This is an incredibly insightful documentary into the state of Modern Art Culture as seen though the eyes of the late former Art Critic Robert Hughes. Having watched several episodes of John Berger’s Way of Seeing series (for instance episode 1 https://www.youtube.com/watch?v=0pDE4VX_9Kk) from the 1970’s, this seems to be a 21st Century sequel. It calls to question the reason behind the making of Art and what we consider to be ‘Great’ art. I found myself agreeing with much that was being presented and brought into focus for me several vague thoughts I had already had about the celebratory (and monetary) culture of art today. Like Robert Hughes, I too am no fan of Damien Hirst: his work doesn’t speak to me at all (for instance I have seen better preserved sharks in various backroom stores in natural history museums) but I am very aware of the celebratory nature that surrounds his work and the subsequent marking and ‘branding’. Whilst you may not agree with the point being made by Robert Hughes in the film, I think this should be compulsory viewing for any art student simply because it does bring into question this culture that currently drives the conceptual art movement and asks if the true meaning of art is being lost as a consequence.
Vincent Desiderio Painting Demo
This is one of several videos of painting demonstrations that I have watched by the American realist painter. Whilst I do not aspire to paint in this way, his teaching on how light is viewed by the artist (and viewer) and how that can be represented on canvas is ‘illuminating’. He also has a huge working knowledge of art history which he very generously shares as he goes along. He also has a very healthy attitude as to what he as an artist is trying to say. This particular video focuses on bridging the gap between drawing and painting, which spoke to me in particular because I am definitely in the process of trying to make that bridge.
14th February 2017 and again 29th April 2017: OCA study day Ashmolean Museum, Oxford
(All websites accessed 6th may 2017)
Many thanks to OCA and the lovely Clare Wilson who led the study day.
I loved this exhibition (hence went twice). The exhibition charts the journey of Modernism through the (mostly) drawing and painting of French artists. Modernism is a broad term that refers to the development of art practices that deliberately reject previous styles and formats, lending themselves to portray a more modern society (Tate museum: http://www.tate.org.uk/art/art-terms/m/modernism ) As such there is a move away from history and religious story-telling and portraiture as a means of displaying wealth, to a looser style of art encompassing different materials portraying modern (post 1850) scenes. Some of the work on display was preparatory work, where ideas can be seen to be played with and concepts toyed with. In particular the growth towards cubism is evident in the exhibition, with artists starting to play with perspective from early 1900’s. What has become evident to me since returning from the exhibition is how unusual it was to see some of these works, which form a private collection. Apart from the museum catalogue that I purchased, there appears to be very little in the way of an accessible database for many (if not most) of these drawings. I have put in links to images below where I can, but many just do not have an on-line presence to share.
I usually like works by Pablo Picasso, but this time the four or five pieces in this exhibition did little for me. However I would leave the last word of the matter to my 9 year old son who pointed out where Lucas films may have got their inspiration for the Gungan characters in Starwars: Picasso’s Head of a Woman (on of many and again no on-line presence so you have to make do with my drawing of it).
For this assignment I wanted to explore colour further as I have spent a huge amount of time trying to understand what it is about colour that I don’t understand! I chose to do a very simple still life arrangement, just an apple on a table to explore different concepts of what colour is and our visual representation of colour.
Traditional concept of representing colour in art.
Scientifically, colour is perceived by the viewer as the wave-lengths of white light that are not absorbed by an object. Those wavelengths are scattered by the object, and are reflected back into our eye where different cone receptors are stimulated to give us a psychological sense of colour. An artist creating a ‘colour-accurate’ painting of an object would then mix that perceived colour using physical pigments and create a daub of paint based on the reflected light they had perceived. I use the word ‘psychological’ here because whilst there is a physical effect of light scattering happening, and a physiological effect of cones being stimulated, it is the brain that ultimately registers the colour for the viewer i.e. yellow is perceived if red-cones and ‘green’ cones are stimulated together in the absence of blue. If an object is viewed in total darkness, there is no light to be scattered, our cones are not stimulated and so the object appears black. This has opened up a great debate in our house amongst my kids (14, 12 and 9) as to whether an object in the dark is still coloured!
