The effect of limited palettes on the structuring of painting
by Ione Alphia Foss
A THESIS Submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree
of Master of Applied Art at Montana State College
Montana State University
© Copyright by Ione Alphia Foss (1957)
Abstract:
It was the object of the experiment to discover whether any significant difference in painting thought
and structure would result from the use of particular color ranges, and bow such groups might be used
to help organise an approach to the study of painting.
In proceeding with the exploration, a study was made of the function of color in painting in the past,
Color theories were reviewed to discover their effects on painting. To clarify the discussion of color
theories, diagrams of three color solids were added in Appendix I. After conferences with advisors,
four color-groups were then chosen for study. These included a primary—colors palette, a spectrum
palette, a yellow-violet palette, and a simple four-toned palette. Each range was explored first by
making a value scale. Several paintings were then developed with each range, the palettes being varied
with each painting so that the qualities of similar colors might be observed. Colored slides of a number
of the paintings which resulted from this exploration were placed in Appendix II.
It was found that the primary-colors palette might be a valuable device for learning the mixing of
colors from a basic, minimum group. however, since ranges of hue, value and intensity can be
accomplished only by elaborate mixing, this palette does not of itself offer anything to the structuring
of painting.
The spectrum palette was found to be light and bright in quality, primarily a palette pf hue, and
therefore inclined to emphasise local color in painting, When earth colors are added ta complete the
range of value and intensity, its possibilities for the mature painter are unlimited.
While it contains an adequate range of hue, the yellow-violet palette emphasizes the natural value of
color. This quality makes it valuable for the student who needs to identify the problems of painting.
Ihe four—toned palette has a wide range of value end intensity, but a very limited range of hue. By
eliminating the problem of local color, this palette forces concentration on values and intensities.
In reference to her own painting development, the author has found that the study of painting by means
of particular color ranges has eliminated much confusion, and has helped to give direction to the work.
For the beginning artist, it would seem that painting problems might be discovered and solved more
directly if some of the means of expression are strictly limited. THE EmiCT or LIMITED PALETTES ON THE STEtCCfDMNG OF PAINTING
by
IGNE ALPHIA FOSS
A THESI S
S uteiifcied t o th e G ra d u ate F a c u lty
in
p a r t i a l f u l f i l l m e n t o f th e r e q u ire m e n ts
f o r th e d e g re e o f
M a s te r o f A p p lie d A rt
at
M ontana S t a t e C o lle g e
Approved*
H e a d / Major Department
Chairman, Examining Committee
He *n, Gra Es^tey iviAion
Bosreman, liontena
M arch, 19ST
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Page
TITLE PAGE .......................................................................... ............................... ...................... I
ACKNOWLEDGEMENTS.................................. ............................................................................ . 3
ABSTRACT.................................................................................
CHAPTER
I.
INTRODUCTION
................................................4
................................................................................. 6
S ta te m e n t o f th e P roblem
. • • • • ....................................... 5
J u a t i f i c a t i o n f o r th e S tu d y
O b je c tiv e s o f th e S tu d y . . . . . . . .
....................... . . 7
II.
III.
IV .
V.
STATEMENT OF THE ESliEMTIAL PROBLEMS OF PAINTING
. . .
0
REVIEW OF TRE HISTORY OF THE FUNCTION OF COLOR IN
................................................................................................................. 11
Sym bolic and d e c o r a tiv e C o lo r in E a rly C i v i l i z a t i o n s
T r a n s p a re n t C o lo r t o Enhance b a rk and L ig h t in th e
R e n a issa n c e . . . . . . . . . . . . .
The N in e te e n th C e n tu ry , and New D im ensions in C o lo r
C o lo r I lte o r ie s and T h e ir R e la tio n t o P a i n t i n g w ith
P ig m en ts . . . . . . . . . . . . . . .
The I m p r e s s io n is t s and th e P a i n t i n g R e v o lu tio n . . .
The P o s t I m p r e s s i o n i s t s , and Two T r a d i t i o n s . . . .
The Fauvea • • • . • • » * • • * • • • • • • • • * •
C o n c lu sio n
. . . . . . . . . . . . . . . . .
11
THE PAINTING EXPERIMENT...........................
37
The
Tiie
Ilte
The
30
P rim a ry -C o lo rs P a l e t t e . . . . . . . . . . .
S pectrum P a l e t t e . . . . . . . . . . . . . . . .
Y e llo w -V io le t P a l e t t e
V o u r-lo n e P a l e t t e
. . . . . . . . . . . . .
H
13
1®
21
£6
58
36
46
47
......................................................................................... 48
APPENDICES
I,
II.
H I.
D iagram s o f C o lo r S o lid #
C o lo red S lid e s o f P a i n t i n g s
.
.
.
.
.
.
.
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.
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.
. . . . . . . . . . . .
32
53
L i t e r a t u r e C ite d and C o n su lte d ................................................... 54
/2 .2 - 7 ^ 7
ACBSOILLOGEimeTS
Awong th o s e t o whom I ma m ost g r a t e f u l f o r a d v is e i n d e v elo p ­
in g th e p a i n t i n g s and c r i t i c i s i n g th e c o n te n t o f t h i s t h e s i s a re my
a d v i s o r s , M r. R o b e rt tie Weeae end M iss J e s s i e W ilb e r, t o g e t h e r w ith
M r. C y r il B. C o n rad , head o f th e A rt D epartm ent o f M ontana S ta te
C o lle g e , and c h airm an o f th e e x am in in g c o m m itte e .
I are a l s o in d e b te d
t o D r. R o b e rt D unbar, who h a s c o n s id e r a b ly in f lu e n c e d my th in k in g in
r e g a r d in g th e d ev elo p m en t o f a r t a s a s u b s t a n t i a l p a r t o f th e c u l t u r ­
al tra d itio n .
In th e o r g a n i s a t i o n o f t h i s t h e s i s , th e i n s t r u c t i o n o f
D r. M ilfo rd F ra n k s h a s been m ost h e l p f u l .
ABSTRACT
I t was th e o b j e c t o f th e e x p e rim e n t t o d is c o v e r w h e th er any
s i g n i f i c a n t d i f f e r e n c e in p a i n t i n g th o u g h t and s t r u c t u r e would r e s u l t
f r o t th e u se o f p a r t i c u l a r c o lo r r a n g e s , and bow su c h g ro u p s m ig h t be
u s e d t o h e lp o r g a n is e on a p p ro a c h t o th e s tu d y o f p a i n t i n g .
In p ro c e e d in g w ith th e e x p l o r a t i o n , a s tu d y was made o f th e
f u n c tio n o f c o l o r in p a i n t i n g in th e p o s t . C o lo r t h e o r i e s were r e ­
view ed t o d is c o v e r t h e i r e f f e c t s on p a i n t i n g . To c l a r i f y th e d is c u s ­
s io n o f c o lo r t h e o r i e s , d ia g ra m s o f t h r e e c o l o r s o l i d s were added in
A ppendix I .
f t e r c o n fe re n c e s w ith a d v i s o r s , f o u r c o lo r - g r o u p s were
th e n ch o se n f o r s tu d y . These in c lu d e d a p r is m r y - e o lo r a p a l e t t e , a
sp e c tru m p a l e t t e , a y e l l o w - v i o l e t p a l e t t e , and a sim p le f o u r - to n e d
p a l e t t e , t a c h ra n g e was e x p lo re d f i r s t by m aking e v a lu e s c a l e . Sev­
e r a l p r i n t i n g s were th e n d e v e lo p e d w ith e ac h ra n g e , th e p a l e t t e s b e in g
v a r i e d w ith e a c h p a i n t i n g so t h a t th e q u a l i t i e s o f s i m i l a r c o lo r s m ig h t
be o b s e r v e d . C o lo re d s l i d e s o f a num ber o f th e p a i n t i n g s w hich r e s u l t ­
ed from t h i s e x p l o r a t i o n were p la c e d in Appendix I I ,
I t was found t h a t th e p rim a ry —c o l o r s p a l e t t e m ig h t be a v a lu a b le
d e v ic e f o r le a r n i n g th e m ix in g o f c o lo r e from a b a s i c , minimum g ro u p .
However, s in c e ra n g e s o f h u e , v a lu e and i n t e n s i t y can be acc o m p lish e d
o n ly by e l a b o r a t e m ix in g , t h i s p a l e t t e d o e s n o t o f i t s e l f o f f e r any­
t h i n g t o th e s t r u c t u r i n g o f p a i n t i n g .
The sp e c tru m p a l e t t e was found to be l i g h t and b r i g h t in q u a l i t y ,
p r i m a r i l y a p a l e t t e p f h u e , and t h e r e f o r e i n c lin e d t o em p h asize l o c a l
c o l o r in p a i n t i n g , When e a r t h c o lo r s a r e added t o c o m p lete th e rang*
o f v a lu e and i n t e n s i t y , i t s p o s s i b i l i t i e s f o r th e m a tu re p a i n t e r a re
u n lim ite d ,
A hile i t c o n ta i n s on a d e q u a te ra n g e o f h u e , th e y e l l o w - v i o l e t
p a l e t t e e m p h a siz e s th e n a t u r a l v a lu e o f c o l o r . T h is q u a l i t y makes i t
v a lu a b le f o r th e s tu d e n t who n eed s t o i d e n t i f y th e p ro b le m s o f p a i n t i n g ,
Ih e f o u r —to n e d p a l e t t e h a s a wide ran g e o f v a lu e end i n t e n s i t y ,
b u t B v e r y l i m i t e d ra n g e o f h u e . By e l i m i n a t i n g th e p ro b lem o f l o c a l
c o l o r , t h i s p a l e t t e f o r c e s c o n c e n tr a tio n on v a lu e s and i n t e n s i t i e s .
In r e f e r e n c e t o h e r own p a i n t i n g d ev elo p m en t, th e a u th o r h a s
fo u n d t h a t th e s tu d y o f p a i n t i n g by m eans o f p a r t i c u l a r c o lo r ra n g e s
h a s e lim in a te d much c o n f u s io n , and h a s h e lp e d to g iv e d i r e c t i o n t o th e
w ork. F o r th e b e g in n in g a r t i s t , i t would seem t h a t p a i n t i n g p ro b le m s
m ig h t be d is c o v e r e d and s o lv e d more d i r e c t l y i f some o f th e w a n e o f
e x p r e s s io n a re s t r i c t l y l i m i t e d .
CHAPTER I
INTRODUCTION
S h a l l I e v e r re a c h th e g o a l so e a g e r ly so u g h t and so lo n g
p u rs u e d ? I hope s o , b u t a s lo n g a s i t h a s n o t been a t t a i n e d , a
vague f e e l i n g o f d is c o m f o r t p e r s i s t s w hich w i l l n o t d is a p p e a r un­
t i l I s h a l l have g a in e d th e h a rb o u r— t h a t i s , u n t i l I s h a l l have
a cc o m p lish e d so m eth in g more p ro m is in g th a n w hat h a s gone b e fo re ,
th e r e b y v e r i f y i n g my t h e o r i e s , w h ic h , in th e m s e lv e s , a r e e a s y t o
p u t f o r t h . The o n ly t h i n g t h a t i s r e a l l y d i f f i c u l t i s t o p ro v e
w hat one b e l i e v e s . So I am g o in g on w ith a y r e s e a r c h e s . . .
(C eTonne)1
S ta te m e n t o f th e Problem
The w r i t e r h a s c o n s t a n t l y f e l t , a s a s t u d e n t , t h e o b s c u r i t y , th e
c o m p le x ity , and th e la c k o f c l e a r d e f i n i t i o n and e x p r e s s io n o f th e
p ro b le m s in v o lv e d in p a i n t i n g .
T hat p a i n t i n g i s a v i s u a l a r t makes th e
v e r b a l e x p r e s s io n o f i t s p ro b le m s m ost d i f f i c u l t .
More p a r t i c u l a r l y ,
th e p ro b le m s r e f e r r e d t o a r e th o s e o f th e p r o c e s s and c o m p o s itio n , t h a t
i s , th e s t r u c t u r i n g o f p a i n t i n g , a s d i s t i n c t from th e p u rp o s e s o f p a i n t ­
in g , w hich in th e modern t r a d i t i o n have e l s e become b o th num erous and
com plex.
J u s t i f i c a t i o n f o r t h e S tu d y
C o n s ta b le , th e g r e a t E n g lis h la n d s c a p e p a i n t e r , s o u g h t to
R ead, H e r b e r t, ( c i t i n g a t r a n s l a t i o n by G e r s t le M ack), "The
Modern Epoch in A r t , " H is to r y o f Modern P o in tin g from B a u d e la ire t o
B onnard. A lb e r t S k ir a , e d i t o r and p u b l i s h e r , G eneva, S w itz e r la n d ,
1948, p . x v i i .
6
d i s t i n g u i s h betw een p e i n t i n g a s su c h and th e i n d i e c r i e i n & t i n g a p in g o f
th e c u r r e n t f a s h io n in p a i n t i n g when, i n 1836, he w ro te th e fo llo w in g !
I have e n d ea v o u re d t o draw a l i n e betw een g e n u in e a r t end
m annerism , b u t even th e g r e a t e s t p a i n t e r s have n e v e r been w h o lly
u n t a i n t e d by m a n n e r.—f a i n t i n g i s & s c ie n c e , and s h o u ld be p u r­
su e d a s an e n q u ir y i n t o th e law s o f n a t u r e ,
ih y , th e n may n o t
la n d s c a p e be c o n s id e r e d a s a b ro n c k ^ o f n a t u r a l p h ilo s o p h y , o f
w hich p i c t u r e s a re b u t e x p e rim e n ts?
To C o n s ta b le , who p a in te d in th e R e n a issa n c e t r a d i t i o n , a r t was
th e r e c o r d in g o f th e w onders o f th e n a t u r a l sce n e in d a rk and l i g h t .
S in e s h ie tim e , p a i n t i n g h a s become an e x p r e s s io n s u f f i c i e n t u n to i t ­
s e l f , d e p e n d e n t on th e n a t u r a l sc e n e o n ly a t th e w i l l o f th e a r t i s t .
I t h a s e x te n d e d i t s e l f i n t o a s c ie n c e w h ich i s an i n q u i r y in to th e p o s ­
s i b i l i t i e s o f c r e a t i v e c o m p o sitio n in l i n e , m ass, v a lu e , and c o lo r
w ith in th e p i c t u r e p l a n e .
Now, aa i n C o n s ta b le 's d a y , i t i s th e t a s k
o f th e a r t i s t t o d is c o v e r th e p ro b le m s o f "g en u in e a r t " , th e p ro b lem s
w h ich a re i n h e r e n t in th e means o f e x p r e s s io n .
These means a re th e
p ig m e n ts , th e b r u s h e s , th e c a n v a s , and th e l i n e s , m a ss e s, v a lu e s and
c o l o r s w hich grow o n t o f th em .
The a r t i s t m ust have th e i n s i g h t to
d i s t i n g u i s h them from th e t a l e he w ish e s t o t e l l — t o u n d e rs ta n d th e
d i f f e r e n c e betw een " t h i s i s a b o y ," end " t h i s i s th e im age o f a b o y ,"
and f u r t h e r , " t h i s i s a symbol o f a b o y ," and even t o t h e e x te n t o f
" t h i s i s a p ro b le m i n p a i n t i n g . "
And m o reo v er, th e a r t i s t moat be a b le
t o a p p ro a c h h i s p ro b le m s in d e p e n d e n tly o f th e c u r r e n t f a s h io n in a r t . 1
1I b i d . , ( q u o tin g C o n s ta b le , from a n o te d a te d J u n e 16, 1 8 3 6 ),
p . x v ii.
I
He oAtei know t h a t th e f a s h io n i s n o t a fu n d a m e n tal d im e n sio n , s in c e t o
aim f o r a p a r t i c u l a r s t y l e r e q u i r e s t h a t s u c c e s s be ju d g e d by th e de­
g re e t o w hich th e s t y l e h a s been a c h ie v e d .
th e
W ith su ch u n d e rs ta n d in g s #
i r t i e t may be a b le t o work c r e a t i v e l y from th e b e g in n in g , and so
a v o id some o f th e f r u s t r a t i o n o f c o n f u s io n .
O b je c tiv e s o f t h e S tu d y
A lth o u g h much h a s been w r i t t e n a b o u t th e c o l o r e f f e c t s a c h ie v e d
by v a r io u s a r t i s t s ,
little
r e s e a r c h a p p a r e n tly h a s been done on th e
e f f e c t o f c e r t a i n c o l o r g ro u p s o r p a l e t t e s on th e b u il d i n g o f a p a i n t —
in g — t h a t i s , on th e p r o c e s s o r th e th o u g h t seq u en ce w h ich m ig h t r e s u l t
from t h e u s e o f p a r t i c u l a r c o l o r s .
