color theory and "light" (redux)
DESCRIPTION
Colorful Painting Class Glenn Hirsch, Instructor www.glennhirsch.comTRANSCRIPT
Color and “Light”
‘light’ = ‘emotion’
the contrast of light and dark
the variety of warm and cool
Alexei Jawlensky
Paul Gauguin
Emile Nolde
Peter Doig
R. B. Kitaj
Melissa Miller
Fred Martin
The “language of light”
Monochromatic color schemes enhance a particular mood
Wolan Huang
Nathan Oliveira
“Theatrical” light: spotlight, cast shadow, metallic glow
(Johannes Vermeer, 1665)
Backlighting
Without backlighting
With backlighting
Glowing Light
mystical, supernatural light
the light isn't falling on the flower, the light is coming from it. It is the source of the light.
Georgia O'Keefe
Matthias Grünewald Isenheim Altarpiece 1615
Hirsch
Moonlight is a very evocative light for the artist
Light can be found in an abstract painting
Graham Sutherland
Francis Picabia 1913
Antediluvian Sleep Hirsch
Color theory to enhance the illusion of “light”
What’s the ‘true color’ of the house?
It depends on the time of day and the weather
The ‘real’ color doesn’t exist independently of the light
Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light
Since color is “relative,” we use warm and cool versions of each color to enhance the feeling of “light”
The chromatic scale to enhance the illusion of “light”
Lighter b/w value in the light
Brighter intensity in the light
Warmer (orangey) red in the light (vs bluer purplish) in the shadow
Chromatic scale
• Light to dark• Bright to dull• Warm to cool
Black and white is the “value” of the color
Chromatic scale
Chromatic scale
Chromatic scale
Charles Demuth
Georgia O’Keefe
Student study of Cezanne
• This isn’t a ‘rule,’ it’s a ‘recipe’ to enhance the illusion of ‘light’
Robert Haemmerling
Limited Palette
Abstractions in a Lost Tongue
Glenn Hirsch
