Never quite got to documenting the color for March until now, but I knew it was gold — the color of the dormant lawn emerging from under the snow, that one kind of oak that holds onto its leaves through winter,  all the other leaves, fallen, pressed flat by the weight of the snow. Lula’s fur, a lot of local granite, shed pine needles, my favorite earrings.

Gold shades effortlessly into other colors, like yellows and browns and delicious oranges, and it’s easy to get confused. Terra cotta, you are not gold.

Since white left, gold has been the dominant color of my world, these few acres of yard and woods. (That will change, of course, as green returns. I might need to do a few months of the greens because it’s such a glorious color.) But March was gold, let us say hello (and goodbye).

Regarding the color gray, as I am for February, let’s consult the master, Johannes Itten:

Neutral gray is a characterless, indifferent, achromatic color, very readily influenced by contrasting shade and hue.

It is mute, but easily excited to thrilling resonances.

Any color will instantly transform gray from its neutral, achromatic state to a complementary color effect corresponding mathematically to the activating color.

This transformation occurs subjectively, in the eye, not objectively in the colors themselves.

Gray is a sterile neuter, dependent on its neighboring colors for life and character.

It attenuates their force and mellows them.

It will reconcile violent oppositions by absorbing their strength and thereby, vampirelike, assuming a life of its own.