color, edited by Faber Birren, 1969
 
--Chevreul, Des couleurs et des leurs applications, 1864.
 
--J W Mausury, Hints on House Painting, 1868, and the invention of the paint can!
 
--Mrs. Merrifield’s the first to translate Cennino Cennini into English, 1844
 
& ends with Newton’s Sun Beam from OPTICKS

[all images from the books in the Stephen L. Wolf Collection, Memorial Library, Historic Deerfield]

color in line

Date : January 26, 2026
Color begins to line up this week
Into rectangles and squares
Into thin lines
Into grids



.
Mills, The Painter’s Handbook, 1887
Jorgensen, The Mastery of Color, 1906
Bonnie Snow & Hugo Froehlich, The Theory and Practice of Color, 192
Cleland, A Grammar of Color Arrangements, 1921
Elizabeth Burris-Meyer, Historical Color Guide, 1938
Faber Birren, Color for Interiors Historical and Modern, 1963
Maerz, A Dictionary of Color

All found in books from the Stephen L. Wolf Collection at Memorial Library, Historic Deerfield.

touching Colours

Date : January 18, 2026
This week, I’ve been ‘touching Colours,’ to quote the first book seen–John Hoofnail’s 1764 ‘The Painter’s Companion –found in the amazing Stephen L. Wolf Collection at Historic Deerfield Memorial Library. 

Wolf owned and operated S. Wolf’s & Sons, a NYC family business began in 1869. He built the premier private library on all things color and paint and varnish and theory, including Newton, Syme, David Hay, George Field, Chevreul, Munsell, Burris-Meyer—just to name a few.

I am so thankful for my Library Research Fellowship to use the Wolf Collection for my project Prismatic Utopia. Reading these books will further situate the Shaker’s cutting-edge use of color in the early 1800s, during the age of ‘harmonious colour.’
 
Images
--Field, Chromatic Equivalents
--Hay, The Laws of Harmonious Colouing
--Kyan, Elements of Light
--Church, Colour
--Syme, Werner’s Nomenclature of Colours
--Hay, Nomenclature of Colours
--Masury’s Ready-made paints
--Chevreul, Des Couleurs
--Bacon, Theory of Colouring
--Field’s, Chromatography
--Hoofnail, The Painter’s Companion
 
Find more information on the Library Fellowships, here

a scheme of colors

Date : January 10, 2026

a scheme of colors

A project; a contrivance; a plan of something to be done; a design.  Thus we may say to form, a scheme, to lay a scheme, to contrive.

A representation of the aspects of the celestial bodies.

I’m scheming in colors.
I’m arranging folders.
I’m packing poems into suitcases.
I’m lining up little watercolor tins

I’ll be scheming in colors as a Library Research Fellow
at Historic Deerfield using their Wolf Color book collection

 

 

 [Moses Harris, ‘scheme of colours’ found in Alexandra Loske’s ‘The Book of Colour Concepts ]

[scheme definition 1828 Websters]


        

movement

Date : December 5, 2025
movement
 
 
rocking
            
rusty red cradles
painted the colors of fallen leaves
 
                                                                
body
 
washed and enshrouded in
garment of celestial gold
 
                                                                                               
shimmers
 
shines, alights
 
 
hoist
 
onto chrome green bier
green symbolizes growth
 
 
movements            
not static
 
all is concert
 




last year after attending
Cradled at Shaker Museum,
I wrote the above poem, ‘movement’

Cradled is now on view at
Make Hauser & Wirth LA

image, The Shakers A World in the Making, Vitra Design Museum

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