Alternative concept of representing colour in art
An alternative way of thinking about the colour representation is that an object is in fact the colour of the wave-lengths of light that are absorbed; that the colour is a result of the energy given to the object by white light. This concept does not allow us to visualise the colour in the same way, after all our cones will not be stimulated by those absorbed wave-lengths of light. However an artist may represent this idea of ‘absorbed colour’ by painting with pigments representing wavelengths not perceived by the eye. Of course as soon as those pigments are put on paper you are back to representing colour through our traditional ‘psychological’ concept of colour, creating a weird circular argument about the colour of objects and how we perceive them. Nevertheless it is this concept of perception and representation of colour that I wanted to explore further.
I don’t for one minute think that I am the first person to question colour in this manner, however I have not managed to find artists that have used these ideas to represent objects through painting….quite possibly because it makes your head hurt trying to sort your way through it!
I stated playing with ideas in my sketchbook, using watercolour paints (close to hand at the time) putting down ideas of traditional and alternative concepts of colour and what this would do to the visual representation of an apple. I started with green and red pigments representing the apple as I ‘saw’ it. I then moved on to put down pigments of the colours not reflected back, so green and blue were I saw red, red and blue where I saw green. I even went on to represent the apple through the colour mixing (of light) of those colours. I just thought I had an interesting project to work on when I realised that I had got so engrossed with colour mixing theory that I had forgotten that I wasn’t just considering red, blue and green, rather I needed to consider the all the colours in the spectrum of white light! I thus needed to start again, but include my sketchbook work here for completeness. I had got as far as translating some of my ideas into acrylic paint before I realised my mistake.
Realising I needed to use the full spectrum of white light colours, I chose a palette of rainbow acrylics (cadmium red, cadmium orange, cadmium yellow, sap green, ultramarine blue and purple) along with titanium white. I completed some colour studies of my apple, firstly using colours as I ‘saw’ them and secondly as colours absorbed by the apple. This second sketch was done by layering over the colours absorbed by the apple.
Provided I could get the tones and form right, I did not see any problems with representing an apple as we see it. Creating an apple as the colour absorbed was a different matter and threw up all sorts of problems, which I try to present with my solutions here:
Highlights: these will still be white as no light is absorbed, it is all reflected back (additive mixing creates white light)
Shadows: No light is absorbed areas and so shadows will still be black
Additive versus subtractive colour mixing: This is a big conundrum. If I am representing objects as the colours that are absorbed I am layering different colour pigments on top of each other. However the hue tending towards black is a result of subtractive mixing of pigments. With light this hue would be tending towards white! I decided that this conundrum was in fact part of the appeal of this investigation and given that I can not represent light mixing with physical mixing of pigments, I let the resulting image stand as an abstract colouration of an apple.
Composition: I need to put my apple into the context of a background. I decided on a very simple, close up arrangement of apple on table.
In the creation of the abstract apple, I realised that the resulting colour would depend on the order that the acrylic glazes were laid down as some were more transparent than other. I carried out a transparency test over a black line to sort out an order of more opaque colours being laid down first.
Form in the abstract apple. This may be an issue as areas became more uniform towards black in colour. The transparency test above allowed me to identify to hues (red and blue) that could be laid down in more opaque layers to help me create darker darks to represent form.
I completed a couple of quick painting investigations to get an idea of composition. I chose a square format partly because this format had been very successful in the previous exercise and partly because I intentionally was only depicting one apple. I kept my brush strokes very loose here and tried to recreate some of the fuzzy edge effect that my sketchbook work had. I had to change apples in the middle of this (the original got eaten). The second apple was much rounder and i had to fight hard to prevent it becoming a ball with a stick out the top. I quite like the halo effect of the brush-strokes, but don’t know if they serve any purpose (looks a bit too ‘arty’??). In both examples the shadow is too heavy. I had used the table covering that was left over from a previous still life, however the pale colour makes the shadow look very dark. I decided to remove the cloth to reveal the darker table surface underneath. I have used a blue wash for the air around the apple deliberately as the atmosphere scatters blue light.
