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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 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 |
Bridget Riley and Op Art 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 » Bridget Riley and Op Art Introduction Color theory Paints African Art 19th cent 20th & 21st cent Modern art and vision Bridget Riley Richard Billingham font size: a a a Bridget Riley and Op Art White Disks, Bridget Riley, 1964. She wrote, “The uncertainties of a drawn structure increase when it is composed of similar, repeated elements. Because they are small and compacted, these elements begin to fuse while they are easy to separate when they are big.” Bridget Riley (1931) is a well-known British artist celebrated since the mid-1960s for her distinctive, optically vibrant paintings, called “Op Art.” She explores optical phenomena and juxtaposes color either by using a chromatic technique of identifiable hues or by selecting achromatic colors (black, white or gray). In doing so, her work appears to flicker, pulsate and move, encouraging the viewer’s visual ... http://www.webexhibits.org/colorart/riley.html · 9.1k |
Credits: Key Sources & Contributors 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 » Credits: Key Sources & Contributors About Credits Citations Teacher's Guide Bibliography Press font size: a a a Credits: Key Sources & Contributors Key Sources Marge Livingstone is Professor of Neurobiology at Harvard Medical School. She studies vision using anatomy, physiology, and human perception. Livingstone has a special interest in how the eye and brain use color and luminance information. She is also involved in studies of dyslexia and visual processing. Her research and book provide the foundation for many of the insights presented in this exhibit on luminance and peripheral vision. Semir Zeki is professor of Neurobiology at UCL and co-head of the Wellcome Department of Cognitive Neurology. A Fellow of the Royal Society and member of the American Philosophical Society, he specializes in studying the visual brain. Recently, he has extended his work ... http://www.webexhibits.org/colorart/about2.html · 13.0k |
Introduction: Modern Notions of Color and Art 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 » Introduction: Modern Notions of Color and Art Home Intro (page 1) Intro (page 2) font size: a a a Introduction: Modern Notions of Color and Art Dresden Buildings (Dance Hall Bellevue), Ernst Ludwig Kirchner, 1909. Kirchner was one of the many artists offering a new vision of the world, based on color. The development of art is linked to our interest in vision. Modern art emerged in France by artists such as Paul Gauguin(1848-1903), Paul Signac (1863-1935), Vincent van Gogh (1853-1890) and Paul Cézanne (1839-1906) in the second half of the 19th century. During the same period, scientists began to explore how we see. The new understanding of vision influenced the development of art and our understanding of it. With the artistic and scientific revolutions of the 19th century, the tradition of sublime history painting, inspired by political, spiritual or ... http://www.webexhibits.org/colorart/index3.html · 10.9k |
Pigments through the Ages - Intro to the whites Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Intro to the whites Intro to the whites 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: Lead white Lime white Titanium white Zinc white “Paris Street in Rainy Weather” (1877) by Gustav Caillebotte. The artist seems to have used different shades of yellow, red, and blue to paint the cobbled ground. However, the primary color is white, giving the impression of infinite shades ... http://www.webexhibits.org/pigments/intro/whites.html · 16.6k |
Pigments through the Ages - Overview - Cerulean blue Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Cerulean blue Cerulean blue / suh • roo • lee • uhn bloo / Jump to pigment Azurite Bone black Carbon black Carmine Cadmium yellow/red Cerulean Blue Cobalt blue Cobalt green Cobalt violet Cobalt yellow Chrome orange Chrome yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead-tin yellow Lead white 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 Overview History of use Making the pigment Technical details Painted swatch of Cerulean blue. Brief description of Cerulean blue: It's a cobalt stannate which was introduce as a pigment in the 1860s. Very stable and lightfast greenish blue with limited hiding power. Cerulean blue has a fairly true blue (not greenish or purplish) but it doesn't ... http://www.webexhibits.org/pigments/indiv/overview/ceruleanblue.html · 15.3k |
Art and Optics : David G. Stork: Summary « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Overall summary The following are lists summarizing some of the above analyses. Some of these points address relevant matters not discussed by Hockney and Falco. Thus when I list "murals and frescoes cannot be painted" by the projection method I do not claim that Hockney and Falco actually said that murals or frescoes could be painted by their method; I list these points merely to show the general limitations to the explanatory power of their theory. General technical considerations Using the mirror projection system proposed by Hockney and Falco... murals and frescoes cannot ... http://www.webexhibits.org/hockneyoptics/post/stork14.html · 16.8k |
Pointillism: Seurat's Grande Jatte and Circus 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 Grande Jatte and Circus 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 Grande Jatte and Circus What was different in the way this group of younger painters reacted to the color theories of Chevreul and other writers? How were they able to profit from Impressionist methods while reacting against some of their practices? Sunday Afternoon on the Island of La Grande Jatte (Un dimanche après-midi à l’Ile de la Grande Jatte), Georges Seurat, 1884-1886. Let us look at the painting Un Dimanche a la Grande Jatte. The painting represents a Sunday on the island of the Grande Jatte. The work is often referred to as his “Manifesto Painting,” and is even noted as such by contemporary critics. It was large ... http://www.webexhibits.org/colorart/jatte.html · 13.3k |
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 |
Pigments through the Ages - Effects Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Effects Effects 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 W. Kandinsky, Improvisation 7, 1910 Green has a soothing and harmonizing effect due to its closeness to nature and therefore was the preffered color for living rooms and drawing rooms. The expressionistic painter Vassily Kandinsky (1866-1944), however, ignored green in his works. He deemed green a "limiting element" and the ... http://www.webexhibits.org/pigments/intro/greens4.html · 13.5k |
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