Hie w r i t e r f e e l s t h a t th e c h o ic e o f
p a r t i c u l a r p ig m e n t ra n g e s may have a b a s ic e f f e c t on th e c o n s tr u c ti o n
o f a p a i n t i n g c o m p o s itio n , end t h a t th ro u g h th e t h o u g h tf u l u se o f t h e s e
c o l o r r a n g e s , th e a r t i s t may d is c o v e r w ith l e s s c o n fu s io n some o f th e
im p o r ta n t p ro b le m s o f p a in tin g # end so b u ild h ie own s o l u t i o n s .
T h ere­
f o r e , i t i s th e p u rp o se o f t h i s s tu d y , a f t e r b r i e f l y c o n s id e r in g th e
h i s t o r y o f t h e u s e o f c o lo r i n a r t , t o e x p lo r e th e q u a l i t i e s , p o s s i b i l ­
itie s ,
and l i m i t a t i o n s o f f o u r b a s ic p a l e t t e s in o r d e r t o u n d e rs ta n d
th e t h i n g s t h a t can be le a r n e d a b o u t p a i n t i n g th ro u g h t h e s e p a l e t t e s #
and t o c o n s id e r th e p o t e n t i a l i t i e s o f th e p a l e t t e s in d e v e lo p in g p a i n t ­
in g c o n c e p ts .
I t i s n o t th e p u rp o se o f th e a u th o r t o s t a t e nny ab so ­
l u t e s in a r t , o r any p r e s c r i p t i o n f o r p a in tin g # n o r i s t h e r e any i n t e n ­
t i o n t o e f f e c t th e m essag e, to d i c t a t e s ty le # n o r in an y way t o
8
c ir c u m s c r ib e th e r e s a l t in p a in tin g *
T here i s no i n t e n t i o n to im p ly
t h a t t h i s i s th e o n ly way t o a p p ro a c h t h e s u b j e c t , n o r t h a t t h i s i s a
s u p e r i o r way*
I t i s th e a u t h o r ’ s o b j e c t t o p r o v id e , th ro u g h t h i s
c o l o r s tu d y , a r a t i o n a l means o r v e h ic l e f o r e x p l o r a t i o n o f p a in tin g *
CHAPTER I I
STATEMENT OF THE ESSENTIAL PROBLEMS OF PAINTING
Tbe n o v ic e in th e b c e in e a e o f p a i n t i n g b e g in s w ith a c r e a t i v e
u rg e t o r e c o r d a b e a u t i f u l s c e n e , t o e r p r e s e a p ro fo u n d m eseage o r a
p e rso n a l r e a c tio n .
Iaaaedl a t e l y , he f i n d s h im s e lf f a c e d w ith th e means
o f e x p r e s s io n and th e p ro b lem o f w hat can be done w ith th e m .
Re i s
f a c e d w ith th e c a n v a s , w hich h a s a l i m i t e d , p a r t i c u l a r h e ig h t and
w id th , and no d e p th a t a l l .
p la n e .
T h is , i n a r t i s t s *
la n g u a g e , i s th e p i c t u r e
He i s f a c e d w ith th e p ro b lem o f d raw in g — th e r e c o r d in g o f th e
e s s e n t i a l l i n e s , sh a p e s and d i r e c t i o n s o f m ass to e x p r e s s th e i n t r i n s i c
m eaning o f th e fo rm .
Be i s fa c e d w ith th e pro b lem o f c o m p o sitio n — th e
a rra n g e m e n t o f th e s h a p e s o f b i s d ra w in g w ith in th e p i c t u r e p la n e in
su c h e way t h a t a l l p a r t s o f th e c o m p o s itio n , in c lu d in g th e l i m i t s o f
th e p i c t u r e p la n e , a r e e s s e n t i a l t o a l l o t h e r p a r t s , and enhance and
s tr e n g th e n a l l o t h e r p o r t s i n th e e x p r e s s io n o f th e a r t i s t * s m essag e.
M o reo v er, b e c a u se th e a r t o f man h n s e v o lv e d f a r from t h e u n s o p h i s t i ­
c a t e d , f l a t b e g in n in g s o f d ra w in g , th e a r t i s t m ust d e c id e t o what ex ­
t e n t he w i l l a c c e p t th e d e p t h - l e s s q u a l i t y o f th e c a n v a s .
He m ust con­
s c i o u s l y d e c id e w h e th e r he w i l l d i s t r i b u t e forme f l a t and s e p a r a te on
h i s Cftnvas a s do p r i m i t i v e a r t i s t s ; w h e th e r he w i l l r e t a i n th e f l a t n e s s
o f th e c a n v a s , b u t w i l l p la c e th e form e so t h a t th e y w i l l l i e o v e r e a c h
o t h e r l i k e c u t p i e c e s o f p a p e r , a s d o es M a tis s e ; w h e th e r he w i l l m odel
th e f o r m outw ard l i k e p i e c e s o f s c u l p t u r e , a s d id M ic h e la n g e lo , h u t
le a v e th e background amorphous and so ig n o re i t ; w h e th e r he w i l l g iv e
10
t o th e p i c t u r e , th ro u g h iug^m ioue d e v ic e , u d e p th r e l a t i n g t o i t s
w id th and h e i g h t , oe d id Y e ra e e r and C ezanne; o r w h e th e r he w i l l p a i n t
an i n f i n i t y o f d i s t a n c e , w aking h i e p o i n t i n g a window, a s d id Clunde
L o r r a in and G eorge In u eew .
aid f i n a l l y , th e a r t i s t i s fu s e d w ith th e
p ro b le m w hich I e in te rw o v e n w ith e v e r y o th e r p ro b le m , s in c e i t i s th e
means by w hich e v e ry o t h e r p ro b lem i s s t a t e d — t h a t o f s a y in g i t a l l
w ith c o l o r .
CBAPrtR I I I
REVILti OF IHE HISTORY OF IRL I l rNCTlON Of COLOR IS PAINTING
Tb* p i c t u r e p l a n e , th e d ra w in g , th e c o K p o siiio r. and th e c o lo r —
t h e s e tiny Le e&iil vo ,»e th e * I e y e n ts oi' p a i n t i n g ,
Au. noon a s th e
s k e le to n p le n h a s been p la c e d on th e c a n v a s , th e f i r s t t h r e e p ro c e e d
t o be e x p re s s e d by th e f o u r t h — c o l o r .
Thus, th e e v o lu tio n o f th e us e
o f c o l o r may be s a i d t o be th e e v o lu tio n o f p a i n t i n g .
S ym bolic and D e c o ra tiv e C o lo r i n E a r ly C i v i l i z a t i o n a
D u rin g e a r l y c i v i l i z a t i o n s , when e a s e l p i c t u r e s w ere unknown,
and p a i n t i n g e w ere made on w a lls f o r r e l i g i o u s o r d e c o r a tiv e p u rp o s e s ,
a s in a n c ie n t Egypt and in C r e te , c o l o r was u sed f l a t , t o d e s ig n a te th e
o b j e c t , f o r sy m b o lic p u r p o s e s , o r t o b e a u t i f y th e d e s ig n .
Such p a i n t ­
in g s were in te m p e ra (p ig m e n t m ixed w ith a b in d in g medium, and a p p lie d
t o th e s u r f a c e ) , o r i n f r e s c o (p ig m en t a p p lie d d i r e c t l y t o w et p l a s t e r ,
so t h a t th e pigm ent com bines w ith th e lim e t o become p e rm a n e n t).
m ents were m in e ra l and e a r t h c o l o r * .
P ig ­
L a t e r , in th e w e s te rn w o rld d u r­
in g Romanesque and G o th ic tim e s , when p a i n t i n g was s t i l l p r i m a r i l y f o r
r e l i g i o u s p u r p o s e s , c o l o r s were s t i l l a p p lie d in t h i s sy m b o lic and
d e c o r a tiv e m anner b o th in w a ll p a i n t i n g s and in th e t i n y m in ia tu r e s o f
th e ill u m i n a t e d m a n u s c r ip ts .
T r a n s p a re n t C o lo r t o Enbeaice D ark and L ig h t in th e R e n a issa n c e
W ith th e R en aiesm ice came g r e a t c h an g es in p a i n t i n g .
Many
12
e le m e n ts c o n t r i b u t e d t o i t s d e v e lo p m e n t.
The d e v ic e o f d raw in g in
p e r s p e c t i v e warn p e r f e c t e d , so t h a t th e i l l u s i o n o f d e p th c o u ld , w ith in
l i m i t s , be re c o rd e d on th e p i c t u r e p l a n e .
A g re a t in q u irin g in to
s c ie n c e b ro u g h t a b o u t m a rv e lo u s !m ovie Ige >md d raw in g o f th e buaun
body.
And th e d ev elopm ent o f p a i n t i n g in o i l made p o s s i b l e w o n d e rfu l
a tm o s p h e ric e f f e c t s and th e m anaging o f l i g h t and sh ad e t o a c h ie v e th e
o u tw ard m o d e llin g o f form s w hich became th e I t a l i a n phenomenon, c h i a r o ­
scu ro .
These w ere e f f e c t e d , n o t w ith c o l o r in o i l a s we now u se i t ,
b u t w ith t r a n s p a r e n t g la z e s o f o i l c o l o r o v e r a d raw in g in m onotone.
These were th e p a i n t i n g t o o l s o f th e R e n a is s a n c e — p e r s p e c t i v e , te c h n i ­
c a l l y m a rv e lo u s d ra w in g in b o th l i n e end d a rk and l i g h t , and t r a n s p a r ­
e n t c o lo r e d g l a z e s .
Tlie m a s te rs o f th e R e n a is sa n c e d id n o t r e v o l u t i o n i z e th e p a i n t ­
in g c r a f t o v e r n i g h t .
U n t i l th e a d v e n t o f o i l s , p a i n t i n g was done in
te m p e ra o r in f r e s c o .
A f te r th e d ev elo p m en t o f o i l p a i n t i n g , a m ethod
was p e r f e c t e d by w hich t h e p i c t u r e was b u i l t up in s u c c e s s iv e l a y e r s .
F i r s t , th e l i n e d raw in g was p la c e d on th e g e sso ( a c h a lk ground u sed
f o r s i z i n g th e c a n v a s ) , u s u a l l y in b la c k in k .
Then th e whole was to n e d
w ith a medium d a rk c o l o r , u s u a l l y r e d d is h brown o r d u l l g re e n , c a l l e d
th e " im p r im a tu r s ."
Forms were m o d e lle d o r " h e ig h te n e d " on t h i s
im p rim a tu ra by th e la y in g on o f r e p e a te d t h i n c o a ts o f w h ite (p r o b a b ly
w h ite l e a d ) , u n t i l th e p i c t u r e was c o m p le te in a monochrome, c a l l e d t h e
"d ead c o l o r . "
F o llo w in g t h i s , many t h i n c o a ts o f c o lo r e d o i l , c a l l e d
g l a z e s , w ere th e n b u i l t u p , d a rk e n in g t h e shadowed p a r t s , w h ile c o lo r e d
13
g l a z e s and more c o a t s o f w h ite w ere a p p lie d t o th e l i g h t p a r t e .
Tliie
g r a d u a l b u ild in g up o f many c o a te o f t r a n s p a r e n t c o l o r — n c tu n lly ns
many a s t h i r t y o r f o r t y i s some a r e a s o f th e p i c t u r e , a c c o rd in g t o
T i t i a n , gave th e r i c h , g lo v in g d e p th s and th e s e n s e o f m o d e llin g and
d i s t a n c e t o R e n a is sa n c e p a i n t i n g ,
th e e n t i r e p a i n t i n g was b u i l t on a
s t r u c t u r e o f v a lu e s a s t h e s e v a lu e s r e f e r t o th e m o d e llin g o f t h r e e d im e n s io n a l fo rm .
Form and c o l o r w ere t r e a t e d a s two d i s t i n c t p h a s e s ,
c o l o r e m b e llis h in g th e d a rk and l i g h t . *
The R e n a is sa n c e a r t i s t e became so s k i l l f u l a t t h i s m o d e llin g i n
m onotone, and a t d ra w in g in p e r s p e c t i v e , t h a t th e y d id t h e s e t o th e
e x c lu s io n o f o t h e r t h i n g s .
The p i c t u r i n g p o s s i b i l i t i e s were so m a rv e l­
o u s , th e s k i l l r e q u ir e d so h ig h , and th e p o r t r a i t s w hich r e s u l t e d so
ranch c o v e te d by k in g s and m e rc h an t p r i n c e s , t h a t t h i s te c h n iq u e o f
p a i n t i n g s u r v iv e d w ith o u t much change f o r s e v e r a l c e n t u r i e s . B o t t i c e l l i ,
D u re r, M ic h e la n g e lo , T i t i a n , H o lb e in , LI G reco , R ubens, Van Dyck, Rem­
b r a n d t, G a in sb o ro u g h , I n g r e s — th e s e a l l u s e d e s s e n t i a l l y th e te c h n iq u e
o f g la z i n g o v e r th e o p t i c a l g r a y s .
t e e n t h c e n tu r y .
T h e ir names c a r r y u s i n t o th e n in e ­
I t was th e s ta n d a r d , t h e o n ly , way t o p a i n t .
The N in e te e n th C e n tu ry , end Bew D im ensions i n C o lo r
By th e n i n e t e e n t h c e n tu r y , d ra w in g in p e r s p e c t i v e end " s h a d in g "
th e form w ere o ld s t u f f .
L v ery m e d ic a l s tu d e n t was f a m i l i a r th ro u g h 1
1D o e rn e r, Max, The M a te r ia ls o f t h e A r t i s t and T h e ir Cse in
P a i n t i n g , B a r c o u r t, B race & C o ., I n c . , New f o r k , 1934.
14
c o n ta c t w ith e v e ry bone and m uscle o f v e i l - d i s s e c t e d c a d a v e r s , and t h e
cam era had p u t th e p o r t r a i t i s t o u t o f b u s in e s s *
In a d d i t i o n , t h e r e
v e r e movements in p a i n t i n g w hich w ere u n d e rm in in g th e o ld t r a d i t i o n s o f
d e p i c t i n g s o l i d form*
The c l a s s i c p a i n t e r s had worked i n th e s t u d i o , u s in g p la n n ed
l i g h t i n g on m o d e ls, o r d e p i c t i n g th e c l a s s i c a l , o b liq u e a n g le o f l i g h t
on t h e i r d raw in g o f im ag in ed s c e n e s .
I t was t h i s o b liq u e a n g le o f
l i g h t w h ich , in th e h u n d re d a -y e a r o ld t r a d i t i o n b e a t b ro u g h t o u t s o l i d ­
i t y o f fo rm .
t i o n a r y move,
However, a group o f p a i n t e r s , a b o u t 1840, made a re v o lu ­
th e y w ent o u td o o rs t o p a i n t .
These o p e n - a i r p a i n t e r s ,
th e " P l e i n a i r i e t e a , M d is c o v e r e d th e atm o sp h ere a s a p i c t o r i a l e le m e n t.
W hile th e y c o n tin u e d t h e t r a d i t i o n o f l i n e a r p e r s p e c t i v e , th e y o b s e rv e d
t h a t t h i s atm o sp h ere s o f te n e d th e e d g e s o f d i s t a n t o b j e c t s , and t h a t
th e i d e n t i t y o f s u r f a c e s d is a p p e a r e d .
M oreover, w h ile th e y c o n tin u e d
a c c u r a t e l y t o draw a n a to m ic a l p r o p o r t i o n s , th e y n o te d t h a t when b a th e d
in th e o u td o o r a tm o s p h e re , o b j e c t s l o s t t h e i r a p p e a ra n c e o f s o l i d i t y ,
so t h a t l i t t l e m o d e lle d e f f e c t was o b s e r v a b le .
In a d d i t i o n , th e y r e a l ­
iz e d t h a t th e a tm o sp h ere a l t e r e d o r o b sc u re d th e l o c a l c o l o r .
These
d i s c o v e r i e s were th e d i r e c t r e s u l t o f a c r i t i c a l o b s e r v a tio n o f th e
n a tu ra l scen e.
( C u r io u s ly , many o f th e t r a d i t i o n a l p a i n t e r s , in t h e i r
c a r e f o r f o llo w in g r u l e s , had f o r g o t t e n how t o lo o k a t n a t u r e . )
The H l e i n a i r i s t e s d iv o rc e d t r a d i t i o n when t h e i r d e s i r e f o r r e a l
o b s e r v a tio n o f th e n a t u r a l sc e n e moved them o u t - o f - d o o r s .