Finally for my assignment I completed a set of three paintings (could be a triptych):
an apple represented with the traditional concept of colour representation
an apple represented by an abstract notion of colour absorption
an apple painted in the dark.
The final pieces
I recognise that I have gone totally over the top with this assignment. It should have been a relatively straightforward painting of a still life. I have over complicated it all with my investigations into colour and as such am probably laying myself open for criticism for being too conceptual or too arty (or heaven forbid, running before I can walk!) However I have learnt a lot in the process of doing this assignment. I have played around with the concept of what colour is and what colour means to both artists and viewers. I have no great revelations as a result of this investigation but I feel happier in my self about using colour – it is transmutable, something that can be altered and transformed, almost sculptured. I now feel less inclined to think of colour as something to view and more of something to use, and to that effect this assignment has been a success. I also feel ready to move on from colour theory!
With respect to my paintings, I could argue that the only truly successful one was the representation of the apple in the dark! I did paint an apple under there in black paint and then put the background in over the top. I could have painted this actually in the dark, but that seemed to be taking the conceptual idea too far (for what purpose, the outcome would have been the same). An apple in very low light may have been a better idea with a tendency to show a reduction in chroma at low light levels.
Compositionally the paintings are deliberately quite boring. For me this was about colour and a simple composition suited this investigation. However with the light blue background, there is some relationship of these apples in space, there is a feeling of airiness about the first two. I am pleased I altered the table colour, the shadows have worked much better on a darker surface. Both apples lack a bit of form, mainly because I found it very difficult to get darker areas using the rainbow palette. Perhaps I could have glazed another layer of blue over the right hand side of the realistic apple to increase the shadow. I was very aware that I was loosing brightness with every glaze and so held back. In the abstract apple, the darkest tones were always going to be more difficult and as such the right hand side does look rather flat. Without colour mixing or using black increasing the shadow strength was difficult. Putting a further glaze blue on the right hand side would have altered the tone of the dark to being blue something I didn’t want.
I am certainly improving with techniques for using acrylics although I haven’t done as much in oils as I would have liked for this part. I still am not sue about what my preferred style is. I would like to be able to paint much more loosely but still am finding this alludes me (although there are some improvements from part 1). I do feel I would like to do more ‘drawing’ with paint to try to bring out this looseness, possibly on a larger scale than I have been currently working.
I was a little dismayed to come across this exercise as it is the same exercise in Drawing 1. Have got lots of drawings of the interior of my house for this previous module (for instance https://annapike99.wordpress.com/2015/08/19/project-6-at-home-exercise-1-quick-sketches-around-the-house/) I decided to look elsewhere for my sketches of interiors. Having recently set up a little studio in my attic that seemed a logical place to start. There isn’t much scope for a 360 degree view due to space constraints so I did two facing my table, one standing up and then one sitting down
Of these two sketches the second is more successful. The lower view-point provides a more intimate interaction with the space: the area under the table is visible and the fact that the table is set back in the recess of the eaves is more evident. I like the roof support beam slicing through the composition diagonally. It adds a bit of drama and again a sense of the cramped space. To paint I have to stand the other side of this beam and basically can move my feet in an area of around 2 square feet. If I want to step back from my easel I need to make sure I don’t fall down the loft hatch! In this sketch I haven’t captured the tonal variation of the dark recess of the eaves at all. You get more of a sense of this in sketch 1.
As much as I like the second of these two sketches, and the fact that I think it would make an interesting painting, the problems of actually being able to physically paint it were too great. I was very keen to paint in situ rather than take photographs and there was no practical way of being able to do this. So I looked elsewhere to do some sketching.
I moved to an annexe, somewhere I was going to be able to leave out my paints for a few days undisturbed! In my attic sketches I had liked the idea of seeing under the table, having a view of the messier parts of life. With this in mind I drew 4 views of room whilst sitting on the floor.
I found the first two sketches more appealing because the shadows added interesting depths to the underneath of the stair case and the benches. The views of the sink and table, and the bookcase corner and fridge were boring in comparison. As the next exercise is on linear perspective I chose to develop the sketch of the stairs into a painting.
