Perhaps this becomes symbolic of his life in his family, where as a gay young man who hasn’t come out, he has to be surreptitious about all he does. He leaves home without telling anyone that he won’t be coming back anytime soon, making only a call to his sister. Her brother, by constrast, does this more furtively. She also breaks the gender stereotype of the passive woman, taking her life into her own hands especially in matters of independence and eloping. While Tanay emerges as more shy and introvert, Anuja comes across as more outspoken, bold and outgoing. But their gender and their personalities shape their narratives, and we see two characters emerge before us. Tanay’s is a monologue, Anuja’s, a diary entry. Straight from the horse’s mouthĬobalt Blue is narrated by both Tanay and Anuja. But the experience seems doubly stifling for Tanay, who, even as he recovers from the shock of his beloved running away, must keep this from his family, to whom he has not come out.Īnuja faces the ‘shame’ of a public ‘wrongdoing’, and Tanay, with no other way, disguises his grief as one harboured by a brother for his sister, for that is the only way the family can accept his broken heart. Shutting inīoth of them experience the broken heart of young lovers, discovering truths in their own ways, their love taking them in its own direction. Aseem, their elder brother, is unaffected by his entry, but both Tanay and Anuja fall in love with this elusive, mysterious guest, who reciprocates both their love, and neither sibling comes out of it as the same person. It follows Tanay and Anuja, part of an average Indian family of five in a Maharashtrian town, and their unnamed paying guest who enters their life and turns it upside down. In tone, Cobalt Blue thankfully falls in the first category, and in story, it explores an entirely different arc as Kundalkar weaves a poignant and touching tale of a brother-sister duo in love with the same man.Ĭobalt Blue is both typical and not in its portrayal of love, loss and longing- the holy trinity of the romance of life. Romance and tragedy have both used this twist in sometimes subtle, sometimes dramatic and (mostly film), downright over-the-top ways. In 2019 we were thrilled to relaunch this special blue colour as a permanent part of our range.It’s common to hear stories of sisters falling in love with the same man or brothers in love with the same woman. Smalt is a bright variation on cobalt blue, made from the ground pigment of cobalt glass used in classical stained glass and pottery where a cobalt compound would be included in a glass melt. In 2007, Winsor & Newton celebrated 175 years of colourmaking and to mark the occasion Smalt (Dumont’s Blue) watercolour was reintroduced as a limited edition colour. In fact, cobalt blue sometimes is called Parrish blue, after the artist Maxfield Parrish, who made famously intense blue skyscapes using this colour. With a purer tint than Prussian blue, it was immediately taken up by artists. Thénard knew the famous Sèvres potteries used salts containing cobalt (smalt) to produce their blue glazes, and in 1802, from a mix of cobalt salts and alumina, he produced a pigment called cobalt blue. The chemist Louis Jacques Thénard was commissioned by the French interior minister, Jean-Antoine Chaptal – himself an industrial chemist – to develop a synthetic substitute for ultramarine. Laboriously ground from lapis lazuli, a semi-precious stone mined only in distant Afghanistan, the prohibitive cost of this pigment prompted the Napoleonic administration to find an alternative. Until the 19th century the best blue pigment available to artists was ultramarine. Cobalt blue deep, a unique, red shade cobalt blue is made by using cobalt zinc silicate. It is semi-transparent in both Winsor & Newton Artists’ Oil Colour and Professional Watercolour. With a moderate tinting strength, it is useful on the palette for muted colour mixes. Cobalt blue is a clean blue that is neither warm nor cold.
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