Then t h i s
move made n e c e s s a r y a more d i r e c t and f a s t e r m ethod o f p a i n t i n g th a n
15
th « o ld way o f g la z i n g o v e r th e m o d e lle d g r a y s .
R a th e r th a n c o lo r in g
t h e d raw in g a s t h e R e n a is sa n c e a r t i s t s had done, C o u rb e t, th e dean o f
th e P l e i n a i r i e t e s , w orked in an i n f i n i t e g r a d a tio n o f c o o l g r a y is h and
warm b ro w n ish t o n e s .
He a p p lie d th e c o l o r d i r e c t l y w ith a p a l e t t e
k n i f e in r a t h e r t r a n s p a r e n t t o n e s , and b ro k e i n t o t h e s e to n e s w ith
o th e r c o lo r s .
Jo n g k in d a p p lie d c o lo r in s m a ll, s e p a r a te p a tc h e s , o r
i n m o d u la tio n s w hich gave a b r i l l i a n t q u a l i t y t o h i s c o m p o s itio n s .
M i l l e t and D anblgney, t o o , were m a s te r s o f t h i s d i r e c t t o n a l p a i n t i n g .
These n o n - c o n f o r m is ts w ere th e im m ediate p r e d e c e s s o r s and th e te a c h e r s
o f th e I m p r e s s i o n i s t s .
C o u rb et was t h e t e a c h e r o f P i s s a r r o , w h ile i t
was th e in f l u e n c e o f J o n g k in d on th e y o u th f u l Monet w hich s t a r t e d th e
l a t t e r on h i s q u e s t f o r a lum inous q u a l i t y . 1
C o lo r T h e o rie s and T h e ir R e la tio n t o P a in tin g w ith Pigm ente
U n t i l a s c ie n c e o f m e c h a n ic a l p e r s p e c tiv e was p e r f e c t e d , th e
d ra w in g o f t h r e e d im e n s io n a l form was done i n t u i t i v e l y .
U n til s c ie n c e
a n a ly z e d and d i s s e c t e d th e human body, th e d raw in g o f i t rem ained
p r i m i t i v e and sy m b o lic in n a t u r e .
In t h e same way, u n t i l th e tim e o f
Newton th e u s e o f c o l o r was d e c o r a t i v e , s y m b o lic , and a p p lie d i n t u i ­
t i v e l y , w ith th e p ig m e n ts a v a i l a b l e .
The s p e c tru m .
The a c t i v i t i e s o f a p h y s ic a l s c i e n t i s t a re p e r t i ­
n e n t to t h i s i n v e s t i g a t i o n b e ca u se o f t h e i r re v o l n t i o n o r y r e s u l t s in
1S c h m id t, tie o rg , “L esso n s o f th e P a s t , " H is to r y o f Modern P a i n t in g t M a tis s e . Munch. R o u a u lt. A lb ert S k i r a 1 e d i t o r and p u b l i s h e r ,
G eneva, S w itz e r la n d , 1950.
16
tb#> w o rld o f p a i n t i n g .
S i r I ORftk N e v ton, in 1666, s p l i t w h ite l i g h t i n t o i t s com ponent*
by means o f a p r is m .
N esto n r e a l i z e d t h a t by a d d in g th e p o r p le e ( th e
v i o l e t - r e d e w hich a re n o t v i s i b l e in th e sp ec tru m ) he c o u ld e f f e c t »
c o n tin u o u s t r a n s i t i o n th ro u g h e l l th e c o l o r e , m aking th e sp ec tru m band
t u r n upon i t s e l f ,
fo rm in g s c i r c l e o f c o l o r .
While th e c o lo r s o f th e
sp e c tru m c o n ta in en i n d e f i n i t e number o f h u e s , th e s e f a l l i n t o dom inant
g ro u p s.
D rawing so a n a lo g y betw een th e f r e q u e n c i e s o f th e sound waves
w hich o c c u r in th e m u s ic a l o c ta v e , end th e f r e q u e n c ie s o f l i g h t w aves,
Newton spoke o f th e se v e n c o lo r s o f th e rain b o w — r e d , o ra n g e , y e llo w ,
g r e e n , t u r q u o i s e , b lu e , v i o l e t .
The p rim a ry c o l o r s .
In 1730, Le Blond o f F r a n k f u r t d is c o v e re d
be d i d n ’t n eed a l l seven o f N ewton’ s c o l o r s f o r c o l o r p r i n t i n g , h u t
t h a t he c o u ld o b ta in p r a c t i c a l l y th e seme r e . u l t c w ith o n ly t h r e e — r e d ,
y e llo w , and b l u e .
,
So began th e d o c t r i n e o f th e th r e e p rim a ry c o l o r s .
Johim n W olfgang Van G o eth e, in 1810, w ith h i s t h e o r y o f th e
comple m e n ta r ie s o f th e t h r e e p r im a r i e s and t h e i r c o n t r a s t e f f e c t , so
g r e a t l y in f lu e n c e d Eugene D e la c ro ix a s t o change th e h i s t o r y o f a r t .
N ewtoni I e B lond; G o e th e; D e la c ro ix — t h i s s u c c e s s io n b ro u g h t c o lo r
s c ie n c e d i r e c t l y i n t o th e p a i n t i n g a r t .
The p a i n t i n g r e v o l u t i o n o f t h e
I m p r e s s i o n i s t s was b a se d on th e sp e c tru m se q u e n c e , and on D e la c r o ix ’ ®
p r i n c i p l e t h a t a c o l o r i s made more b r i l l i a n t when e e s o c ia te d w ith i t s
com plem ent.^ I
I
Ib id .
IT
C o lo r s c ie n c e h a s c o n tin u e d , and many i n d i v i d u a l s have worked
f o r a l o g i c a l and p r a c t i c a b l e c o lo r t h e o r y .
Much c o n tr o v e r s y h a s
a r i s e n o v e r th e p r im a r i e s - —w hat th e y a c t u a l l y a r e .
O th e r p ro b lem s
w hich c o l o r s c ie n c e h a s a tte m p te d t o s o lv e in c lu d e th e s t a n d a r d i s a t i o n
o f c o l o r s , and o f th e s t e p s in t i n t s and s h a d e s , th e n rm in g o f c o l o r s ,
and th e p e r f e c t i o n o f a s u r e - f i r e d e v ic e f o r s e c u r in g c o l o r harmony.
A lb e rt H* ‘u n s e l l , an A m erican a r t i s t and te a c h e r (h e s tu d ie d in
P a r i s , a t J u l i a n 's , betw een 1800 and 1 0 0 0 ), i n s i s t e d on f i v e p r i n c i p l e
h u e s— r e d , ye I lew , g re e n , b lu e , p u r p le — e v e n ly sp ac e d a ro u n d th e
c ir c le .1
T h ie p l a c e s b lu e - g r e e n a s th e com plem ent o f r e d , p u r p le - b lu e
a s th e com plem ent o f y e llo w , e t c .
W ilhelm O stw nld, a Gerasnn s c i e n t i s t ,
c o n s id e r e d f o u r p r im a r i e s — y e llo w , r e d , u ltr a m a r in e b lu e , and s e a g re e n ,
e v e n ly sp a c e d aro u n d th e c o l o r c i r c l e .
2
T h is even s p a c in g o f th e c o l o r s
warn e s s e n t i a l t o th e s e t h e o r i s t s , who f e l t t h a t a c o lo r s c ie n c e r e q u ir e d
a s p e c i f i e d d e g re e o f c h a n g e , and th e i d e n t i f i c a t i o n by code name o f
e a c h change o f hue, v a lu e and i n t e n s i t y .
F a b e r B ir r e n , e c o n tem p o rary
c o l o r t h e o r i s t , c o n s id e r s th e f o u r c o l o r s r e d , y e llo w , b lu e and g re e n
a s p rim a ry , b u t h a s w orked o u t a " R a tio n a l C o lo r C i r c l e ” w ith a v a r y in g
3
num ber o f s t e p s betw een th e p rim a ry c o l o r s . 1*3
1M u n se ll, A. H ., A C o lo r N o ta tio n , An I l l u s t r a t e d System D e fin ­
in g A ll C o lo rs and T h e ir R e la tio n s by M easured S c a le s o f Ihie, V alue and
Chroma, ' rU n s e ll C o lo r Company# I n c . , B a ltim o re , Md., 1041.
o
O stw ald , W ilhelm , C o lo r S c ie n c e . W insor & Newton L t d . , 38 R a th bone s 'ln c e , London, I . I , 1931.
3
uB ir r e n , F a b e r, C o lo r D im en sio n s. The Crim son P r e s s , C h icag o ,
1 1 1 ., 1034.
18
th e q u a l i t i e s o f c o l o r .
Each o f th e s e s c i e n t i s t s h a s a ls o
w orked o u t a com plex c o l o r s t r u c t u r e *
M uneell i s r e s p o n s ib le f o r th e
id e a o f th e t h r e e d im e n sio n s o f c o lo r — h u e , v a lu e and chrom a ( o r i n t e n ­
s ity ).
O stw ald e x te n d e d t h i s c o n c e p t by c o n s id e r in g th e a c h ro m a tic *
( t h e g r a d a tio n s from b la c k t o w h ite ) a s c o l o r s e n s a t i o n s , and a l s o by
c o n s id e r in g b la c k and w h ite a s c o l o r e le m e n ts when added t o o th e r
c o lo rs .
B ir r e n h a s e x te n d e d th e w ork o f O atw ald t o c o n s id e r th e dim en­
s io n s o f c o l o r a s b e in g h u e , b la c k and w h ite , w ith t h e i n t e r m e d i a r i e s ,
t i n t , to n e , and s h a d e .
The c o l o r s o l i d s .
From t h e s e m a jo r p re m is e s , th e t h e o r i s t s have
e x te n d e d t h e i r work t o th e c r e a t i o n o f t h r e e d im e n s io n a l s t r u c t u r e s o f
c o lo r.
E a r l y i n c o l o r h i s t o r y , Kowton had re c o g n iz e d th e c o n tin u o u s
t r a n s i t i o n o f c o l o r s w hich made i t p o s s i b l e t o t u r n th e sp ectru m band
in to a c o lo r c i r c l e .
O oethe d iv id e d t h i s c i r c l e i n t o t h r e e m ajo r d i v i ­
s i o n s , and p la c e d s e c o n d a ry c o lo r s betw een so t h a t th e p r im a r i e s were
g iv e n c o n s ta n t co m p lem en ts.
M a n s e ll, r e a l i z i n g th e in a d e q u a c y o f su ch
an a rra n g e m e n t, w orked o u t a c o l o r s p h e r e , in w hich th e a x is e x te n d e d
from w h ite a t th e to p t o b la c k a t th e b o tto m , w h ile t h e l i n e s o f c o l o r
were p la c e d ro u g h ly l i k e th e l i n e s lo n g i t u d e .
The c o o l c o lo r s o c c u p ie d
one h e m is p h e re , p r o g r e s s i n g from y e llo w n e a r th e w h ite t o p , th ro u g h
p u r p le n e a r th e b la c k b o tto m .
The warm c o lo r s o c c u p ie d th e o p p o s ite
h e m is p h e re , w ith on e q u iv a l e n t p r o g r e s s i o n . (S ee A ppendix 2, F ig u re I . )
M u n s e ll*a c o l o r s p h e re p la c e d e a c h c o l o r i n i t s p u re s t a t e a t a r e l a ­
t i v e d i s t a n c e from th e n e u t r a l a x i s , r e d in i t s p u re s t a t e b e in g
19
f a r t h e s t from th e n e u t r a l a x i s .
In a d d i t i o n , th e n a t u r a l v a lu e o f
c o l o r was ta k e n I n t o a c c o u n t, th e p u re hue o f ye I le v b e in g p la c e d a t a
h ig h l a t i t u d e , g iv in g i t few t i n t s and many s h a d e s , w h ile v i o l e t was
p la c e d n e a r th e b la c k a p e x , g iv in g i t many t i n t s and few she,dee.
O stw aId, a s c i e n t i s t in th e f i e l d s o f c h e m is tr y and p h y s ic s ,
w o rk in g w ith r ig o r o u s fo rm u la s , d e v e lo p e d a com plex " A n a ly tic a l B ic o n ic a l C o lo r S o l i d , " h a v in g th e sh ap e o f a d o u b le c o n e , so a rra n g e d
t h a t th e b a s e s come t o g e t h e r t o form an e q u a to r .
F ig u r e 2 ) .
(S ee Appendix I ,
The a x is o f th e d o u b le cone g ra d e s from w h ite t o b la c k ,
w h ile th e f u l l c o lo r s l i e a t t h e e q u a t o r .
O etw ald 1S c o l o r s o l i d
a c c o u n ts f o r t i n t s , s h a d e s and to n e s (h u e p lu s b la c k and w h ite ) o f
a l l c o l o r s , b u t h a s th e f a u l t o f g iv in g an e q u a l number o f t i n t s and
s h a d e s t o a l l c o l o r s , t h a t i s , n o t a llo w in g f o r th e n a t u r a l v a lu e o f
th e h u e .
B ir r e n h a s gone a s te p f u r t h e r , and com bined t h e s e two— th e
M u n sell c o lo r s p h e re and th e O stw ald c o l o r s o l i d .
T aking i n t o a c c o u n t
th e i n h e r e n t d i f f e r e n c e in th e v a lu e s o f hues a t f u l l i n t e n s i t y , I lir r e n
h a s a l t e r e d th e O stw ald s o l i d by t i p p i n g th e e q u a to r w hich c a r r i e s th e
c o lo rs a t f u ll i n te n s ity .
The a r e a o f th e e q u a to r c o n ta in in g th e y e l ­
low s i s p la c e d h ig h , n e a r e r th e w h ite a p ex , a llo w in g a s m a lle r number
o f s t e p s fro® y e llo w t o w h ite , and a g r e a t e r number from y e llo w t o
b la c k .
S i m i l a r l y , th e v i o l e t s e c t o r o f th e e q u a to r i s tip p e d to w a rd
th e lo w er a p e x , a llo w in g f o r a s m a lle r number o f s t e p s betw een v i o l e t
and b la c k , and a g r e a t e r number from v i o l e t t o w h ite . (S ee Appendix I ,
F ig u re 3 . )
20
L f f e o tg o f c o l o r a to U ie g ,
A e ta jo d a r d iz a tio n o f h u e s , p a r t i c u ­
l a r l y s in c e th e in v e n tio n o f c o a l t a r d y e s , h a s made p o s s i b l e th e
g r e a te r c o n tro l o f c o lo r s .
T h is s t a n d a r d i z a t i o n h a s a f f e c t e d th e
m a n u fa c tu re o f a l l c o l o r s , th e p ro d u c e rs s t r i v i n g f o r th e g r e a t e s t
p u r i t y and i n t e n s i t y a s d e f in e d by c o l o r s c ie n c e .
The e f f e c t o f th e s e
e f f o r t s i s e v id e n t in th e g r e a t v a r i e t y and b e a u ty o f c o l o r in manu­
fa c tu re d goods.
The e f f e c t on th e a r t s i s e v id e n t in e d i f f e r e n t w ay.
By o b s e r v in g th e work o f c h i l d r e n and o t h e r s w ith l i t t l e t r a i n i n g who
w ork w ith in e x p e n s iv e show c a rd c o l o r s and w a te r p o i n t s and c ra y o n s ,
i t i s e v id e n t t h a t th e h i g h e s t i n t e n s i t y o f c o lo r i s n o t a q u a l i t y m ost
e s s e n t i a l in p ig m e n ts .
WhiIe t h e s e p a i n t s (w h ich r e c e iv e t h e i r c o lo r
from d y e s) a re o f th e g r e a t e s t p o s s i b l e p u r i t y , th e r e s u l t i n g p a i n t ­
in g s a re g a r i s h and a re p a r t i c u l a r l y la c k in g in th e v a lu e and i n t e n s i t y
changes n e c e s sa ry f o r a p le a s a n t e f f e c t .
While su ch c h a n g e s by th e
m a n u f a c tu r e r 's i n t e n t i o n can be a c h ie v e d by m ix in g , th e v e r y c o m p le x ity
o f th e pro b lem s e r v e s a s a b a r r i e r t o l e a r n i n g .
A rt s u p p l i e s com panies
w ould be w e ll a d v is e d t o work to w a rd g ro u p s In t h e i r in e x p e n s iv e c o l o r s
w hich w ould c o n ta in a n a t u r a l v a lu e ra n g e , t o g e t h e r w ith s e v e r a l u s e f u l
n e u t r a l b le n d in g c o l o r s , r a t h e r th a n to w ard c o lo r s w hich a r e p e r f e c t e d
in th e
i r e c t i o n o f th e s c i e n t i s t s ' t h e o r i e s .
