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Turner and Delacroix 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 » Turner and Delacroix Introduction Before 1900 20th & 21st cent History Goethe & Chevreul Turner & Delacroix font size: a a a Turner and Delacroix Shade and Darkness - The Evening Before the Deluge, J.W.M. Turner, 1843. The dark sky and seething waters of the Biblical flood are swept into a swirling mass of blacks and purples, surrounding a pool of contasting yellow in the distance. Light and Color (Goethe’s theory) — The Morning after the Deluge — Moses Writing the Book of Genesis, J.M.W. Turner, 1843. He composed a verse to accompany this picture: “Th’ returning sun / Exhaled the earth’s humid bubbles, and …/ reflected her lot forms, each in a prismatic guise…” Modern art is commonly associated with the 20th century. Yet, Joseph Mallord William Turner’s (1775-1851) work has characteristics that could be considered modern. Parts of many of Turner’s paintings ... http://www.webexhibits.org/colorart/romantic-color.html · 10.3k |
Goethe and Chevreul: Simultaneous Contrast 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 » Goethe and Chevreul: Simultaneous Contrast Introduction Before 1900 20th & 21st cent History Goethe & Chevreul Turner & Delacroix font size: a a a Goethe and Chevreul: Simultaneous Contrast Picture of a Girl in Reverse Colors, Goethe. Enlarge this image, stare at it for half a minute, then look at a blank white wall or paper. You might see the faint image of the fair maiden at whom Goethe was gazing in a pub. By 1800, Goethe had already identified color interaction, simultaneous contrast and complementary colors, which he logically named completing colors. Goethe also attributes other properties to colors. He talks of color both addressing itself to the eye and the feelings – or human emotions. He lists “plus” colors, such as yellow conveying “action, light, force, warmth” and other qualities, as it excites a warm and an agreeable impression on the eye. ... http://www.webexhibits.org/colorart/simultaneous.html · 10.8k |
Goethe's Color Theory 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 » Goethe's Color Theory Introduction Color theory Paints African Art 19th cent 20th & 21st cent Newton Goethe font size: a a a Goethe's Color Theory Johann Wolfgang von Goethe (1749-1832) was the greatest poet, playwright, novelist and essayist in the German language – comparable to Shakespeare and Dante. Until Johann Wolfgang von Goethe came along, no one had questioned the validity of Newton’s ideas about light and color. Goethe was both a writer and a scientist. His 1,400-page treatise on color was published in 1810. According to Goethe: “That I am the only person in this century who has the right insight into the difficult science of colors, that is what I am rather proud of, and that is what gives me the feeling that I have outstripped many.” Because Goethe misinterprets some experiments, he incorrectly thinks that these experiments show Newton to ... http://www.webexhibits.org/colorart/ch.html · 8.4k |
Pigments through the Ages - Intro to the yellows Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Intro to the yellows Intro to the yellows Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a Colors Purple Blue Green Yellow Orange Red White Brown Black Choose: Cadmium yellow Chrome yellow Cobalt yellow Indian yellow Lead tin yellow Lemon yellow Naples yellow Orpiment Yellow ochre The title of Turner’s painting “Light and Morning after the Deluge, Moses writing the Book of Genesis” (1843) pointedly describes the role of the color yellow: ... http://www.webexhibits.org/pigments/intro/yellows.html · 18.4k |
Representations | 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... How do you represent colors? There is debate over which type of color circle or color wheel is most accurate, though there is merit in any color circle arranged in a logical sequence. A color wheel has colors arranged according to a chromatic relationship (visual), and helps us understand the relationships between colors. Primary colors are equidistant, colors opposite one another are complementary, and colors placed beside one another are analogous, mimicking the process that occurs when we blend hues. There are essentially three different types of color circles. Conceptually, the oldest of all color circles is based on subtractive color and uses cyan, magenta, and yellow as the primary colors. Often blue, red and yellow are used as the primaries, instead of cyan, magenta and yellow. This variation is historical in origin, and based on the availability of pigments. Painters and printers favor ... http://www.webexhibits.org/causesofcolor/1BB.html · 20.3k |
