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Luminance Differences Affect Our Perceptions Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Luminance Differences Affect Our Perceptions Introduction 15th & 16th cent 19th cent 20th & 21st cent font size: a a a Luminance Differences Affect Our Perceptions Artists use the technique of “equiluminance” to blur outlines and suggest motion. We cannot perceive the edges of objects where object and background have the same luminance. If parts of a painting are equiluminant, their positions become ambiguous. They may seem to shift position or to float. Detail from Plus Reversed, Richard Anuszkiewicz, 1960. Equiluminant colors have special properties. They can make a painting appear unstable. Adjust the colors in the painting above. Somewhere in the middle (the exact point varies among computers), the shapes may appear jittery. The red and blue seem to move around because they are equiluminant. The “What” system sees the shapes because of the strong color ... http://www.webexhibits.org/colorart/anuszkiewicz.html · 8.1k |
Picasso and the Mood of a Painting Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Picasso and the Mood of a Painting Introduction 15th & 16th cent 19th cent 20th & 21st cent Piet Mondrian Pablo Picasso Mood Larry Poons Jim Lambie Jegori Koski font size: a a a Picasso and the Mood of a Painting The mood of a painting can be strongly influenced by its colors. Interestingly, there are several cases where a painting’s colors are quite abnormal, but the luminance is correct. Our Where system sees the paintings clearly, but our What system is confused by the coloring. Self-Portrait, Pablo Picasso, 1901. Here, Picasso presents himself as a romantic, bohemian figure — a moody young artist who fixes the viewer with a hypnotic stare. In Picasso’s “Blue Period” (1901-1904), his blue paintings portray destitute human beings. Blue was chosen deliberately — deep and cold, signifying misery and despair — to intensify the hopelessness of the ... http://www.webexhibits.org/colorart/mood.html · 9.0k |
Claude Monet's Poppies, Near Argenteuil Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Claude Monet's Poppies, Near Argenteuil Introduction 15th & 16th cent 19th cent 20th & 21st cent Monet's sunrise Impressionism Monet's poppies Seurat's Bathers Grande Jatte & Circus Signac font size: a a a Claude Monet's Poppies, Near Argenteuil In the countryside, a vivid splash of poppies seems to move in a gentle breeze. Monet has made the red poppies and the green field effectively equiluminant. The position of the poppies seems uncertain. To many viewers, they appear to quiver. Poppies, Near Argenteuil, Claude Monet, 1873. If you remove the color, most of the poppies cannot be seen in the field. The poppies and field are equiluminant. As has been noted, the Impressionists painted not a landscape but the impression of a landscape. Nothing here is painted exactly; rather, everything is suggested. Monet unforgettably evokes a mood by choosing these ... http://www.webexhibits.org/colorart/monet2.html · 6.8k |
Galileo Galilei | Calendars Calendars exhibit Webexhibit Home Node view Years & months Various Calendars Our Week Timeline About Overview Astronomy Perpetual calendar Month of Moons Today's Moon History Definitions International Do it yourself A page from the "Calendars" exhibit... The text of: Galileo Galilei Dialogue Concerning the Two Chief World Systems, 1632 Galileo Galilei (1564-1642) Today Galileo is a famous and romantic name. We have all been taught the story of his heroic fight in the name of science against the intractable ignorance of the tyrannical Catholic church. The reality is not so starkly drawn, but no less interesting for that; Galileo’s own arrogance created many enemies, and Rome’s anxiety over its authority in the schismatic era of the Protestant reformation made their collision inevitable. Galileo was a professor of mathematics, first at the University of Pisa, where he had been born, and then at Padua, perhaps establishing a reputation for his willingness to offend Aristotelian philosophers perhaps, with the publication of De Motu (On Motion), but for little ... http://www.webexhibits.org/calendars/year-text-Galileo.html · 314.3k |
Full text: Prolegomena by Immanuel Kant, 1783 Preamble On The Peculiarities Of All Metaphysical Cognition. First Part Of The Transcendental Problem: How Is Pure Mathematics Possible? Second Part Of The Transcendental Problem: How Is The Science Of Nature Possible? Third Part Of The Main Transcendental Problem: How Is Metaphysics In General Possible? Conclusion: On The Determination Of The Bounds Of Pure Reason. Solution Of The General Question Of The Prolegomena: How Is Metaphysics Possible As A Science? Appendix: On What Can Be Done To Make Metaphysics Actual As A Science. Notes. Appendix: On What Can Be Done To Make Metaphysics Actual As A Science. Notes. http://www.webexhibits.org/causesofcolor/ref/Kant.html · 288.3k |