Tlic a r t i s t , how ever, a s a r e s u l t o f r e s e a r c h , i s a b le t o more
c o n s i s t e n t l y s e c u re p ig m e n ts o f h ig h p u r i t y .
M oreover, h ie c o lo r
ra n g e s have been c o n s id e r a b ly a f f e c t e d by th e c o l o r t h e o r i e s , p a r t i c u ­
l a r l y th o s e o f th e t h r e e p rim a ry c o l o r s and t h e i r co m plem ents, th e
21
s p e c tru m ra n g e , eutd th e a a ^ ^ t r i c a l c o l o r » o lld o f B ir r e u , th e key
f e a t u r e o f w hich i s th e v a lu e d i f f e r e n c e betw een y e llo w and v i o l e t .
The p ig m e n ts o f th e a r t i s t have re m a in ed e s s e n t i a l l y th e same, even
th o u g h In m ost c a s e s th e y do n o t a p p ro a c h th e i n t e n s i t i e s o f th e s ta n d ­
a r d iz e d c o l o r s .
M oreover, a lth o u g h th e c o l o r s o l i d s o f K unse11, O s t-
ws.lv!, , nil U irr e n c o n ta in h u n d re d s off K teps in h u e, v a lu e and i n t e n s i t y ,
no f o r u l n s can a p p ro a c h th e c o m p le x ity o f th e b a rm a n le a kought f o r by
th e a r t i s t .
I t i s f u t i l e , t h e r e f o r e , f o r th e s tu d e n t t o hope t o b u i l d
h i s p a i n t t # g a by th e r u l e s .
N e v e r t h e le s s , th e p r i n c i p l e s o f c o lo r
harm ony con be u s e d a s t o o l s to f in d s o l u t i o n s t o p ro b le m s w hich a r i s e
d u r in g th e p r o c e s s o f p o i n t i n g .
The I m p r e s s i o n i s t s end th e P a i n t i n g d e v o lu tio n
U n til th e tim e o f s c i e n t i f i c i n q u i r y i n t o th e n a t u r e o f c o lo r#
i t o c c u r r e d t o no one t h a t t h e r e m ig h t be any o t h e r k in d o f p o in tin g
th&n t h a t b ased on v a l u e s .
T h is i s th e re a so n f o r th e g r e e t d i s t u r b ­
an ce a t th e a c t i v i t y o f th e I m p r e s s i o n i s t s .
T h is l i t t l e
group o f
p a i n t e r s , who f o r a a b o r t tim e in t h e i r own c a r e e r s w ere in v e n to r s ,
a r e rem em bered, n o t f o r th e g r e a t n e s s o f t h e I r a r t , b u t f o r th e f a c t
t h a t th e y s p a rk e d a r e v o l u t i o n i n p o i n t i n g w hich le d t o ch an g es such
a s had n o t been see n s in c e th e d ay s o f G io tto .
D e la c ro ix , th e Im a re e K io n ls te . and th e law o f com plem entary
c o lo rs .
D e la c r o ix , who worked betw een 1820 and 1840, p re c e d e d th e
22
M e i a e i r i z t e a , &nA « c a a d s li* e d th e p a b l i e w ith h ie v i o l e n t p i c t o r i a l
e a b j e c t m a tte r*
H av ev crf i t was th e r e s e a r c h he d id on th e p rim a ry
c o l o r s w hich $soet in f l a e a c e d th e c e z t
^ e n e r-11 o n .
Theee t h r e e c o lo rs* —
r o d , y e llo w , and b in e — e l a c r o i x m a in ta in e d , a re i n t e n s i f i e d o p t i c a l l y
when p la c e d b e s id e t h e i r s p e c t r a l com plem ent t r i e n— t h a t i » , re d b e a ld e
g r e e n , b lu e b e tid e o ra n g e , y e llo w b e s id e v i o l e t .
T b ie wee a n o v e l
a p p ro a c h — th e p a i n t i n g m edia b e in g th o u g h t o f a* h a v in g r e a c tio n * on
th e eye w hich w ere d i s t i n c t from t h e i r f u n c tio n in r e c o r d in g th o n a tu ­
r a l tic e n e ,
The Ietpre ns io n l e t # ,
lo o k in g f o r a way t o g e t m tm im m I w s i-
n o s i t y i n t o t h e i r p i c t u r e * , d e v e lo p e d t h i s l a v .
They l e f t th e to n a l
p a i n t i n g s o f th e ^ l e i n a i r i u t e a b e h in d , h a v in g d is c o v e re d t h a t c o lo r# a r e
more b r i l l i a n t tln m w h ite ,
b in e shadows p a in te d on o ra n g e w a ll* a re
t y p i c a l o f e ^ r l y Iw p re s a io n le m .*
iiacka.r-nmdfe o f ! ^ ,r a a e l a n i B a in h i a t o r y .
The u s e o f cos^j I eiaen-
t a r y c o l o r s in abW owed p a r t * was n o t w ith o u t p re c e d e n t in th e h i s t o r y
o f p a in tin g ,
A t r e a t i s e d e s c r ib in g th e p a i n t i n g te c h n iq u e o f G io tto
s t a t e * t h a t th e i l e e b p a r t e were b u i l t ap o f p r e n c r io e tl c o lo r* "on a
p r i n c i p l e handed down from o a tlg n & ty , ” b e g in n in g w ith « ,-round o f
V eronese ,,r e en e a r t h , o v e r w hich tli* f l e s h was p a in te d in th r e e g ra d e d
to n e * o f re d o c h re m ixed w ith w hite* th e g re e n e a r t h b e in g a llo w ed to
shew th ro u g h in th e shadow s,
Uer e , th e p a i n t i n g *a& i n te m p e ra , and 1
1 ,Schmidt* Georg* "L e sso n s o f th e P a s t . " h i s t o r y o f Vodern P s l n t l n a . WwtiwGC, i-onch. Haue m it. A lb e rt c ik ira , e d i t o r and p u b l i s h e r ,
G eneva, S w itv e r la n d , 1060,
23
so was r e l a t i v e l y o p a q u e, in c o n t r a s t t o th e t r a n s p a r e n t d a rk s o f th e
l a t e r R e n a is s a n c e .^
Leon rd o d a V in c i when he w ro te th e f o llo w in g , was
c o n s c io u s o f th e p la y o f c o l o r in th e atm o sp h eres
J u s t a s a s to n e f lu n g i n t o t h e w a te r becomes th e c e n te r
end c a u se o f v a r io u s c i r c l e s , and a sound p ro d u c e d i n th e a i r
s p r e a d s i t s e l f o u t i n c i r c l e s , so e a c h body s i t u a t e d in th e
lu m inous a i r i s s p re a d o u t c i r c l e - w i s e and f i l l s th e s u rro u n d ­
in g p a r t s w ith i n f i n i t e im ages o f i t s e l f and i s p r e s e n t a l l in
th e w hole and a l l i n e v e r y p a r t*
M o reo v er, T i t i a n , a g i a n t o f th e R e n a is s a n c e , in v e n te d th e b re a k in g o f
s h a r p , c l e a r c o l o r s w ith c o n t r a s t i n g h u e s , d o in g so t o s u b o r d in a te th e
c o l o r to th e d om inant to n e o f th e c o m p o s itio n .
T hus, T i t i a n c o n s c io u s ­
l y f r e e d h im s e lf from th e ty r a n n y o f l o c a l c o lo r f o r t h e sak e o f th e
s t r u c t u r e o f h i e c o m p o s itio n .
3
The s c i e n t i f i c i n q u i r i e s o f th e i m p r e s s i o n i s t s .
The d is c o v e ry
o f th e sp e c tru m and th e r e a l i s a t i o n o f c o l o r a s th e com ponent p a r t e o f
l i g h t was s e iz e d upon by a l i t t l e
group o f p a i n t e r s , who b e lie v e d t h a t
t h e y had found a r e v o l u t i o n a r y t h i n g in p a i n t i n g .
They o b se rv e d p ig ­
m e n ts c l o s e l y t o f i n d th e c o lo r* w hich w ould b r in g them n e a r e s t t o th e
s p e c tru m .
B u tte r l i s t s a specim en p a l e t t e a s c o n ta i n in g th e f o llo w in g ;
w h ite , cadmium y e llo w , v e r m ilio n , m adder la k e , c o b a lt v i o l e t , c o b a lt
1 D o e rn er, oj*. c i t .
2Sherm aS, H oyt L . , ( c itin g , Leon rd o da V jn c i’ a N o teb o o k s, by
Mac C urdy, L dw ard), Cezanne & V is u a l Form. P a r t 2 , The School o f F in e
and A p p lied A r t, Ohio S ta te U n i v e r s i t y , to lu s ib u a , O hio, S ep tem b er,
1942, p . 7 9.
g
B o e rn e r, o%). c i t .
24
b in e , u ltr a m a r in e b lu e , and e m e ra ld o x id e o f chrom ium .*
B ecause
t h e i r c lo s e o b s e r v a tio n o f n a tu r e t o l d them t h a t shadow s a re new er
b la c k n o r even g r e y , no b la c k was u s e d ,
s h i t e was f r e e l y a llo w e d , and
a l e e th e m ix tu re o f n e ig h b o r in g s p e c t r a l lu te s .
U sin g t h e s e c o l o r s , th e
I m p r e s s i o n i s t s a n a ly z e d and t r i e d t o r e c o r d th e c o lo r e f f e c t s o f l i g h t
and shadow ,
th e y g azed p ro f o u n d ly , and re c o rd e d in t i n y d ab s e v e ry
m in u te c o l o r d i f f e r e n t i a t i o n on o b j e c t s , on g r a s s , on w a te r , on f l e s h .
They ex aim ed th e e f f e c t o f t e x t u r e on c o l o r , and t h e r e f l e c t i o n s o f
c o l o r on c o l o r .
Aa th e e x p e rim e n ts o f th e I m p r e s s i o n i s t s p ro c e e d e d , th e y came t o
r e a l i s e t h a t th e a r t i s t can n e w er, o u t o f h i e p a i n t bo x , even a p p ro x i­
m ate th e b r i l l i a n c e o f n a t u r e ,
Se he m ust s u b s t i t u t e a s c a le w hich
m akes t h e i n t e n s i t y o f h i s c o lo r s c o m p a ra tiv e to th e d i f f e r e n t i a t i o n s
in n a tu re ,
fh e I m p r e s s i o n i s t s and t h e i r im m ediate s u c c e s s o r s t r i e d t o
c a p tu r e t h e b r i l l i a n c e th e y saw w ith b r i l l i a n t c o l o r s in c o m b in a tio n ,
and p la c e d in c o n t r a s t t o e a c h o t h e r .
Tbe l i t t l e
dabs o f c o n tra s tin g
c o l o r w hich th e y s c a t t e r e d th ro u g h a l l a r e a s — th e re d d a b s in g re e n
f i e l d s w here no p o p p ie s grew— w are t h e o r i g i n o f th e fam ous Im p re s s io n ­
i s t "comma" b ru s h s t r o k e .
i t s lim it.
S e u r a t and SigRfcC c a r r i e d t h i s th e o r y t o
They r e a l i z e d t h a t two c o l o r s p la c e d s id e by s id e in t i n y
d o ts a r e more b r i l l i a n t th a n th e two c o l o r s when m ix e d ."
Yheyl
l R u t t e r , P ra n k , E v o lu tio n i a Modern A rt, fh e M a l P r e s e , Sew
Y ork,
ie 26 .
^b o rd o n , Jam , Modern f r e n c h P a i n t e r s , Dodd, Mead & C o ., hew
Y ork, 1936.
26
become k n o w , a s a r e s u l t o f t h e i r te c h n i q u e , a s th e " P o i n t i l l i s t s . "
They tu r n e d from a s tu d y o f th e a p p e a ra n c e o f th e o b j e c t t o a s tu d y o f
t h e mebos by w hich t h a t a p p e a ra n c e was p e r c e iv e d .
The I m p r e s s io n is t movement a s su ch was s h o r t l i v e d .
Of th e
o r i g i n a l g ro u p , o n ly M onet c o n tin u e d h i s s e a r c h f o r l i g h t th ro u g h o u t
h is l i f e .
P i s s a r o , th e f a t h e r f i g u r e o f th e movement, c o n tin u e d t o
w ork w ith th e t h e o r y , b u t he r e tu r n e d t o and d e v elo p e d th e fo rm a l,
s e n s i t i v e c o m p o sitio n w hich was p a r t o f h i s n a tu r e and h i s t r a i n i n g .
,U tinoir n e v e r l o s t th e I m p r e s s io n is t l i g h t , b u t h i s p a i n t i n g o f f i g u r e s
d e v e lo p e d e x a g g e r a te d , s c u l p t u r e - l i k e , ro u n d ed q u a l i t i e s .
Tlirough h i s
m ethod o f p a i n t i n g shadow s by means o f c o l o r r e f l e c t i o n s , be bee me
th e g r e a t e s t modern p a i n t e r o f f l e s h .
The p la c e o f th e I a p r e a s i o n l s t a in th e p a i n t i n g t r a d i t i o n .
T h is
g ro u p , how ever, had su c c e e d e d i n g r e a t l y c h an g in g th e c o u rs e o f p a i n t ­
in g .
The P l e i n e i r i s t e e had b ro k en th e t r a d i t i o n o f l o c a l c o lo r , mad
had w eakened, th ro u g h t h e u se o f a e r i a l p e r s p e c t i v e , th e i l l u s i o n o f
s u r f a c e r e a l i t y and m a t e r i a l s o l i d i t y .
They had a l s o b ro k en w ith t r a ­
d i t i o n in t h a t th e y p a in te d d i r e c t l y , r a t h e r th a n in t h e s ta g e s o f
d ra w in g , m o d e llin g , c o l o r .
And t h i s t h e y d id from th e n a t u r a l scen e
r a t h e r th a n in th e s t u d i o .
The I m p r e s s i o n i s t s c o n tin u e d th e breakdown
o f t r a d i t i o n in t h a t th e y d is s o lv e d m o d e lle d o b j e c t s , and l e f t th e con­
t o u r s o f form s i n d e f i n i t e .
M oreover, th e y n o t o n ly ig n o re d th e s u r f a c e
q u a l i t i e s o f o b j e c t s , b u t i a t h e i r s e a r c h f o r th e lum in o u s e f f e c t th e y
b ro k e away c o m p le te ly from th e n e c e s s i t y o f r e c o r d in g l o c a l c o l o r .
20
Two Po a L-Im pre a »!io n I tits and Two T r a d it io n s
The P o s t - I m p r e s s i o n i s t s w ere e g re n p o f p o i n t e r s who to o k what
h ad been le o rn e d by th e P l e i n a i r i s t e e and th e I m p r e s s i o n i s t s , a d ap te d
i t t o t h e i r n e e d s , end i n d i v i d u a l l y w ent t h e i r own w ays.
Among th e s e
w ere tw o who g r e a t l y in f l u e n c e d th e d ev elo p m en t o f p a i n t i n g th ro u g h
t h e i r use o f c o lo r .
These two were V in c e n t Ven Gogh end P a u l C ezanne.
Van Gogh and t h e b e g in n in g s o f s e l f - e x p r e s e i o n .
The p a i n t i n g o f
Van Gogh i s a d e s p e r a t e l y p e r s o n a l e x p r e s s io n o f th e e x a g g e ra te d emo­
t i o n s o f a p o e t i c , h u m a n ita ria n n e u r o t i c .
The f a c t t h a t t h i s n e u r o t i c
was a g r e a t a r t i s t who was s u p e r—s e n s i t i v e t o c o lo r changed th e c o u rse
o f m odern p a i n t i n g .
The e a r l y work o f Van Gogh i s s i g n i f i c a n t in t h a t I t d i s c l o s e s
t h e b ack g ro u n d o f th e a r t i s t .
Van Gogh le a r n e d p a i n t i n g i n th e to n a l
c o l o r s o f th e P l e i n a i r i s t e a , and h i s e a r l y s t r o n g , f o r c e f u l draw ing
w ith l i e d r a m a tic , s o c i a l c o n te n t shows th e in f lu e n c e o f M i l l e t .
I t is
im p o r ta n t t o know t h a t , im p u ls iv e and v i o l e n t a s t h i s m a n 's work may
a p p e a r , he was no s la p - d a s h a r t i s t .
B is own comment w as, " I do n o t
mean t h a t I n e v e r tu r n my back b o ld ly on n a tu r e . . .
en ed t o d e a th o f l o s in g a c c u ra c y o f fo rm .
b u t I am f r i g h t ­
P e rh a p s a f t e r te n y e a r s
s tu d y , I s h a l l t r y . . .