Blurred Backgrounds in the 19th Century 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 » Blurred Backgrounds in the 19th Century Introduction 19th cent & before 20th & 21st cent Peripheral vision Mona Lisa 19th Century font size: a a a Blurred Backgrounds in the 19th Century Mrs. Charles Badham, Jean-Auguste-Dominique Ingres, 1816. In the drawing by Jean-Auguste-Dominique Ingres (1780-1876) at right, the face is drawn with greater detail (higher resolution) than the background. Ingres may have used a small lens (a camera lucida) to help him draw his clients’ faces, and then completed the background scenery from memory. The faces in his drawings show higher resolution and often higher contrast, which focuses attention on the identity of the sitter. Similarly, the imprecise background confirms that the sitter is the focus of the work. Peace - Burial at Sea, Joseph Mallord William Turner, 1842. JMW Turner’s painting at left evokes the deep and ... http://www.webexhibits.org/colorart/cg.html · 7.8k |
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 |
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 B: COLOR INTERACTIONS: SIMULTANEOUS CONTRASTS Key understanding Certain colors (Red & Green, Blue & Yellow) are opposites. They appear to enhance each other when they are juxtaposed. It a light is colored, often we sense the opposite of a color in the shadow. Artists make use of both of these aspects of “complementary colors” A few further definitions to help clarify terms used: Hue: It is what we think of when envisaging color. Primary colors: Red, Yellow, Blue. By the late 19c on, white and black were generally viewed as ‘non-colors’. Complementary Colors: The two opposite primary ... http://www.webexhibits.org/colorart/teaching3.html · 11.0k |
Using Color Contrasts throughout the Ages 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 » Using Color Contrasts throughout the Ages Introduction Before 1900 20th & 21st cent History Goethe & Chevreul Turner & Delacroix font size: a a a Using Color Contrasts throughout the Ages For ages, artists have intuitively used color contrasts for dramatic effect. Michelangelo Buonarroti (1475-1564) was a colorist of great originality and extravagance. On the Sistine Chapel ceiling, Michelangelo modeled by varying color (cangiante) to an unprecedented degree – shifting hues by combining colors to create mid-tones and light tones – for example, adding yellow highlights to an orange robe. He created shot hues, a term derived from shot silk, where threads of different color are used as weave and cross-weave. The color of the silk varies according to the angle of view. This was unexpected in an artist who was admired for his draughtsmanship (see entry on ... http://www.webexhibits.org/colorart/bd.html · 9.7k |
Vincent van Gogh to Theo van Gogh : 2nd half October 1885 » Home < Previous Next > Letter from Vincent van Gogh to Theo van Gogh Nuenen, 2nd half October 1885 Relevant paintings: "Still Life with an Earthen Bowl and Potatoes," Vincent van Gogh [Enlarge] "Still Life with Two Baskets of Potatoes," Vincent van Gogh [Enlarge] "Still Life with a Basket of Potatoes," Vincent van Gogh [Enlarge] "Still Life with Three Birds' Nests," Vincent van Gogh [Enlarge] "Still Life with Three Birds' Nests," Vincent van Gogh [Enlarge] "Still Life with Three Birds' Nests," Vincent van Gogh [Enlarge] "The Anatomy Lesson of Dr. Tulp," Rembrandt van Rijn 1632 [Enlarge] Dear Theo, Today I received your letter with enclosure. I was very pleased with your letter, because I noticed a few things in it which I want to talk over. To begin at the beginning; what you write about a certain study of a basket with apples is very well observed, but does this observation come from yourself??? because I fancy, I should almost say I am sure, that you used not to see that kind of thing: However this may be, here we are on our way to agreeing more about the ... http://www.webexhibits.org/vangogh/letter/15/428.htm · 29.3k |
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