Simple perspective in interior studies.
The staircase provided an area showing linear perspective – the bottom part of the stair receding away from the viewer. The bannister upright posts act as a natural frame for the view as does the edge of the doorway to the left of the view. Wellington boots are normally kept in the small recess to the right, I did toy with adding them back into the composition but decided against it in the end: I found the way the light fell through the (mostly) slatted steps more interesting.
The light was quite bright and came from the door situated immediately to the left of the stairs. The colours were quite bright in the strong sunlight but limited in hues. I therefore chose a limited palette of acrylics to work from: yellow ochre, raw umber, burnt umber, Payne’s grey, mars black and titanium white. Keeping the same view-point (I propped my book up against a box on the floor). I completed this quick study of the view in my sketchbook.
This study threw up a few issues that needed to be resolved:
step heights and widths
the format of the composition
the floor shadows in the recess
distinguishing shadows from the steps
I tackled the problem of composition first of all. The view was not falling naturally into a portrait format (too much bare space at the top) or a landscape format (loss of sense of journey up stairs around the corner). The solution seemed to be to crop to a square format, which provided I could be more accurate with measurements of step width, would still allow a sense of journey, but reduce the empty wall space to the top and reduce the messy woodwork supports on the right to being a natural frame for the painting.
For the shadow issues I realised that in such bright sunlight I was going to have to look very carefully for subtle dark tones in order to distinguish important areas of the painting, such as the wall-floor line of he back wall under the stairs and to the left. As it was, this was made easier for me when I returned to do a more detailed painting a couple of days later as the sun was not as bright. Whilst this muted the colours somewhat, it did allow the shadow colours to stand out more, making it easier to resolve the contrasts.
Staying with the same limited palette of acrylics I completed an underpainting to map out the main areas of the composition and enable to me check the accuracy of my perspective.
I think the square format works well, and I was happy that my depiction of the stair height and width was more representational of reality that my previous study. Once dry I went on to complete the painting, trying to keep the looseness of the brushwork evident in the sketches and the underpainting.
Overall I was happy with the progress that I made with this painting from the initial sketches, using my sketchbook to resolve potential issues to producing the final painting. I have managed a loose style than previous work, not to the level I would like, but definitely an improvement. I am pleased with the way I have captured the light in the recess, given that this was what drew me to the composition in the first place. The tonal variation is perhaps not as great as it should have been, partly as the day I painted the final version the sun was not as bright. However the brush marks evident of the wall give an indication of the play of the light.
I am a disappointed with my highlights on the wood. They seemed to have dulled a lot with drying. I think I need to invest in artist quality titanium white for such effects. The brightest highlight is on the bottom step after the return. This was indeed a very bright highlight, however without the brightness of the others on the handrails, this seems a little out-of-place.
Unfortunately one area that hasn’t’ worked too well is the floor/wall interface to the left under the stairs.
I haven’t managed to resolve the corner of the room in the shadows effectively and have lost the correct sense of perspective of the left side wall. A small slither of the back wall is visible under the second step. This runs to the corner in the correct place, however the shadow on the adjoining left hand wall makes it appear as if the line of the floor is wrong. In addition, the shadow behind the wooden side support is the wrong tone, bringing that part of the wall forward level with it. Of course this wooden support is fixed onto the wall, so the wall should appear further back. All this points in combination make this part of the painting unsatisfactory!
(All images used in this post are licensed by creative commons).
In the 17th Century genre painting occupied the middle ground between lowly still life painting and highly esteemed history painting but were abundantly produced and collected by the merchant classes as well as the gentry of the time. Dutch genre painting was particularly popular and was diverse in subjects. Dutch interior painting of the time often provided a look at an ordered scene, full of quite contemplation.