F o llo w in g b i s e a r l y p e r io d o f som ber c o l o r i n g . Van Gogh le a r n e d
th e u se o f p u re c o l o r and D e la c r o ix 's p r i n c i p l e o f c o n t r a s t i n g co m p leK ie n ta rie s from th e I m p r e s s i o n i s t s and t h e P o i n t i l l i s t s .
I b i d ., p . 43.
He p a in te d a
27
num ber o f cem reeea in th e te c h n iq u e o f d o t s .
Van Gogh c o u ld n o t be s a t i s f i e d , how ever, w ith t h i s p r o s c r ib e d
m e th o d ,
H is d is t u r b e d e m o tio n a l l i f e was c o n s t a n t l y in n eed o f a n a l y ­
s i s and e x p r e s s i o n ,
B ie e a r l y d raw in g shows th e d ev elo p m en t o f s e n s i ­
t i v e , d ra m a tic c o n to u r l i n e s ,
(D e la c r o ix had u s e d th e d ra m a tic c o n to u r
l i n e t o th e p o i n t o f d i s t o r t i o n . )
As Van Gogh d e v e lo p e d , he c a r r i e d
h i s c o n to u r l i n e o v e r th e s u r f a c e o f h i s form s by means o f a t t e n u a t e d
b ru s h s t r o k e s o f p u re c o l o r , g iv in g b i s whole c a n v a s a q u a l i t y o f
d i s t u r b e d and v i o l e n t a c t i v i t y .
Van Gogh u s e d , t o th e end o f h i s l i f e , th e p r i n c i p l e o f con­
t r a s t i n g compI e m e n ta r ie e t o a t t a i n th e g r e a t e s t p o s s ib le b r i l l i a n c e o f
hue.
However, he u s e d hue a s i t had n e v e r been u se d b e f o r e — t o e x p re s s
a p e r s o n a l sym bolism .
He u s e d c o l o r , n o t f o r i t s a p p e a ra n c e a lo n e , b u t
f o r w hat i t s a i d t o h its ,
He spoke o f t h i s o f t e n .
F o r ex am p le, g reen
was t o him th e c o l o r e q u iv a l e n t o f " th o s e t e r r i b l e t h i n g s , men’ s p a s­
s io n s ." *
He o b s e rv e d n a t u r e a c u t e l y , w ith e y e s t h a t saw c o l o r , b u t
c o l o r w ith an e m o tio n a l i n t e r p r e t a t i o n .
Here i s one off h i s commentss
I m y s e lf aia q u ite a b so rb e d by th e iu m eaiiu ru b le p l a i n w ith
c o r n f i e l d s a g a i n s t th e b i l l s , immense a s a s e a , d e l i c a t e y e llo w ,
d e l i c a t e s o f t g re e t., d e l i c a t e v i o l e t o f a plow ed and w eeded p ie c e
o f s o i l , r e g u l a r i t y c h e q u e re d by th e g re e n o f f lo w e r in g p o ta to
p l a n t s , e v e r y th in g u n d e r a sk y w ith d e l i c a t e b lu e , w h ite , p in k ,
v i o l e t t o n e s . I am in a mood o f n e a r l y to o g r e a t c a lm n e s s , in
*R ayiial, M a u ric e , "F a u v lsm ," H is to r y o f Mod m ? a l a t i & ^ .
M a tis s e , L unch. R o u a u lt, A lb e r t S k i r a , e d i t o r and p u b l i s h e r , G eneva,
S w itz e r la n d , 1950, p . 8 .
28
th e iaood t o p a i n t t h i s . *
As Van Gogh c o n s ta n tly
,n a ly z e d h im s e lf and h i s e m o tio n s , so be
c o n s t a n t l y a n a ly z e d h i s c o l o r s , g iv in g e x tre m e c a r e t o th e c h o ic e and
m ix in g o f h i s p ig m e n ts , and t h e i r e f f e c t in h i e p a i n t i n g .
l o v e ’ s emblem in h i e m ind, was h i s f a v o r i t e c o l o r .
Y ellow ,
The b r i l l i a n c e o f
h i s g lo w in g w h e a tf ie ld s and su n flo w e r p a i n t i n g s came from h i* u s e o f
th e t h r e a t y e llo w s .
2
He lo o k e d a t th e n a t u r a l s c e n e , and i d e n t i f i e d
th e c o l o r s w ith th o s e on h i e p a l e t t e —- d e s c r i b i n g a t r e e a s E n g lis h re d
( r e d o c h r e ) , and a s u n s e t a s a deep y e llo w och re.®
U n t i l th e tim e o f Von Gogh, th e p e r s o n a l i t y o f th e a r t i s t had
n o t r e a l l y f i g u r e d a s an e le m e n t in p a i n t i n g .
Ho one had th o u g h t t h a t
t h e e x p r e s s io n o f an i n d i v i d u a l ’ s e m o tio n s was o f any s i g n i f i c a n c e .
But Van Gogh and Sigmund F re u d w ere b o rn w ith in th r e e y e a r s o f each
o t h e r , th e s c ie n c e s w ere p o p u la r , and p s y c h o lo g y was t h e n e w est o f
th e m .
£o i t was t h a t Van Gogh, w ith h i e u s e o f c o l o r and th e e x p re s ­
s iv e l i n e , was u n c o n s c io u s ly th e f o r e r u n n e r o f th e s e l f —e x p r e s s # r* in
th e f i e l d o f a r t .
Cegfcjme and t i e
s tr u c tu r e of p a in tin a .
Ih e p a i n t i n g o f Van Gogh
s ta r te d a tr a d itio n fo r s e lf-e x p re s s io n i s p a in tin g .
At th e o th e r 123
1Stead, H e r b e r t, ( q u o tin g Van G ogh), nTbe Modern Epoch in A r t,"
S U sto ry o f Modern P a i n t in t from B a u d e la ire to B onnard. A lb e r t S fcira,
e d i t o r end p u b l i s h e r , G eneva, S w itz e r la n d , 1950, p . x v .
2
D oerner , o p . c i t .
3
1 G ordon, o p . c i t .
20
e x tre m e o f p a i n t i n g p ro c e d u re wo® P a u l C eean n e,
a p p ro a c h .
To him , th e p i c t u r e was e v e r y th in g .
H le was th e a n a l y t i c
I t n e v e r o c c u rre d t o
him t o p a i n t a p e r s o n a l o r s o c i a l m essag e, o r t o t e l l n s t o r y .
s id e r e d Van Gogh’ s p a i n t i n g th e work o f a madman.1
He con­
As a r e s u l t o f h i s
c o n s ta n t la b o r in a n a ly z in g c o l o r , fo rm , and c o m p o s itio n , be h a s become
t h e r e f e r e n c e - f i g u r e f o r a l l m odern a r t i s t s .
F o r C ezanne, h i s work was h i s o b s e s s io n .
"I tun consum ing myg
s e l f , k i l l i n g m y s e lf, t o c o v e r tw e n ty in c h e s o f c a n v a s ," he s a i d .
He
was c o n s t a n t l y d i s s a t i s f i e d w ith h i m s e l f .
" I c o u ld p a i n t f o r o n e -
h u n d re d y e a r s , one th o u s a n d y e a r s , w ith o u t s to p p in g , and i t seems t o me
t h a t I w ould n o t Imow a t h i n g . ”
3
He p a i n t e d f o r m o n th s.
o f h i e f r i e n d V o lla r d r e q u ir e d 115 s i t t i n g s . ^
One p o r t r a i t
He p a i n t e d h ie s t i l l -
l i f e s u n t i l th e a p p le s r o t t e d and th e p a p e r flo w e rs f a d e d .u
v a t i o n was a c u te t o th e p o i n t o f p a i n .
H ls o b s e r ­
"They (C e za n n e t S e y e s ) were
t e r r i b l e a s th e y f i x e d th e m s e lv e s on a p o i n t .
t I c a n n o t t e a r them
a w a y ,1 be s a id t o me one d a y , t They a r e so s tu c k t o th e p o in t a t w hich 1*34
1Sherm aa, B oyt L ., C czaane and V is u a l 1'orm. P a r t 2, Ih e S ch o o l
o f F in e and A p p lied A r t, Ohio S t a t e U n i v e r s i t y , Colum bus, Ohio, S e p t­
em ber, 1952.
11I b i d . ,
( q u o tin g G astp aet), p . 147.
3I b i d . , p . 1*7,
4I o r a n , t r i e , C e z a n n e 's C tra p o s itjo n . U n i v e r s i t y o f C a l i f o r n i a
F r e e s , B e rk e le y and Loe A n g e le s , 1943, p . 2 6 .
^Sherm tui, o p . e i t . , p . 4 8 .
30
I am lo o k in g t h a t i t seem s a s i f th e y o re g o in g t o b l e e d . '" *
He f e l t
he c o u ld g e t t o th e h e a r t o f p a i n t i n g b y o b s e r v in g n a t u r e .
P e rh a p s we a l l p a i n t by c o n v e n tio n s , we m ust come t o see
th e r e a l c o l o u r s . To do t h i s ire rra.*^ f o r g e t Tb a t h a s been a l ­
re a d y done, and o b s e rv e n a t u r e ; do e v e r y th in g from n a t u r e , th e n ,
by c l e a r i n g from o u r s i g h t th e v i s i o n o f o u r p r e d e c e s s o r s , we
s h a l l p e r c e iv e a w o rld o f new c h ro m a tic v a l u e . ^
I t was C ez a n n e ' s h a b i t t o draw w ith a l i n e o f u ltr a m a r in e b l u e ,
th in n e d w ith t u r p e n t i n e , and th e n t o la y in s u b t l y to n e d v a lu e s w ith
t h i n w ashes o f th e same c o l o r .
In d e v e lo p in g h i s c o m p o s itio n , he
w orked i n t o th e s e v a lu e s w ith em ail s p o ts o f c o lo r , b e g in n in g w ith th e
c o o l n e u t r a l s , m oving o v e r th e e n t i r e p i c t u r e p la n e , v a r y in g h i s c o l o r s
w ith e v e r y s t r o k e , so t h a t he c o u ld b r in g h i s whole c o m p o sitio n fo rw a rd
a t once.
" I a d v an c e , you u n d e r s ta n d , a l l o f ®y c an v a s a t one tim e —
g
to g e th e r.
There m ust n o t be a s i n g l e l i n k to o l o o s e . "
A gain, " . • . a
c o lo u r sp ace i s more r i c h i f n o t l a i d on in one to n e , b u t composed o f
4
many v a r i a t i o n s and g r a d a tio n s o f th e same c o l o u r , "
" E v e r y th in g ," he
s a i d , " i s in th e c o m p o sitio n o f th e c o l o r s .
Go t o th e Louvre and s e e .
T hat i s how V eronese c o m p o se s,"
*Sherm an, o p . c i t . , p . 4 6 .
eiG ordon, o p . c i t . , ( q u o tin g C e z a n n e ), p . 3 6 .
^Sherm an, o p . c i t . , ( q u o tin g G a s q u e t), p . 36.
^G ordon, o p . c i t . , ( q u o tin g C ezan n e), p . 3 6 .
^R o u sseau , T h eo d o re, J r . , P a u l C ezanne, Henry N. Abrams, I n c . ,
in a s s o c i a t i o n w ith P o c k e t Books, I n c . , New Y ork, 1953, p . 7.
31
Ceastmne le a r n e d t h e u se o f e e l e r t o a c h ie v e lu e s in o e ity from th e
lm p re a a io c is ta .
From them he to o k th e id e e o f w o rk in g in b a s ic Im e s1
“N ever p a i n t e x c e p t w ith th e t h r e e p rim a ry c o lo r s and t h e i r im m ediate
d e r i v a t i v e s , n he e a i d . 1*34 However, R aynal d e s c r ib e e C ezanne ae one o f
t h e p a i n t e r s who l i f t e d th e ban o f t h e I m p r e s a io n is te on b la c k and th e
o
e a r t h e n Smes1
L eran l i s t s , among th e c o l o r s en h i e p a l e t t e y e llo w
o c h re and raw s ie n n a , g re e n e a r t h , re d o c h re and b u rn t s ie n n a , and
p e a c h b la c k ,
3
to C ezan n e, th e c o l o r o f th e I m p r e s s io n is t s had no s u b s ta n c e .
4
S p e a k in g o f i t , he e a i d , nWe had t o p a s s th ro u g h t h i s p h a s e , ”
I t was
h i e d e s i r e t e make o f t h e a r t o f th e i m p r e s s i o n i s t s "so m e th in g s o l i d
and d u r a b le , l i k e th e a r t o f th e m useum s.”5
To t h i s e n d , he worked
o u t a th e o r y i n w hich he m o d e lle d o b j e c t s w ith c o l o r , r a t h e r th a n w ith
d a r k find l i g h t ,
Be b e lie v e d t h a t th e "warm” c o l o r s — th e s e r e l a t e d t o
r e d and y e llo w —p ro d u c e d th e e f f e c t o f a d v a n c in g , w h ile th e " c o o l"
c o l o r s - t h e b l u i s h o n e s— seemed t o r e c e d e .
In a d d i t i o n , a s a r e s u l t
o f h i s c lo s e o b s e r v a tio n , he c o n s id e r e d e a c h o b j e c t t o have a " f o c a l
p o i n t , " a p o i n t w hich was c l o s e s t to t h e e y e ,
1S h e ro e n , o p , c j t , ,
He p ro c e e d e d t o model
( q u o tin g from R ew ald ), p , 9 3 ,
faR a y n a l, o g , c i t , , p , 18.
3
' L o re n , o g . c i t , , p , 3 5 ,
4Sherm en, o g , c i t , ,
uL orrm , o p , c i t . ,
( q u o tin g tia e q u e t) , p , 1 8 ,
( n o tin g R ew ald) , p , 8 4 ,
38
form e i n p a i n t w ith t h i s w arm -cool g r a d a t i o n , p l a c i n g th e c o o l c o lo r e
a t th e e d g e # , wnd b u ild in g to w a rd t h e f o c a l p o i n t o f e a c h f o r e in a
s e r i e s o f c o lo r n u an ces, in l i t t l e
w arm er th a n th e l a s t .
f a c e t s o f p a i n t , e a c h becoming
T h is p r o c e s s , w h ich he d e fe n d e d p a s s i o n a t e l y ,
he c a l l e d " m o d u la tio n ."
Of d raw in g he s a i d , "D raw ing and c o lo r a r e n o t
d i s t i n c t ! a s you p a i n t , you d raw .
more p r e c i s e i s th e d ra w in g ." *
The more c o l o r i s h a rm o n iz ed , th e
A g ain , he s a i d , "Tone c o n t r a s t and
r e l a t i o n s h i p s a re th e s e c r e t o f d ra w in g and mode I l i n g . 1’2
e x p l a i n s th e fam ous " l o s t and found e d g e s " o f C ezan n e.
T h is l a s t
Most o f h i s
e d g e s were form ed b j c o n t r a s t betw een th e f ig u r e and g ro u n d , b u t a s
t h e eye fo llo w s th e edge o f any o b j e c t in th e p a i n t i n g , th e o b s e r v e r
r e c l i r e s t h t th e c o l o r and v a lu e o f t h e f ig u r e a re mot m a in ta in e d
u n if o r m ly .
The c o n t r a s t i n s t e a d raowes from f i g u r e t o g ro u n d and b a c k ,
and th e u ltr a m a r in e l i n e a p p e a rs o n ly o c c a s i o n a l Iy when no o t h e r con­
t r a s t m a in ta in s th e e d g e .
C u rio u s ly , t h i s change b re a k s down th e
th r e e - d im e n s i o n a l q u a l i t y w ith in th e s m a ll l o c a l i t y , and may be p a r t l y
r e s p o n s ib le f o r th e l i m i t e d d e p th o f t h e p a i n t i n g s .
F o r C ezanne worked d e f i n i t e l y in th r e e d im e n s io n s .
Be would n e t
c o u e id e r w o rk in g w ith o u t g r a d a t i o n , b u t h i s m o d e llin g he in te n d e d t o
a c h ie v e w ith c o l o r m o d u la tio n .
L ik e w is e , be s t a t e d t h a t he t r i e d " to
Q
r e n d e r p e r s p e c t i v e by c o l o r a l o n e . "
A c tu a lly , C ezanne d id n o t re n d e r
1Shermtml o p . c j t . .
2
3
( q u o tin g G a s q u e t) , p , 11 6 .
Sherm an, o p . e i t . , p . 116.
Sherm an, o p . c i t . , ( q u o tin g P o i n t ) , p . 106.
