Presentation is loading. Please wait.

Presentation is loading. Please wait.

COLOR. Picasso, Guernica, 1937 Paul Cézanne, Still Life with Green Melon, 1902-06 BW.

Similar presentations


Presentation on theme: "COLOR. Picasso, Guernica, 1937 Paul Cézanne, Still Life with Green Melon, 1902-06 BW."— Presentation transcript:

1 COLOR

2 Picasso, Guernica, 1937

3 Paul Cézanne, Still Life with Green Melon, BW

4 Paul Cézanne, Still Life with Green Melon, CO

5 Monochromatic - using only one color

6 Mark Tansey, The Bricoleur’s Daughter, 1987

7 Gunther Gerzso Southern

8 Michaelangelo Sistene Chapel detail (medallion)

9 Monochromatic medallion

10 Barnett Newman, Yellow Painting, 1949

11 Gunther Gerzso Opposite

12 Mark Rothko, untitled, 1968

13

14

15

16

17

18

19 Church, Frederic Edwin Rainy Season in the Tropics 1866, Oil on canvas, 56 1/4 x 84 3/16 in. The Fine Arts Museums of San Francisco

20 COLOR WHEEL HUE

21 informal definitions HUE – a particular gradation of color; a spectral color (a color from the spectrum) Color – many definitions! A broader term, including all hues, non-spectral colors and maybe even white & black

22 PRIMARY & secondary RED BLUE YELLOW PURPLE GREEN ORANGE

23 Robert Delaunay, Circular Forms, c. 1912

24 Gunther Gerzso Personaje

25 Complementary Colors  opposites on the color wheel - note: NOT COMPLIMENTARY  unsettling, hard to look at

26 Barnett Newman, Dionysius, 1944, 67x49in. Complementary colors Analagous colors

27 Matisse, Seated Riffian, Complementary colors Analagous colors

28 Monet, Impression: Sunrise, 1872

29

30 Analogous Colors neighbors on the color wheel

31 Van Gogh, Sunflowers, 1888

32 VALUE TINT – adding white to a hue, or a hue to white SHADE – adding black to a hue or vice versa

33 Robert Delaunay, Circular Forms, c a very aware use of contrasts of complementary & analogous colors AND shades and tints

34 Franz Marc, Fighting Forms SATURATION – brilliance or depth of color

35 LUMINENCELUMINENCE LUMINENCELUMINENCE LUMINENCE LUMINENCELUMINENCE

36 Monet, Impression: Sunrise, 1872

37

38 Ellsworth Kelly Red, Yellow, Blue I, 1963 a/c, 3 joined panels, 90" x 90" overall

39

40 Raphael, Madonna dell Granduca, c x22in

41

42

43

44 Triadic Color Schemes NOT JUST ANY 3 COLORS

45 Raphael, School of Athens, 1511

46 Ellsworth Kelly Red, Yellow, Blue I, 1963 a/c, 3 joined panels, 90" x 90" overall

47 Raphael, Madonna dell Granduca, c x22in

48 PRIMARY & secondary RED BLUE YELLOW PURPLE GREEN ORANGE

49

50 Also note countershading

51 COLOR CONCLUSION Color can be an important part of an artwork’s impact – notice it! Color can be optimized & analyzed for greatest effect Timbre in music is considered to be analogous to color in painting; some kinds of harmony and scales are also considered to be analogous to color in painting. They are DIFFERENT – try not to confuse them.

52 “Colors are barbaric, unstable, suggest life, cannot be completely controlled and should be concealed.” Ad Reinhardt, 1957

53 Kenneth Noland, quoted in the New York Times, August The thing in painting is to find a way to get color down, to float it without bogging the picture down in Surrealism, Cubism, or systems of structure... In the best color painting, structure is nowhere evident, or nowhere self-revealing.


Download ppt "COLOR. Picasso, Guernica, 1937 Paul Cézanne, Still Life with Green Melon, 1902-06 BW."

Similar presentations


Ads by Google