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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 |
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 C: LUMINANCE AND EQUILUMINANCE Key understanding In the brain, the brightness (black and white) and the colors of a scene are processed separately. This can create some curious effects, for example, in equiliminant scenes, we lose a sense of position. Another phenomenon is that if the brightness is accurate, the colors can be dramatically altered, affecting the mood of a scene. Possible tasks and questions How do artists influence our vision by using the technique of “equiluminance”? Discuss the question in reference to three works of art. How did Leonardo da Vinci’s chiaroscuro ... http://www.webexhibits.org/colorart/teaching4.html · 8.4k |
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 D: PERIPHERAL VISION Key understanding Understand how our sensitivity to detail varies from the center of our vision to the edges, and also depending on the speed of a scene. Therefore, paintings that incorporate blur can seem more realistic. Possible tasks and questions How can artists use peripheral vision to focus on what is important in a painting: say a portrait? What are the important features of a portrait? (Notice the ‘plural’.) How have contemporary artists questioned our logical understanding of painting as a stable object? How have artists used our peripheral vision in ... http://www.webexhibits.org/colorart/teaching5.html · 7.9k |
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 » Simultaneous Contrast Introduction Before 1900 20th & 21st cent font size: a a a Simultaneous Contrast Equinox, Hans Hofmann, 1958. Note how the contrasting colors create energetic forms, which Hofmann famously termed “push and pull.” Two colors, side by side, interact with one another and change our perception accordingly. The effect of this interaction is called simultaneous contrast. Since we rarely see colors in isolation, simultaneous contrast affects our sense of the color that we see. For example, red and blue flowerbeds in a garden are modified where they border each other: the blue appears green and the red, orange. (This is explained below.) The real colors are not altered; only our perception of them changes. This effect has a simple scientific explanation that we will uncover. Mummy cases of ancient Egypt were inlaid with gold and blue lapis. ... http://www.webexhibits.org/colorart/contrast.html · 12.9k |
Vincent van Gogh to Theo van Gogh : c. 13-17 April 1885 » Home < Previous Next > Letter from Vincent van Gogh to Theo van Gogh Nuenen, c. 13-17 April 1885 Relevant paintings: "Lithograph, Potato eaters," Vincent van Gogh [Enlarge] Dear Theo Enclosed you will find some interesting pages about colour, namely the great principles which Delacroix believed in. Add to this “les anciens ne prenaient pas par la ligne, mais par les milieux,” that means, starting with the circular or elliptical bases of the masses, instead of the contour. I found the exact words for the latter in Gigoux's book, but the fact itself had already preoccupied me a long time. I believe the fuller of sentiment a thing one makes is, and the more true to nature, the more it is criticized and the more animosity it rouses, but after all, in the end it will rise above the criticism. I was very glad to hear Portier's opinion, but the question is whether he will stick to it. But I know some of those rare people who have “foi de charbonnier” do exist, and don't swing back and forth with public opinion. I am very glad that he found “personality” in it. In fact, I try ... http://www.webexhibits.org/vangogh/letter/15/401.htm · 18.8k |
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 |
Pointillism: Seurat’s Bathers at Asnières 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 » Pointillism: Seurat’s Bathers at Asnières 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 Pointillism: Seurat’s Bathers at Asnières Georges Seurat In 1884, a young artist named Georges Seurat (1859-1891) exhibits his first large-size painting in the newly created Society of Independent Artists. Because of its size, it hangs in a bar and goes to a large extent unnoticed. Like the other artists exhibiting, Seurat’s work is refused by the official Salon. He also adopts the brilliant palette of Impressionism, their interest in open-air light effects and the realization that “local” (the actual color of an object) can be modified by atmospheric light, sunlight or by juxtaposed colors. Bathers at Asnières (Une Baignade, Asnières), Georges ... http://www.webexhibits.org/colorart/pointillism.html · 12.9k |
Newton and the Color Spectrum 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 » Newton and the Color Spectrum Introduction Color theory Paints African Art 19th cent 20th & 21st cent Newton Goethe font size: a a a Newton and the Color Spectrum The diagram from Sir Isaac Newton’s crucial experiment, 1666-72. A ray of light is divided into its constituent colors by the first prism (left), and the resulting bundle of colred rays is reconstituted into white light by the second. Our modern understanding of light and color begins with Isaac Newton (1642-1726) and a series of experiments that he publishes in 1672. He is the first to understand the rainbow — he refracts white light with a prism, resolving it into its component colors: red, orange, yellow, green, blue and violet. In the late 1660s, Newton starts experimenting with his ’celebrated phenomenon of colors.’ At the time, people thought that color was a mixture of light and darkness ... http://www.webexhibits.org/colorart/bh.html · 9.8k |
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 |
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