33
p e r s p e c t i v e by e i t h e r o f th e u s u a l c o n v e n tio n s —- t h a t i s ,
lin e a r n o r a e r ia l p e rs p e c tiv e .
by n e i t h e r
He r e p r e s e n te d d i s t a n c e e n t i r e l y from
im m ediate o b s e r v a tio n , m o d u la tin g fo rm s and a p a c e s w ith c o l o r , and
h a rm o n iz in g th e s e form a and s p a c e s w ith in h i s p i c t u r e p lo n e .
Schm idt
s t a t e s t h a t , when Cezanne u s e s p e r s p e c t i v e , e a c h p la n e conform s t o i t s
own l i n e a r p e r s p e c t i v e , b u t t h e r e i s no c o o r d in a tio n b etw een th e s e v a r ­
io u s p e r s p e c t i v e s S c h m i d t m ust mean h e re t h a t th e p e r s p e c t i v e s do
n o t c o o r d in a te i n c o n fo rm ity t o l i n e a r p e r s p e c t i v e c o n v e n tio n s .
a l l y , C e z a n n e 's d e p th i s s t r i c t l y
A ctu­
li m i t e d t o harm onize w ith th e h e ig h t
and w id th o f h ie p i c t u r e p la n e , so t h a t th e e f f e c t i s somewhat l i k e
lo o k in g i n t o th e i n s i d e o f a r e c t a n g u l a r s o l i d , r a t h e r th a n l i k e lo o k ­
in g o u t a window a t en i n f i n i t e v ie w ,
As a r e s u l t o f t h i s c a r e f u l
m o d u la tio n o f c o l o r s , th e form s and s p a c e s a re so in te r d e p e n d e n t t h a t
th e e f f e c t i s t h a t o f form s b e in g su rro u n d e d by a j e l l i e d atm o sp h ere—
no form c o u ld be moved w ith o u t e f f e c t i n g th e s t a b i l i t y o f a l l o th e r
form s and s p a c e s .
The F auves
D e la c r o ix , C o u rb e t, th e I m p r e s s i o n i s t s , Cezanne— th e s e men
d e v e lo p e d g r e a t t r a d i t i o n s o f p a i n t i n g s t r u c t u r e , c o n c e rn in g th e m s e lv e s
w ith t h e p ro b le m s o f th e p i c t u r e p la n e , d e p th , and c o l o r .
D e la c ro ix
and Van Uogh w ere in s tr u m e n ta l in a t r a d i t i o n c o n ce rn e d w ith what t o
^S ch m id t, o p . c i t . . p . x v i i i .
34
say la p a in tin g ,
T b la t r a d i t i o n b ra n c h e d i n t o many a r e a s ,
Ganguln
p a in te d f o r th e sak e o f b e a u ty ; L a u tre c p a in te d h i# s a t i r e s by means o f
t h e c x p r e e e iv e l i n e ; E n so r and Beden p a i n t e d a sy m b o lic dream w o rld ;
V u i l l a r d and B onnard tu r n e d th e i n tim a te o b j e c t s o f e v e ry d a y l i f e
i n t o p a in te d p a t t e r n * .
By th e b e g in n in g o f th e t w e n t i e t h c e n tu r y , a g ro u p o f young
p a i n t e r s w ere w o rk in g a g a in on th e c l a a e i c p ro b lem s o f th e p i c t u r e
p l a n e , d e p th , and c o l o r .
They had been n u r tu r e d on th e t r a d i t i o n a l
te c h n i q u e s —<md f o r them t h i s in c lu d e d n e t o n ly th e o ld m a s te r s , b u t
th e new o n es— th e P l e i n u i r i s tie s, th e lm p r e e s i o n i s t e , t h e P o s t- I m p r e e s io n is ts ,
s tu d io .
They came t o g e t h e r in 1893 a t J u l i a n * a , and a t C a r r i e r e 1a
The le a d in g f i g u r e o f th e gro u p was H en ri M a tis s e , a man who,
th r o u g h h i s lo n g l i f e t i m e h a s b sen known a s th e m a s te r o f d r a f ts m a n s h ip ,
o f fo rm , and c o l o r .
J o i n i n g him w ere V lam inck, a g r e a t , h e a lt h y , r e b e l ­
l i o u s men, p r i m a r i l y mm a r t i s t , b u t a l s o a m u s ic ia n and an a u th o r ; and
D e ra in , b r i l l i a n t l y t a l e n t e d , w id e ly c u l t u r e d .
h e a r t o f th e m ovem ent.
O th e rs jo in e d them ;
These t h r e e were th e
Dufy, P r i e s * , M tirouet, and
B raque— in a l l , a b o u t tw e n ty young r e v o l u t i o n a r i e s .
They d e c la r e d t h e i r
freedom from any d i s c i p l i n e and p ro c e e d e d t o t e a r down a l l t r a d i t i o n s .
They n o t o n ly d iv o rc e d th e m s e lv e s f r e e l o c a l c o l o r , th e y r e p u d ia te d th e
c o lo rs o f n a tu re .
to g e th e r.
M oreover, th e y th re w o u t th r e e - d im e n s io n a l form a l ­
I n s t e a d , th e y a tte m p te d t o b u i l d s t r u c t u r e w ith in th e p i c ­
t u r e p la n e th ro u g h th e j u x t a p o s i t i o n and i n t e r a c t i o n o f p u re c o l o r s ,
u s in g th e e e c o l o r s s t r a i g h t from th e tu b e , end s p e a k in g o f "sym phonic
to n a l c la s h e s ."
95
Xhe r e s u lt® o f th e s e a c t i v i t i e s b ro u g h t h o r r i f i e d r e a c t i o n s from
t h e a r t p u b l i c o f 1905*
The p a i n t e r s w ere c a l l e d th e " w ild b e a s t s " —
th e " F a u v e e ."
As th e Movement p r o g r e a e d , and a s th e a r t i s t s grew more m a tu re
and e x p e r ie n c e d , th e y became c o n s c io u s t h a t , s in c e t h e i r a r t depended
on t h e id e a s o f th e in d i v i d u a l p a i n t e r , i t was i n c l i n e d t o ru n i n t o
e x c e s s e s and b lu n d e rs *
They began t o sp e a k o f t h e d e g re e s o f i n t e n s i ­
t i e s o f to n e s , th e e f f e c t o f t h e r e l a t i v e d im e n s io n s o f p a i n t e d s u r ­
f a c e s , and even o f th e c o n tr o l o f th e t h i r d d im e n sio n ( f o r m e r ly unmen­
t i o n a b l e ) by means o f th e r e l a t i v e d i s t r i b u t i o n end i n t e n s i t y o f t o n e s .
They lo o k e d t o t h e work o f Cexanne f o r s t r u c t u r i n g th e p i c t u r e p la n e*
The u n d i s c i p l i n e d , r e v o l u t i o n a r y a c t i v i t y was s e e k in g d i s c i p l i n e .
The
i n d i v i d u a l a r t i s t s were t a k i n g w het th e y c o u ld from Femvism and g o in g
t h e i r own way.
By 1911, Fauvism had ru n i t s c o u r s e .
i n t e l l e c t u a l s e a r c h f o r d e s ig n .
M a tis s e c o n tin u e d h i s
H ls s e n s e o f p a t t e r n le d him i n t o h ie
own s t y l e o f c o m p o s itio n by c o l o r s p a c e s ,
V lam inck abandoned f l a t
c o l o r and w orked in th e Cezanne t r a d i t i o n o f m o d e llin g w ith c o l o r .
F r ie s ® , a man w ith u n e x c e lle d t e c h n i c a l a b i l i t y and a m a rv e lo u s t e a c h e r ,
to o k from Fauvism w hat he c o u ld u s e , and a l s o r e tu r n e d t o t h e d i s c i ­
p l i n e s o f C ezan n e,
D e ra in , who had li k e d t o p a i n t " d y n a m ite , s t r a i g h t
from t h e t u b e , " n e v e r t h e l e s s had an in n a te s e n se o f o r d e r and harm ony.
He d e c id e d t h a t th e i n t e r p l a y o f p u re c o l o r s e v e n t u a l l y became
^ e r c h e s t r e t i o n ru n am o k ."1
L v e n tu a lly he worked in a h ig h ly r e s t r i c t e d
p a l e t t e in c lu d in g , a c c o rd in g t o G ordon, a few d e g ra d e d g r e e n s , o c h r e s ,
s i e n n a s , e a r t h y re d # end ir o n g r e y s ,
Dufy d e v e lo p e d h i s p e r s o n a l,
l i g h t - h e a r t e d , d e c o r a tiv e s t y l e w hich h ad su ch an ira > o rto n t e f f e c t In
t h e f i e l d s o f f a b r i c d e s ig n and a d v e r t i s i n g a r t*
B raq u e, a Fauve f o r
o n ly a s h o r t tim e , w ent to an o p p o s ite e x tre m e in th e u s e o f c o l o r ,
He
d ro p p e d th e b r i l l i a n t t o n e s , and w orked f o r p i c t u r e s t r u c t u r e by o rg a n ­
i z i n g w o n d e rfu l p a t t e r n s o f g ra v e c o l o r s .
From t h e s e , and to g e t h e r
w ith P ic a s s o , he d e v e lo p e d th e s t y l e c a l l e d "C ubism ."
C o n c lu sio n
I t m ust be u n d e rs to o d t h a t t h e r e i s no r e a l " b e g in n in g " t o may
movement in human c u l t u r e .
The b ack g ro u n d s e x te n d f a r i n t o a n t i q u i t y .
Y e t, t h e r e comes a tim e when more e m p h asis i s p la c e d on one p h ase th a n
on a n o th e r .
Thus, th e t r a d i t i o n a l a p p ro a c h t o p o i n t i n g was o b j e c t -
d i r e c t e d — c o n c e rn e d w ith l o c a l c o l o r , end w ith n a t u r a l v a lu e c h a n g e s .
D u rin g th e l a t e n i n e t e e n t h c e n tu r y p a i n t i n g was a n a l y t i c a l , b u t was
e x p e r i e n c e - d i r e c t e d — p a i n t e r s were c o n c e rn e d w ith th e m eans by w hich
o b j e c t s w ere p e r c e iv e d , and w ith th e e f f e c t o f l i g h t and atm o sp h ere
end r e f l e c t ! m e .
The modern a p p ro a c h i s p a i n t i n g - d i r e c t e d .
o s i t i o n i s a l l - i n - a l l , i t s own re a s o n f o r b e in g .
The comp­
A r t i s t s e re c o n c e rn e d
w ith t h e e f f e c t s o f c o lo r s and form s on e a c h o t h e r w ith in th e p i c t u r e
p la n e .
*G ordon, ob. c i t . , p . 127.
CHAPTEft IV
THE PAINTING EXPERIMENT
The p rim a ry p u rp o se o f t h i s i n v e s t i g a t i o n h a s been th e e x p lo r a ­
t i o n o f p a i n t i n g by an o r d e r l y and v a l i d m eans.
In w r i t i n g ab o u t th e
p o t e n t i a l i t i e s o f th e v a r io u s p a l e t t e s , th e a u th o r h a s t r i e d to o rg a n ­
i s e th o u g h t* i n t o a re a s o n a b le s e q u e n c e .
However, anyone d o in g c r e a ­
t i v e w ork r e a l i z e s t h a t d ev elop m en t in t h a t work o f te n d o es n o t o c c u r
i n re a s o n a b le s e q u e n c e , n o r d o es l e a r n i n g o c c u r a c c o rd in g t o s c h e d u le ,
n o r by way o f a p la n w hich p r e v io u s t o t h e a t t a c k seem ed l o g i c a l .
e s e a r c h i n t o th e h i s t o r y o f p a i n t i n g r e v e a l s much ab o u t th e
p r i n c i p l e s in v o lv e d in a r t , b u t l i t t l e
by w hich a r t i s t e d e v e lo p e d t h e i r v o r k .
t h a t i s s p e c i f i c a b o u t th e means
P ro b a b ly th e re a s o n i s t h i s :
t h a t th e p r i n c i p l e s have been d is c u s s e d by o t h e r a r t i s t e and c r i t i c s
a f t e r th e w ork was d o n e .
a b o u t L h e ir w ork.
The p a i n t e r s th e m s e lv e s d id n o t sa y ranch
I n s t e a d , th e y p a in te d — s t r u g g l i n g f i r s t to i d e n t i f y
th e p ro b le m s, th e n to s o lv e them , and so t o c o n tin u e th e s tu d y .
It
b a a , t h e r e f o r e , been d i f f i c u l t t o d is c o v e r th e s p e c i f i c c o lo r ran g e#
w hich p a r t i c u l a r a r t i s t s have u s e d , and t o f in d t h e i r r e a s o n s f o r
c h o o sin g th e p ig m e n ts , even th o u g h t h i s c h o ic e was by no means a r b i ­
t r a r y , b e in g th e p h y s ic a l means by w hich t h e i r c o m p o s itio n s were
a c h ie v e d .
A f te r some r e s e a r c h , f o u r b a s ic p a l e t t e s w ere c h o s e n ,
fhe
f i r s t , th e p r im a r y - c o lo r s p a l e t t e , owes i t s o r i g i n a l c o n s id e r a tio n from
s e v e r a l s o u r c e s , in c lu d in g th e a d v ic e s o f s e v e r a l i n s t r u c t o r s ,
fhe
33
Second b a s ic p a l e t t e i s based on th e I a y r e s s io B S s tg ' sy stem o f u s in g
th e c o lo r s o f th e s p e c tru m .
T h is , to o , waa a l t e r e d a f t e r r e s e a r c h and
c o n s i d e r a t i o n o f t h e p a l e t t e s r e co amended by v a r io n s i n e t r n c t o r s .
The
b a s ic y e l l o w - v i o l e t p a l e t t e i s t h a t g iv e n by David !’cC osh, o f th e a r t
d e p a rtm e n t o f t h e U n i v e r s i t y o f O regon.
A s tu d y o f th e B irre n c o lo r
s o l i d s u p p o r ts c o n s i d e r a t i o n o f t h i s p a l e t t e ,
The f o u r t h p a l e t t e ,
b ased on f o u r to n e s o n ly and ig n o r in g form I c o lo r th e o r y , was ta k e n
from e sm a ll p o i n t i n g by 'lo b e r t tie n e e s e , an a d v is o r i n th e e x p e r im e n t.
The ra n g e o f d a r k - l i g h t and w arm -cool to n e s in t h i s p a i n t i n g (w hich was
o r i g i n I l y in te n d e d a s on u n d e r p a in tin g t o lie d e v e lo p e d f u r t h e r in
c o l o r ) prom pted f u r t h e r e x p e rim e n t t o d is c o v e r th e p o s s i b i l i t i e s o f a
r e a l l y l i m i t e d ra n g e o f c o l o r ,
P a l e t t e e f o r f u t u r e s tu d y may in c lu d e
t h e e a r t h c o l o r s , and a ra n g e o f h u e s p la n n e d t o be c o m p a tib le w ith th e
p h th a lo e y a n in e p ig m e n ts .
I n p ro c e e d in g w ith th e e x p e r im e n t, f o r e a c h g ro u p o f c o lo r s a
c h a r t o r s c a l e v&s made.
bach c o l o r was m ixed w ith w h ite and a rra n g e d
on th e c h a r t t o show c o m p a ra tiv e v a lu e s end i n t e n s i t i e s .
Each tw o -
c o l o r c o m b in a tio n was a ls o m ixed w ith w h ite and bo a r r a n g e d .
These
c h a r t s o r s c a l e s were made, n o t os & m e c h a n ic a l e x e r c i s e , bu t t o g a in
on u n d e r s ta n d in g o f th e a c t i o n o f th e c o lo r s when in te r m ix e d .
Obvi­
o u s l y , t h i s know ledge w ould come e v e n t u a l l y , th ro u g h p a i n t i n g e x p e r i ­
ence.
H ow ever, th e l i m i t e d tim e a v a i l ; b le f o r t h i s e x p lo r a tio n made i t
d e s i r a b l e t o g a in a s much w orking know ledge a s p o s s i b l e , in a s o r d e r l y
a way a s p o s s i b l e , so t h a t th e r e a l p i n t i n g p ro b lem s m ig h t be fa c e d
w ith o u t th e c o n fu s io n o f n o t knowing e x a c t l y w hat th e c o lo r s would do
t o e a c h o t h e r in sim p le c o m b in a tio n s*
The P r im a r y -C o lo r s P a l e t t e
The p r im a r y - c o lo r s p a l e t t e wee ch o sen a s one w h ic h m ig h t s u p p ly
th e b e g in n in g o f » know ledge o f c o l o r s t o th e s t u d e n t .
I t i s b ased on
th e t h e o r y t h a t a l l c o l o r s a re d e r i v a t i v e s o f r e d , y e llo w , and b lu e ,
w ith c h an g e s in v a lu e fro® b la c k ( o r i t s e q u i v a l e n t ) t o w h ite .