In Curiosity by Gerard ter Borch the Younger (1660-1662) the artist offers a view of a sumptuous private dwelling. Everything about the picture is rich and soft from the spectacularly executed dresses of the ladies to the velvet table and chair coverings, to the rich tones of the blue wall colours. The subject of the painting (a love letter received and being duly responded to) is also a soft emotional subject. the women are quietly pensive about their task. There is little anguish evident, it is a scene of quiet stillness. It is the drapery that first draws you into this painting. These are obviously wealthy women and perhaps this painting could be enjoyed by a group of ladies not able to wear such lavish gowns themselves. I find the addition of the little dog intriguing. Its position with its spine on the diagonal leads your eye to the table and the action of the letter being written. This diagonal is somehow matched by the strong vertical of the corner of the room. this two point perspective has added great depth to the scene. I don’t think the impact would be so great had this been against a flat wall.
In The courtyard of a house in Delft by Hooch (1658) we have a complex scene encompassing both interior and exterior elements. Although the main scene is of a courtyard, there is a certain interior feel to the space. Perhaps it is the quiet order of the floor tiles against a seemingly unruly wooden structure framed by two arches next to each other that gives the sense of being in a room. The actual interior is quite small and is really only used to draw the viewer’s eye through the arch to what appears to be another courtyard. There is a great sense of space in front of the arches. The figures are all framed by the structures, although depth is given by the linear perspective. The wall of the brick arch provides a very strong vertical thought the painting, (in a very similar position to that in the Borch painting above). maybe this strong vertical divides the domestic servitude (with the lower status wooden structures, broom and bucket) from the more affluent employers residence. There is tension produced by the different postures of the ladies (one facing away, one forwards) as well as by the glance given between the lady and the child. There is a lot of grace about the figures. Like the Borch painting above the courtyard painting is serene even though an activity is clearly happening.
My final choice of painting from the Dutch Golden Age of genre painting is the Girl reading a letter by an open window by Vermeer. Unlike the other two paintings, this is a much more intimate view into a domestic interior. The curtain to the right lends a sense of privacy. The girl is engrossed in reading the letter. Surrounding her are objects that no doubt have been placed deliberately by the artist rather than just happen to be there: a cut peach and a fruit bowl jumbled on a rug-draped surface. The fact that the fruit bowl has been upset may be symbolic. The use of a horizontal element such as this table in the foreground, or a repoussoir, is a technique used to frame the object of the painting or to lead your eye into the painting (https://en.wikipedia.org/wiki/Repoussoir). In this case the girl is in fact framed on 3 sides. Although the exterior is only hinted at by the side of the window frame, the open space beyond the window is very evident to anyone looking at the painting. The light streaming in contrasts with the slightly gloomy interior. the open window in which the girls reflection is painted points your gaze towards that outside space. There is a sense of longing in this painting, perhaps the letter is from a loved one, out of reach beyond the confines of the room – and hence the open window.
For this exercise I started with an arrangement of household objects, a bright yellow jug, a glass jar with some home-made ink in it, and a small green dish with a handle. I set these items up on a very plain beige tablecloth against a white background and lit them with a spot lamp from the left. I used a viewfinder to move them around each other until I had a composition I was happy with.
Initially I sketched the arrangement in my sketchbook, not too worried about accuracy of the drawing (!) I was happy with my chosen composition for this particular set of exercises. I then used a set of watercolour pencils to investigate the range of colours in the composition.
The range of yellows visible in the jug was quite startling, ranging from bright yellow, though various yellow-green shades to green and brown. There was also some reflected orange from the ink pot. There was a less of a range of colours in the green dish and the ink pot, but the beige tablecloth had various hues of orange and pink in it and the white backdrop was very covered in various shades of subtle blue and pink hues. Tonally my initial set up was not great, the darkest areas were in the wells of the jug, the metal clip on the ink pot and then parts of the contact shadows. In order to increase the tonal range I changed the light source to a stronger lamp. This had the effect of further bringing out the shadow but it did remove a lot of the colour variation in the table-cloth. By moving the backdrop away from the arrangement a little I managed to preserve (darken even) the blue and pink tones in it.
My next step was to put down simple colour areas using acrylic paints as an underpainting without concerning myself too much with accuracy (for instance the ink pot was slightly smaller in relation to the jug and the whole still life is rather small for the paper that it is painted on).