Wild Beasts and Colors Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Wild Beasts and Colors Introduction Before 1900 20th & 21st cent Fauve colors Cultural interaction Textiles Kente Dufy's light Warhol's Marilyns African Cindy Sherman Mona Hatoum font size: a a a Wild Beasts and Colors In the early 20th century, art underwent momentous changes. Artists became increasingly interested in non-naturalistic representation, departing from the traditional use of form and color. From 1904, the Fauve artists, including Henri Matisse (1869-1954), André Derain (1880-1954), Raoul Dufy (1877-1953), Henri Manguin (1874-1949), Maurice Vlaminck (1876-1958) and Georges Braque (1882-1963), begin to portray familiar objects with “unfamiliar” colors. The French term “fauvism” refers to “wild beasts.” However, a better name for the group might be “the artists of pure color.” Fauvism is the first modern movement in which color rules supreme ... http://www.webexhibits.org/colorart/fauve.html · 12.3k |
Ideas and Questions for Class Discussion and Accreditation Tasks Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Ideas and Questions for Class Discussion and Accreditation Tasks About Credits Citations Teacher's Guide Bibliography Press Overview Getting started Topic A Topic B Topic C Topic D font size: a a a Ideas and Questions for Class Discussion and Accreditation Tasks TOPIC A: LIGHT, COLOR AND VISION Key understanding Our ability to respond to colors is the result of a complex process that can be understood by studying what takes place in the rods and cones of the eye. Many scientists and artists have studies color and light, developing color theory. Our vision is also affected by different qualities of paints such as egg tempera and oil color, influencing on the brightness of colors, color contrasts and depth of artworks. Possible tasks and questions What do the following terms mean? Hue Saturation Luminance Discuss the development of color theory. ... http://www.webexhibits.org/colorart/teaching2.html · 8.0k |
DIY: Mixing Lights | Causes of Color font size: a a a Related pages: Color Theory Color mixing Representations Systems Energy of color Do it Yourself Do it Yourself 2 A page from the "Causes of Color" exhibit... Mixing Colored Lights Have you ever wondered why humans perceive the colors we see? By shining lights of three different colors against a white background, you better understand how human eyes “see” color. Materials One red, one blue, and one green light. You can use three different colored light bulbs, each in its own socket; three different LED lamps, similar to those that a DJ uses; or three flashlights of equal size and brightness, each with a double layer of red, green, or blue cellophane attached with a rubber band. A white wall, paper, or poster board. How To Do It Tape a piece of white poster board or about 8 pieces of white copy paper to a wall in a dark room. (Notes: You can also use a white wall. A white projector screen does not work well.) Turn the lights on and position them until you get the “whitest” light where the three colors mix. For best results, the room should be as ... http://www.webexhibits.org/causesofcolor/1BE.html · 13.2k |
For students | Causes of Color font size: a a a Related pages: Intro Background Lesson For students Assessment A page from the "Causes of Color" exhibit... Lesson 1 (All causes): Student instructions You can learn all about color and why the grass is green and the sky is blue. For the next few weeks, your class will study colors. Follow along and you will be able to explain the difference between colored lights and colored paints. You will be able to make your own light bulb, and mix chemicals to produce light. You can test some materials from home, like soap and juice, and see color changes. Bubbles, CDs, milk, and Lifesaver mints all produce different colors. You’ll check back to this page from time to time as you learn about color, and build your nodemap. Background Light originates from the sun and is a form of energy. Light produces colors. Light can be made; light can be lost; and light can be moved. See examples of light made, light lost, and light moved. This WebExhibit explores all possibilities of color and its causes. A “nodemap” is a new way to present information. You can design a ... http://www.webexhibits.org/causesofcolor/lesson-1-students.html · 14.6k |
Microconsciousness | Causes of Color font size: a a a Related pages: The Visible Spectrum In the eye Illuminants Microconsciousness Seeing color Constancy A page from the "Causes of Color" exhibit... Color, Art and the Mind Color tells us whether strawberries are ripe, and sets the mood in paintings. "Strawberries" (c.1905) by Pierre-Auguste Renoir What is color? Color is a microconsciousness. Like our senses of taste and smell, color helps us to understand the world around us. While it gives us elementary survival skills, color also enriches our lives, allowing us to appreciate everything from the beauty of a rainbow, to the aesthetic pleasure of a painting. In the late 19th and early 20th centuries, many artists explored the "essence" of things, and they divided the visual experience into components, such as "color" and "form," in a manner surprisingly similar to the way in which our brain processes information. Our mind continually seizes essential information from the rapidly changing images we see, distilling from the successive views the essential character of objects and situations. Jacques ... http://www.webexhibits.org/causesofcolor/mind.html · 14.9k |
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