R o b e rt
H e n ri, i n a l e t t e r t o a c l a s s in p a i n t i n g , recoam ended th e e x p lo r a tio n
o f th e p rim a ry c o l o r s a s a b e g in n in g o f c o l o r s tu d y .
Q et a r i g h t h e ig h t o f c h a i r and s i t a t y o u r p a i n t i n g
t a b l e . Take a s t r u e a Hedf Y ellow and B lue a s you can c h o o se .
Mix n e ig h b o r w ith n e ig h b o r u n t i l you have t h r e e new n o t e s ,
O range, G re en , P u r p le . S e t a l l s i x in a l i n e , and m ix n e ig h ­
b o r w ith n e ig h b o r u n t i l you have s i x m ore— RU, 9Y, YU, GB, BP,
PR. You have now b e fo re you a homogeneous p a l e t t e . . .
T h is i s a f i r s t s te p ta k e n i n th e d i r e c t i o n o f an
a c q u a in ta n c e w ith th e p o s s i b i l i t i e s o f p ig m en t c o l o r s . *
In m o t h e r l e t t e r , he d is c u s s e d r e s e a r c h in a r t a s fo llo w s *
" I «m n o t
p ro p o s in g a • s c i e n t i f i c a l l y ham pered1 a r t i s t , b u t one who i s unhom!
g
p e r e d by ig n o r a n c e , who u n d e r s ta n d s w e ll th e means he e m p lo y s,"
’r e f e r r i n g t o n o te s made from a c o n v e r s a tio n w ith MeCosh, th e
a u th o r u s e d a s a f i r s t p a l e t t e th e fo llo w in g *
cadmium y e llo w medium,
a l i z a r i n c rim s o n , u ltr a m a r in e b lu e , and b u rn t s ie n n a , t o g e t h e r w ith
w h ite .
In t h i s c o l o r ra n g e , t h e t h r e e p rim a ry c o l o r s s u p p lie d , when
m ix e d , an e x t r a o r d i n a r y ra n g e o f h u e .
B u rn t s ie n n a u sed w ith u l t r a -
m a rin e gave a d a rk to n e w hich s u p p lie d th e e q u iv a l e n t o f b la c k w ith o u t *2
^ S e n r i, R e b e r tf The Art
p h ia & New Y ork, 1051, p . 3 7 .
2I b i d . , p . 119.
- p i r i t , J« B, L ip p e n c o tt C o ., P h i l a d e l ­
i t s deadening e f f e c t , euaei when need v i t h n l i z n r i n Bade p o e ^ ib le a
d eep , warm r e d .
The p a i n t i n g ehonn i n F ig u re I , A ppendix I I , was c o n s tr u c te d
u s in g th e p r im a r y - c o lo r * p a l e t t e .
A v a r i a t i o n o f th e p r im a r y - c o lo r s p a l e t t e v«* worked o a t a t t h e
recom m endation o f J e a e i e r .i l b e r , ‘Un a d v is o r in th e i n v e s t i g a t i o n .
The
u l tr a m a r in e b lu e was changed t o c o b a l t b lu e , a much l i g h t e r h u e , end t o
co m p en sate f o r th e I e e a o f deep v a lu e , b u r n t um ber was s u b s t i t u t e d f o r
b u rn t s ie n n a .
T h is , i n t u r n , b ro u g h t ah Aat a change from cadmium y e l ­
low medium t o cadmium y e llo w l i g h t .
The ran g e warn now*
cadmium y e llo w
l i g h t , a l i z a r i n c rim s o n , c o b a lt b lu e , b u r n t tim ber, w h ite .
A t h i r d v a r i a t i o n o f t h i s b a s ic p a l e t t e m ig h t c o n s i s t o f cadmiums
y e llo w l i g h t , a l i z a r i n c rim so n ( o r cadmium re d m edium ), v i r i d i n n , and
u l tr a m a r in e v i o l e t , t o g e t h e r w ith w h ite and b la c k .
In t h i s e a s e , th e
v i o l e t and g re e n com bined p ro d u c e th e b lu e to n e s .
F ig u r e s 2 and 3 , Appendix I I , show p a i n t i n g s u s in g t h i s v e r s io n
o f th e p r im a r y - c o lo r s p a l e t t e .
The v a r i a t i o n p o s s i b l e w ith a p r im a r y - c o lo r s p a l e t t e i s e v id e n t
when c o n s id e r in g t h e p a i n t i n g s o f Cezazme, who i n s i s t e d t h a t th e a r t i s t
s h o u ld n e v e r u s e any b u t th e th r e e p rim a ry c o lo r s and t h e i r Im m ediate
d e riv a tiv e s ,
th e p v l e t t e o f C ezanne, a c c o rd in g t o L ern n c o n ta in e d th e
f o t lo w in g ;*
‘ Lorttn, t r i e , C e z a n n e 's C o m p o sitio n . L n i v e r a i t y o f C a l i f o r n i a
P r e s s , B e rk e le y and I n e A n g e le s, 1043.
41
T elIo w s
B r i l l i a a i y e llo w
N a p le s y e llo w
Chrome y e llo w
Y ellow o c h re
Raw s ie n n a
G reena
Lm ernld g re e n
V ir id i a n
G reen e a r t h
P eaeh b la c k
Keds
V e m llio n
Red o cb re
B u rn t s ie n n a
Rose m adder
B n m t la k e
B le e a
C o b a lt b lu e
U ltra m a rin e b lu e
P r u s s ia n b lu e
S i l v e r w h ite
I t i s th e c h a r a c t e r o f th e p r im a r y - c o lo r s p a l e t t e t h a t w h ile i t
Ctm be Biade t o s u p p ly a d e q u a te v a r i a t i o n s o f b o th c o l o r and v a lu e ,
n e i t h e r q u a l i t y i s i n h e r e n t in t h e p a l e t t e .
B oth c o l o r and v a lu e can
be a t t a i n e d o n ly by th e c o n s c io u s a c t i v i t y o f th e a r t i s t .
I t is
p a r t i c u l a r l y v a lu a b le ae e c o lo r - m ix in g p a l e t t e f o r th o s e s tu d e n t s who
w i l l c o n tin u e t h e i r s t u d i e s t o l a t e r d is c o v e r th e f u n c tio n o f i n t e n s i t y
and d a rk and l i g h t in th e s t r u c t u r e o f p a i n t i n g .
The g r e a t economy o f
t h e p r im a r y - c o lo r s p a l e t t e i s an im p o r ta n t a d v a n ta g e .
The Spec tm ® P a l e t t e
The sp e c tru m n e l e t t e c* u se d by t h e l e tp r e s e io n ie ta wee based on
th e id e a t h a t th e r?m*;e o f c o lo r s w hich make up w h ite l i g h t i s th e
K ost c o m p lete epd b r i l l i a n t p o e i b l e , end can be made t o g iv e t o th e
p i c t u r e some o f t h e q u a l i t y o f l i g h t .
R o b ert H e n ri, who was e d u c a te d
i n F ran ce j u e t b e fo re th e t u r n o f th e c e n tu r y — At J u l i i i n 1B, where ao
many o f t h e g r e a t s in p a i n t i n g m et— wae p a r t i c u l a r l y c o n ce rn e d t h a t M a
s tu d e n t s work w ith n w e ll—ch o sen p a l e t t e , c o rre s p o n d in g t o th e c o l o r s
o f th e ra in b o w .
Your r e g u l a r ^ to e k o f c o l o r s s h o u ld be a s n e a r l y a s p o s ­
s i b l e a w e ll b a la n c e d
Red
R
R ed -o ran g e Ortmge
R<!
O
G reen R re e n -h lu e B lue
G
GB
B
O ra n g e -y e llo w
OY
b lu e - p u r p le
HP
Y ellow
Y
P m ? le
P
Y e llo w -g re e n
YS
P u r p le - r e d
PR
in c o rre s p o n d e n c e w ith th e sp e c tru m band, sad w ith th e s e you may
have p ig m e n ts t h a t w i l l s e rv e a s n e u t r a l s .
R u t t e r l i s t s , a s e specim en p a l e t t e o f a r e p r e s e n t a t i v e B i v i a i o n i s t ( P o i n t i l l i s t ) t h e fo llo w in g *
w h ite , cadmium y e llo w , v e r m ilio n ,
madder la k e , c o b a lt v i o l e t , u l t r a m a r i n e , c o b a lt b lu e , e m e ra ld o x id e o f
chromiUBi.*1 T h is group e i c o lo r s was ch o sen a s th e b a s ic sp ectru m
p a le tte ,
1IT enri1 R o b e rt, The A rt K p i r i l , J . B. L ip p e n c o tt C o ,, P h il a d e l­
p h ia and Kew Y ork, 1951, p , 19, 2 0 ,
^ R u t t e r , F ra n k ,
Y ork, p . 4 5 , 1028.
v o l u t i o n in M odem l r t , The D ia l P r e s s , New
43
The s p e c tra m p a l e t t e i s e n t i r e l y a p a l e t t e o f h u e , r a t h e r l i g h t
and b r i g h t in q u a l i t y .
h i Xe CeKcoine n e e d a p r ie m r y - c e le r e p a l e t t e ,
h i e t h e o r i e s h a d , p e r h a p s , th e g r e a t e s t e f f e c t on th e u s e s o f th e p ig ­
m en ts i n th e sp e c tru m p a l e t t e .
I t e ae h i s b e l i e f th v .t th e c o o l c o lo r s
( th o s e te n d in g to w a rd b lu e ) had th e e f f e c t o f r e c e d in g , o f g o in g away
from th e o b s e r v e r i n t o th e p i c t u r e p la n e , w h ile he b e lie v e d t h a t th e
w arn c o l o r s ( th o s e te n d in g to w a rd re d and y e llo w ) had th e e f f e c t e f
com ing fo rw a rd .
He m o d e lle d th r e e - d im e n s io n a l f o r a e x c l u s i v e l y by
m o d u la tin g front warm t o c o o l .
L ees d i s c e r n i n g a r t i s t e have ta k e n t h i s
c o n v e n tio n and u s e d i t t o p a i n t " c o o l" shadow s and "warm" l i g h t s .
T h is
h a s become a r a t h e r common c o n c e p t.
Two p a i n t i n g s , shown in F ig u r e s 4 sa d &, A ppendix I I , were dev­
e lo p e d u s in g th e sp e c tru m p a l e t t e .
I t w i l l be n o te d t b o i th e b a s ic sp ec tru m p a l e t t e c o n ta in s no
b la c k , n o r way o f th e e a r t h c o lo r s w hich m ig h t have a n e u t r a l i s i n g
e f f e c t , b u t u se* o n ly th e h ig h e s t i n t e n s i t y h u e s .
These were th e
c o l o r s w hich s e r v e d th e I m p r e s s i o n i s t s f o r a t t a i n i u g th e g r e a t e s t p o s­
s i b l e b r i l l i a n c e in t h e i r p a i n t i n g .
Van Gogh, how ever, b ro u g h t b la c k
b eck i n t o tb% ra n g e , a lth o u g h be d id s o t u se i t a s n n e u t r a l i y « r .
(Van Gogh u s e d a p rim a ry -c o m p le m e n ta ry p a l e t t e e n t i r e l y . )
added th e o c h r e s , th e jsienn&s, g re e n e a r t h and b l a c k .
Cezanne
Tlte F n u v es,
e a r l y in th e movement, u s e d o n ly th e s h r i l l e s t o f p u re c o l o r s , n o t even
m ix in g them , W t e v e n t u a l l y th e i n d i v i d u a l p e i n t e r e r e a l i z e d th e v a lu e
o f th e g ra v e c o l o r s .
S in c e th e n , th e u s e e f th e s p e c tru m p a l e t t e
44
su p p lem en te d w ith th e e a r t h c o l o r s and b la c k Ime lmcome common p r a c t i c e .
R o b e rt f ie n r l, who th ro u g h h ie te a c h in g had a p ro fo u n d e f f e c t on A m erican
p a i n t i n g , spoke o f th e e f f e c t o f th e n e u t r a l s a s f o ll o w s ;
"The e f f e c t
o f b r i l l i a n c y i s t o be o b ta in e d p r i n c i p a l l y from th e o p p o s itio n s o f
c o o l c o l o r s w ith warm c o l o r s , end t h e o p p o s itio n s o f g ra v e c o lo r s w ith
b rig h t c o lo rs .
I f s i I c o lo r e a re b r i g h t , t h e r e i s no b r i g h t n e s s ." *
Such a c o m b in a tio n was recommended by W ill H o rn e t, g u e s t i n s t r u c t o r a t
* o n ta n a S to te C o lle g e .
Bin p a l e t t e c o n ta in e d th e f o llo w in g ;
cadEiium y e llo w l i g h t , e&disiow o ra n g e , e Odmiae re d l i g h t ,
w h ite ,
b u rn t s ie n n a ,
a l i z a r i n c riu ia e a , v i r i d i a , c o b a lt b lu e , u ltr a m a r in e b lu e , y e llo w o c h r e ,
raw s i em u., raw um ber, b u rn t net h e r , and b la c k .
I
H e n ri, R o b e rt, The A rt S p i r i t , J . 8 . L ip p e n c o tt C o ., P h i l a d e l ­
p h ia Sind New 'io rk , 1851, p . 3d*
The Y e l l e v - V i o l e t P o l e t t e
l l t i e c o l o r ra n g e , ho sed p r i m a r i l y on th e o p p o s itio n o f y e llo w
end v i o l e t , was b ro u g h t t o th e a t t e n t i o n o f th e a u th o r w h ile she
a tte n d e d summer s e s s io n c l a s s e s u n d e r a g u e s t i n s t r u c t o r a t M ontana
S tai-e C o lle g e , David IIeCoshe
I t s v a l i d i t y i s s u p p o rte d by th e c o lo r
s o l i d o f F a b e r B ir r e n , whose key f e a t u r e i s th e v a lu e d i f f e r e n c e be­
tw een y e llo w and v i o l e t #
The p a l e t t e n s p r e s e n te d by McCoeh c o n s i s t s
o f cadmium y e llo w l i g h t , y e llo w o c h r e , b u r n t um ber, m anganese v i o l e t ,
m ars v i o l e t , v i r l d i a n , and a l i z a r i n crim son#
T h is ra n g e o f c o l o r s h a s tinny i n t e r e s t i n g q u a l i t i e s .
I t is
b a se d on y e llo w , a t h ig h e s t i n t e n s i t y th e l i g h t e s t c o l o r in th e sp ec ­
tru m , and v i o l e t , th e d a r k e s t .
Y ellow in i t s v a r io u s v a lu e s v a r i e s so
g r e a t l y i n i t s e f f e c t t h a t i t c h an g es i t s u a ae a t d i f f e r e n t l e v e l s —
c r e a a , t a n , g o ld , brow n.
a b le n d o f two c o lo r s #
o th e r, but v ib ra te s #
V i o l e t h a s an u n s ta b l e c o l o r c h a r a c t e r , b e in g
I t n e v e r e e i t l e a down t o b e in g one o r th e
I t I e fou n d ev ery w h ere in n a t u r e , r I th ough s e l ­
dom a t h ig h i n t e n s i t y , and h s s a q u a l i t y w hich can he u s e d t o u n i f y
o th e r c o lo r s .
(B lu e , commonly th o u g h t o f a s e c o l o r f o r "sh id o w s"
a c t u a l l y re m a in s b in e a t a l l v a l u e s , and d o es n o t t h e r e f o r e have t h i s
u n if y i n g q u a l i t y . )
V io l e t a c q u ir e s t h i s u n if y in g q u a l i t y from th e f a c t
t h a t i t i s th e com plem ent o f y e llo w , and i s a s te p betw een re d and b l u e ,
H ince th e d a rk s o f th e y e l l o w - v i o l e t p a l e t t e have a war® to n e ,
t h r e e —d im e n s io n a l form can be b u i l t on t h e p r i n c i p l e o f th e v a ra shad­
ow, c o o l l i g h t — a c o n v e n tio n h a v in g a q u i t e d i f f e r e n t e f f e c t from th e
t r a d i t i o n a l c o ld shadow, wans l i g h t c o n c e p t.
The r e s u l t i s a g r e a t e r
46
p r e e e n r e t i o n o f th e f l a t n e s s o f t h e p i c t u r e p la n e , s in c e th e w arn d a rk
shadow d o e s n o t s in k i n t o th e p i c t u r e p la n e a s d o es th e c o o l shadow,
n o r d o e s th e c o o l l i g h t jump o u t a s much a s th e w arn l i g h t .
The p a i n t i n g s shown i n f i g u r e 6 end 7, A ppendix I I , w ere p a in te d
w ith th e y e llo w y -v io le t c o l o r ra n g e .