Once I had done my underpainting I decided to carry on using acrylics to complete the finished painting. My palette consisted of lemon yellow, cadmium yellow, cadmium red, phthalo green, ultramarine blue, burnt umber and white. I have tried to work in a much looser style, or at least as loose as the quick drying paint would allow. I have tried to block in the different areas of yellow quite solidly to give a sense of the shiny pottery. I enjoyed mixing all the different yellows and was surprised at how deep ‘brown’ some of then were. The green dish had much less variation in colour by comparison. The glass ink jar was interesting as it required painting a surface that had no inherent colour itself, rather was reflecting the colours of the ink (a browny-orange) and the tablecloth. Where the glass was thickened however, such as at the corner, there were distinct grey tones. The cast shadows were hard to do, they seemed to be made up of different tones of blue but I found it hard to keep my eye focused on the areas. They were definitely deeper around the base of the objects and then became more diffuse the further out they extended.
As I was trying to work in a more loose fashion I completed the background i broad random brush strokes, putting in the blue and pink colours roughly allowing the lighter background to show through. The table-cloth I may more solid and tried to match the orange tones.
As a composition this painting is a little boring. However it was a great exercise in visualising colour changes. I am very pleased with the outcome of my rendering of the colours for the three items, although the jug is perhaps a little too acid yellow. The tonal variations appear correct as well as the hue variations. I am particularly pleased with the gradations of hue in the handle. They are a little more blended that in other areas, a continual problem I am having with acrylics. I managed to capture the glass ink pot with good accuracy to. I certainly has an air of clear-glass rather than solid ceramic about it.
The parts that have worked less well are the background and the tablecloth. I think that the loose style of the background works quite well and the colours are good, just far too saturated. The whole thing should be more ‘washed out’. The table cloth was also not a success. What seemed like a fairly good colour match as I was mixing it has dried quite a bit darker and again I have made it too saturated. Some areas of the shadows are not too bad, for instance the cast shadow of the green dish. The blue nature of the dark tones comes across. the cast shadow for the ink pot however is too dark in comparison (although it was the darkest of the three).
Overall once the painting had dried, the whole composition became a little darker, including the acid yellow. I have read that artist quality acrylics suffer from this colour change to a much lesser degree. If I was to continue with acrylics in any seriousness I should invest in a good quality set. For the time being however I will continue with my student quality ones and try to compensate more for this darkening effect.
With the over saturated colours of the background and the tablecloth (not a fault of the acrylics!!) I was tempted to switch this to be the exercise in ‘still life with colour used to evoke mood’ because as a whole it is a very colourful and happy painting! However it wasn’t painted with that in mind so it remains as intended.
2. Still life with complementary colours
I was really looking forward to this exercise, to try to paint a picture using just two colours and white! I decided to use oil paint for this exercise and chose orange and blue as my complementaries simply because I like the colours. I decided to use a ready mixed orange (cadmium orange) to save having the problem of remixing the correct orange hue. I checked Bruce MacEvoy’s colour wheel to see which blue (of the hues that I have) would be a true complimentary to cadmium orange and it turns our cerulean blue is a good candidate.
I first did a quick swatch of colours (in acrylic) that could be mixed by the two, including the effects of adding white to the orange-blue mix. The tertiaries were an interesting mix of green hues rather than grey. The orange and blue had similar tonal values to one another.
I decided to use the same still life set up as the previous exercise. In working out how to apportion colour to the objects I decided that I would like to use the complementaries in such a way that enhanced their tones rather than muting the hues down. As such, the green bowl could logically remain green, and the orange ink remain orange. This left translating the yellow hues of the jug into blues. To maintain the contrast between the complementaries, I would need to translate the background pinks and blues into blues and oranges behind the corresponding object of the opposite colour. Here is a quick close up painting sketch of how I say this working.