A seco n d y e l l o w - v i o l e t p a l e t t e n a y c o n s i s t o f cadmium y e llo w ,
cadmium o ra n g e , b u rn t s ie n n a , u ltr a m a r in e v i o l e t , r i r i d i a n ond w h ite .
The p o i n t i n g i l l u s t r a t e d in F ig u re 8 , A ppendix 1 1 , was con­
s t r u c t e d w ith t h i s v a r i a t i o n .
The y e l l o w - v i o l e t p a l e t t e hoe th e a d v a n ta g e o f b e in g e s s e n t i a l l y
b o th a c o l o r and a v a lu e p a l e t t e , w ith a p o s s i b l e ran g e o f b o th h ig h
«md low i n t e n s i t y t o n e s .
I t s p ig m e n ts a r e su ch t h a t a g r e a t ra n g e o f
warm and c o o l c o l o r s can be p ro d u c e d .
F o r t h e s e r e a s o n s , w h ile i t i s
v a l i d f o r e x te n s iv e r e s e a r c h f o r th e a d v an ced s t u d e n t , i t i s p a r t i c ­
u l a r l y v a lu a b le f o r th e p e ra o n who i s n o t p r i m a r i l y an a r t i s t , b u t who
w is h e s on u n d e r s ta n d in g o f th e m eaning and p r o c e s s o f p o in tin g *
The F ou r-T oae P e l e t t e
P u l e t i a g s t r u c t u r e i s bu sed an th e d i s t r i b u t i o n o f v a lu e u r e a s
o v e r th e p i c t u r e p la n e t o g e t h e r w ith th e i n t t r e c i i o n o f i n t e n s i t i e s o f
h u e s EUid wens—c o o l to n e s ■ aith ia th e v a lu e l o c a l i t y .
A f o u r t h b a s i c p a l e t t e was d is c o v e r e d rh e a e x a tsia In g a p a i n t l a g
o f one o f th e a d v is o r s , R o b e rt 9eW eese.
T h is p a i n t i n g was o r i g i n a l l y
c o n c e iv e d iim an u n d e r p a in ti n g , t o be s u b s e q u e n tly c o v e re d w ith c o lo r e d
g lo v e s .
The c o l o r s u s e d were a p p a r e n tly w h ite , b la c k , y e llo w o c h re sa d
b u r n t s ie n n a , p a in te d o v e r a brown g ro u n d ( m a s o n ite )•
T h is lim it e d
p a l e t t e gave a s u r p r i s i n g ra n g e o f v a lu e and I n t e n s i t y .
The s p e c i f i c p ig m e n ts ch o sen f o r t h i s c o l o r gro u p w ere iv o ry
b la c k ( a c o o l b l a c k ) , t i t a n i u m - v i n e w h ite ( th e m ost b r i l l i a n t w h ite ) ,
y e llo w o c h re and b u r n t s ie n n a .
I n p a i n t i n g , i t was fo u n d t h a t en a l ­
m ost co m p le te ra n g e o f l i g h t - d a r k wad w an a-co o l c o u ld be worked o u t,
one l i g h t b e in g c o o l ( w h i t e ) , w h ile th e o t h e r was warm (y e llo w o c h r e ) ,
and one d a rk ( b la c k ) b e in g c o o l, w h ile th e o th e r ( b u r n t s ie n n a ) was
w arn.
The i n t e n s i t i e s o f e a c h o f th e s e c o lo r s i s n a t u r a l Iy h ig h , w h ile
i n m ix tu re th e y te n d t o g ra d e e a c h o t h e r .
Thus, a s com pared to th e
p r im a r y - c o lo r s p a l e t t e , w hich can g iv e a r e l a t i v e l y c o m p le te ra n g e o f
h u e , th e f o u r - to n e p a l e t t e g iv e s a g r e a t ra n g e o f v a l u e , i n t e n s i t y , and
w arm -cool e f f e c t .
M oreover, b e ca u se o f th e ex trem e l i m i t a t i o n o f h u e ,
th e a r t i s t i s f o r c e d t o s u b s t i t u t e th e s e q u a l i t i e s f o r l o c a l c o l o r , and
so can come c l o s e r t o an u n d e r s ta n d in g o f b a s ic p a i n t i n g s t r u c t u r e .
The p a i n t i n g s i l l u s t r a t e d i n F ig u r e s 8 and 10, A ppendix I I , w ere
b a se d on th e f o u r - to n e p a l e t t e .
CHAPTER V
COKCl USIGN
Many i n d i v i d u a l s in e x p e r ie n c e d i n p a i n t i n g come t o th e s tu d y
w ith c e r t a i n s ta n d a r d iz e d c o n c e p ts .
F o r exam ple, th e n o v ic e h a s »
much s i m p l i f i e d id e a o f th e c o lo r s o f o b j e c t s — th e efcy I e b lu e , g r a s s
i s g r e e n , t r e e tr u n k s e r e brow n, and f l e s h i s p in k e x c e p t in th e c a s e
o f e sun t a n .
These id e a s a r e u n d o u b te d ly in f lu e n c e d by th e p o p u la r
c ra y o n box o f s i x t e e n c o l o r s u sed by m ost c h i l d r e n , and th e s ta n d a rd
b r i g h t n e s s o f te m p e ra p a i n t s u s e d in s c h o o ls ,
h i Ie th e n o v ic e h as
p ro b a b ly a t some tim e i n h i s e d u c a tio n e n c o u n te re d th e c o l o r w h eel,
h i s idem o f c o lo r harmony r e s t s on th e f a c t t h e t he !move what he
l i k e s , end t h a t come c o l o r s " f i g h t . "
Ke i s e n tra n c e d by d raw in g s
w hich e x h i b i t " s h a d in g ," o r th e m o d e llin g o f th r e e - d im e n s io n a l form ,
ond i s t h e r e f o r e d e lig h te d when he d is c o v e r s t h e t he c en p o in t in c o l­
o r and s im u la te t h i s ro e n d n e s s o f form by ad d in g w h ite and b la c k t o
h i s p ig m e n ts .
W hile t h e s e c o n c e p ts may he v a l i d w i th in t h e i r l i m i t a -
tiO K B, th e y do n o t a c t u a l l y r e f e r t o th e e le m e n ts o f p o i n t i n g .
F e i n t i n g i s a c o n s t r u c t i n w hich th e e le m e n ts in v o lv e d r e a c t
upon each o t h e r in somewhat th e same way a s m a th e m a tic a l o p e r a tio n s
r e a c t upon th e f i g u r e s in v o lv e d , o r a s s e n te n c e s t r u c t u r e r e a c t s upon
and o r g a n is e s th o u g h t.
G rase may c e r t a i n l y (b u t n o t n e c e s s a r i l y ) be
g r e e n , b a t a g re e n h ig h ly d i f f e r e n t i a t e d and c o n ta i n in g many o t h e r
c o l o r s , a s t h e I m p r e s s i o n i s t s le n r n e d .
But th e p ro b le m in p a i n t i n g i s
t o so a d j u s t o r change th e g re e n t h a t i t ta k e s i t s p r o p e r p la c e a s on
e le m e n t in th e p a i n t i n g o r g a n i z a t i o n .
C o lo r harmony and c o lo r v ib r a ­
t i o n ( t h e • 'fig h tin g '* on w hich th e fa u v e s baaed t h e i r p ro d u ctio n s* ) be­
come e x tre m e ly com plex aa t h e a c t i v e e f f e c t o f c o lo r on c o lo r i s r e a l ­
iz e d .
The " s h a d in g '1 o f f o r a , t e c h n i c a l l y w o n d erfu l a s i t can become,
i s i n c i d e n t to th e v a lu e o r g a n iz a ti o n o f a l l th e form s w ith in th e
p i c t u r e p la n e ,
p o in tin g .
in a tio n .
These t h i n g s a re t r u e r e g a r d l e s s o f th e m essage o f th e
They can be r e a l i z e d o n ly a f t e r many e x p e r ie n c e * in d is c r im ­
I t h a s been th e i n t e n t i o n o f th e a u th o r t o s e a r c h f o r e
m eans, th ro u g h th e u se o f p a r t i c u l a r c o l o r ra n g e s , by w hich th e b e g in ­
n in g p o i n t e r c an t o some e x t e n t a v o id c o n fu s io n and r e a l i z e th e s e p ro b ­
le m s, s in c e o n ly by c l e a r l y u n d e r s ta n d in g them can he f i n d any s o lu ­
tio n s .
I n r e f e r e n c e t o h e r own p a i n t i n g d e v e lo p m e n t, t h e a u th o r bee
fo u n d t h a t t h e s tu d y o f p a i n t i n g by means o f p a r t i c u l a r c o lo r ra n g e s
h a s , by r e q u i r i n g c o n c e n tr a tio n on th e i n t e r a c t i o n o f s p e c i f i e d c o l o r s ,
e lim in a te d much c o n fu s io n and f lo u n d e r in g , and bee h e lp e d g iv e d i r e c ­
t i o n to h e r w ork.
An an a id i n th e u n d e r s ta n d in g o f p a i n t i n g p ro b le m s f o r th e
b e : in n in
a rtis t,
i t w ould a p p e a r t h a t a p a r t i c u l a r c o l o r ran g e can
h e lp p o i n t o u t th e s e p ro b le m s .
F i r s t , by u s in g o s m a ll number o f p ig ­
m e n ts , th e a c t i o n o f th e c o l o r s on e a c h o th e r con be more a c c u r a t e l y
re a liz e d .
S econd, th e p a i n t i n g p ro b lem s may be fa c e d more d i r e c t l y
i f some o f them a r e s t r i c t l y l i m i t e d , n o t by r u l e , b u t by th e means o f
e x p r e s s io n .
50
Of th e p a l e t t e s s t u d i e d , i t w ould seem t h a t th e f o u r - to n e d
p a l e t t e m ig h t be h e l p f u l t o th e b e g in n e r , s in c e i t c o n ta i n s g r e a t
r a n g e s in l i g h t - d a r k to n e s , warm—c o o l t o n e s , and i n t e n s i t i e s , w h ile
i t e l i m i n a t e s th e pro b lem o f l o c a l c o l o r .
I t h as th e a d v a n ta g e o f be­
in g e c o n o m ic a l, b u t i t i s p o s s i b l e t h a t t h i s c o lo r group m ig h t, t o th e
b e g in n e r , seem t o la c k g le m o u r.
The a u th o r would be i n t e r e s t e d in
o b s e r v in g th e e f f e c t o f l i e recom m endation t o a group o f s t u d e n t s .
The b a s ic y e l l o w - v i o l e t p a l e t t e m ig h t be e f f e c t i v e f o r b o th
b e g in n in g and advanced s t u d e n t s .
U sin g t h i s ra n g e , p a i n t i n g way be
a p p ro a c h e d from th e v ie w p o in t o f v a lu e d i s t r i b u t i o n a p p lie d as c o lo r
o v e r th e p i c t u r e p la n e , and a l s o from th e v ie w p o in t o f form c o n s tr u c te d
on th e p r i n c i p l e o f warm -shadow, c o o l - l i g h t .
The p r im a r y - c o lo r s p a l e t t e i s , by i t s n a t u r e , a c o lo r-m ix in g
p a l e t t e , and h a s th e d is a d v a n ta g e o f im p ly in g t h a t h u e , and th e r e f o r e
l o c a l c o l o r , i s th e c e n t r a l id e a o f p a i n t i n g .
JPor t h i s re a s o n , th e
a u th o r f e e l s t h u t th e p a l e t t e i t s e l f w i l l n o t d i r e c t l y h e lp th e n o v ic e ,
a lth o u g h i t s p o s s i b i l i t i e s f o r more ad v an ced s tu d e n t s a re s u r p r i s i n g
in s c o p e .
The sp e c tru m p a l e t t e d o e s a ls o have th e d is a d v a n ta g e o f a p p e a r­
in g t o em p h asize l o c a l c o l o r , b u t b ecau se o f i t s g r e a t e r ro u g e , e s p e c i ­
a l l y when th e e a r t h c o lo r s a re ad d ed , i t i s more a d a p ta b le .
I t la
p a r t i c u l a r l y u s e f u l when u s e d a s th e I m p r e s s io n is t s u se d i t , to d e v e lo p
c o l o r d i f f e r e n t i a t i o n on fo rm s.
t i e s e re u n l i m i t e d .
F o r th e m ature p a i n t e r i t s p o s s i b i l i ­
61
The ebove rem ark s do n o t I n Any way im p ly t h a t th e o se o f
p a r t i c u l a r c o l o r ra n g e s w i l l c o n s t i t u t e n fo rm u la f o r p ro d u c in g p a i n t la g * .
im s s ii i
I
'the Kameell J e lo r
r ig * d
nhere
Pig* 2
Ibe Jateald .,olur S o lid
Ia e iiir r e u C o lo r S o lid
' K irr e n t F n b e r1 C o lo r ^ im e m n o n s 9 Ibe v ritta o it F r e o e 1 U bioago1
1034, pp* 6-0*
APPLNDII 11
COLORED SLIDES Of PAINTIBJOS
F o llo w in g a re c o lo r e d s l i d e s o f t e n p a i n t i n g s d e v e lo p e d w ith
th e f o n r b a s ic p a l e t t e s d is c u s s e d i n th e te x t*
F ig u r e I
S t i l l L if e w ith C arved Bead
F ig u r e 2
P a rk w ith JHaplee
F ig u r e 3
P i c t u r e G a lle r y
F ig u re 4
S t i l l L if e w ith B lue M o ttle
F ig u r e 5
S t i l l L if e w ith Crown D o ttle
F ig u r e 6
S t i l l L i f e w ith P o tte d P l a n t
F ig u r e 7
Back Y ards w ith A pple T ree
F ig u r e 8
S t i l l L if e w ith C o ffe e P e t
F ig u r e 8
S t i l l L if e w ith F is h K ite
F ig u r e 10
S t i l l L if e w ith M andolin
APPOUIX I I I
UiERAfDHE CIfED AND CONSULTED
B ir r e n f F a b e r1 COLOR DIMENSIONS, Tb* C rim son P r e s s , C h ic a g o , 1634.
B i r r e a , F a b e r, MONUMENT TO COLOR, M cF arlane Varde L c F a r la u e, Hew Y ork,
1938.
D o e rn e r, Max, THE MATERIALS OF THE ARTIST AND THEIR USE IN PAINTING,
H n rc o n rt, Hrace & C o ., I n c . , New Y ork, 1934.
G ordon, J a n 1 MODERN FRENCH PAINTERS, Dodd, Mead & C o ., New Y ork, 1936.
H e n ri, R o b e rt, THE ART.SPIRIT, J .
New Y ork, 1951.
v ie n c o tt C o ., 1 'h ilo d e l p b l a <md
L o ron, E r i e , CEZANNE'S COMPOSITION, U n iv e r s ity o f C a l i f o r n i a P r e s s ,
B e rk e le y and I n s n g e le e , 1643.
M nneelI , A. H ., A COLOR NOTATION, Am I l l t i s t r a t e d System D e fin in g A ll
C o lo rs and T h e ir R e la tio n s by M easured S c a le s o f lin e, V alue and
Chrtwia1 Ifn n e e ll C o lo r Cotspn»y, I n e . , B a ltim o re , M d., 1941.
O etw eld , l i k e I n , COLOUR SCIENCE, W inser & Newton L t d . , 38 R athbone
P la c e , London, W. I , 1031.
R o u sseau , T h eo d o re, J r . , PAUL CEZANNE, H enry N. Abrams, I n c . , in a s s o c i ­
a t i o n w ith P o c k e t Books, I n c . , Nev York, 1953.
B u t t e r , F ra n k , EVOLUTION IN MODERN AST, The D ia l P r e s s , New York, 1923.
Sherm an, Hoyt L . , CEZANNE AND VISUAL FOW, P e r t 2, The S ch o o l o f F in e
and A p p lie d A rt, Ohio S ta te U n i v e r s i t y , Colum bus, O hio, S e p t­
em ber, 1982.
S k ir a 1 A lb e r t, e d i t o r end p u b lis h e r , BISTORT OF MODERN PAlNIlNG FROM
BXULtELAlIlL TO BONNARD, A lb e rt k i r a , G eneva, S w itz e r la n d , 1940.
S k ir a , A lb e r t, e d i t o r and p u b l i s h e r , HISTORY OF MODERN PAINTING,
MATISSE, tUNCH, R !VAULT, A lb e rt S k ir a , G eneva, S w itz e r la n d ,
1950.
M A D E I N U S A.
M A D E I N U S A.
N o. I
iNow fVinossiw
. :
r
/z zf y/
=
CM
lit,