Working in oils on primed paper I completed the painting in one sitting wet on wet (ie not using glazes). I did not do a preliminary drawing, rather trying to block in the colour masses as I was seeing them. I have tried to keep my brush strokes loose throughout, expressing form where I could. The result is quite a ‘washed out’ looking still life. Mixing dark tones was hard without losing the intended colour – for instance I could mix a lovely dark green (cast shadow colour) but in doing so I lost the blueness I required for the jug interior. The paper colour shows through in many areas. I have resisted going over the painting again now it is dry to darken areas. I am very aware that if I do I am liable to tighten the detail up and lose the flowing nature of the painting. Within the constrains of this low saturation, the juxtaposition blue and orange works well and I am pleased with how I have apportioned colour. The green running through the shadows units all the objects together (which being the tertiary colour of orange and blue) I would expect it to do.
I have lost the highlights using this wet on wet technique. These highlights are important for the form of the clear glass, which, especially on the right hand side, is lacking. The lack of highlight definition adds to the general washed out appearance of the painting. It reminds me of a brighter version of a Morandi still life (for instance Still life, 1960) The jug is larger than it should be, a consequence I think of going over the edges to correct it a few times!
Wondering how I could get a bit more saturated colour into this composition, I sorted through my oil pastels selecting different hues of blue and orange (4 blues, 2 orange, if you count a very yellowy orange). I repeated painting the composition using these colours on a piece of canvas paper, cropping in on the original image to try to make the composition a bit more dynamic. I blended the two complementary colours together to create a selection of very murky tertiary greens using low-odour solvent. I used a hogs hair brush to move the colours around in the solvent and add some texture into the painting. Originally I had planned to paint the dish in green hues, but because of the murkiness of the resulting greens I decided to leave the green to the shadows and the tablecloth and complete the dish in blue. I added highlights with a white oil pastel at the end.
I am really pleased with this painting. The close up crop makes the composition more dynamic as I had hoped. The textural brush strokes added atmosphere to the composition. the more saturated tones of orange and blue make each other zing – and there is enough of the original colours so that the murkiness is confined to the shadow areas. The blue dish off-sets the blue jug nicely (murky greens really would not have worked for this).
This is an extra post on colour theory as I have spent quite a lot of time trying to understand modern takes on the traditional colour wheel.
There is a brilliantly informative website by Bruce MacEvoy www.handprint.com (accessed 11/4/17) from which I gained the following information (in summary).
Spectral hues (‘ the rainbow’) are united around a visual colour wheel through the extra-spectral hues of the red-violets. This is an artificial continuum as the wavelengths of individual colour light at the ‘join’ do not correspond. However it is helpful to think of this wheel as it is a link between light, visual colour and material, pigment colours.
Whilst artists need to understand mixing colour pigments from mixing colours from traditional primaries of red blue and yellow, to understand how we perceive that colour we also need to understand the sensitivity of our eye’s cone receptor cells to various wavelengths of visual light. Our cones are sensitive to red blue and green light, the visual primary colours. If both red and green cones are stimulated we ‘perceive’ yellow.
The sensitivity range of our cones allows us to visualise many more colours than are actually able to be produced by mixing the three light primaries (RGB)
A primary colour pigment in theory is produced by pure reflected light of either red, yellow or blue wavelength. In reality you can not have a complex compound that is paint that does not contain particles that scatter other wavelength.
Because of this artists have traditionally used what is known as the split primary palette, or a warm and cool tone of each ‘primary’ colour, so that compensation may be made for the lack of purity in the paint hue.
In the same way we are capable of seeing colours not able to be mixed by primary light, the colours able to be mixed by a split primary palette fall short of the colours available in the spectral wheel.
By using a palette of ‘secondary’ colours you increase this range considerable, especially in the blue, green to yellow range.
My notes are accompanied by some coloured annotation that I have made in my sketchbook:
MacEvoy has also produced this amazing colour wheel based on the secondary palette (ie equally spacing the secondaries around the wheel) for many of the colours of proprietary watercolours paints. As he is concerned with looking at pure pigments (although he does include some pigment mixes in his colour wheel) I surmise that most of the colour relationships observed here will also stand for oil and acrylic colours. Certainly the binders/ mediums will have a bit of a difference but as a working modern colour wheel it will do for me!