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25 April 2011 @ 12:29 pm
stop it, show. just stop it.  
Suddenly I am having a wee bit of trouble with my respiratory system. Oh dear.
viomisehuntviomisehunt on April 25th, 2011 06:16 pm (UTC)
Ah. That's wonderful.

Poor Vincent: Yellow is one of those colors a painter who defied traditional shading methods would struggle to deal with, when trying to show light.

Edited at 2011-04-25 06:17 pm (UTC)
tempestsarekind: amelia pond (ready for adventure)tempestsarekind on April 25th, 2011 07:03 pm (UTC)
Hmm. I'm not sure I understand what you mean? But I'd be interested to hear more! (My art knowledge is quite limited.)
viomisehuntviomisehunt on April 25th, 2011 07:33 pm (UTC)
I'll have to brush up on my Art History terms and history period, but I did take Post Impressionist class once upon a time, somewhere-- OMgosh two decades now....

The Impressionist were fascinated with light and the use of color without line, because you don't really see Line in nature-- especially if you have poor eye sight.

Vincent's gift gravitated towards line, but color obviously fascinated him. He and his contemporaries were also exposed to Asian, African, and South Pacific art and culture and the exposure expanded how they defined artistic expression.

Vincent, who was a brilliant water-colorist and draftsman,( in the English tradition of the crafts; If you can find a book of his work take a look) tried various forms of Expressionism when he switched to oils. He did not reject line, as is obvious in his work. Oils and impressionist technique frustrated him- I prefer oils myself. Anyway-- by this time many legendary works of art, like the Sistine Chapel, were dirty, and people thought the colors were muted and subtle. Around the Eighties some finally gently cleaned the walls and art history books had to be gutted. People who cleaned Rembrandt often smudged paint, (I think either Vincent or Picasso-- probably the latter screeched about it) as he was notorious for piling on the paint to achieve color and light, rather than the constant blending people thought you needed to do to get that "real feel" or look. Rembrandt didn't blend-- some servant probably did that.

In the Traditional form of painting the artist employed underpainting with umber and white and by Regency time, every one was blending colors on the palette and canvas. You get mud. Look at some of Vincent's earlier paintings and you can see how the use of umber and black frustrated him. You can achieve better light underpainting with compliments--but I think Dali came up with that. Usually to get the feeling of light, one had to darken the canvas. Quick and simply: use large areas of dark to bring out the light areas.

But the Impressionist, and Post Impressionist wanted to look at light and color as it was in nature. Yellow is hard to lighten and darken on canvas. You get shades of green with black and Yellow, shades of brown with umbers, and white just makes yellow kind of matt and dull. So you have to study light on yellow. And the Post Impressionist didn't have as many pigments and paint, brushes were expensive. Think of Picasso's Blue period.

Hope that makes sense, and there is no guarantee that I am correct -- been a while since I discussed art on an academic level.

Edited at 2011-04-25 07:33 pm (UTC)
tempestsarekind: books and flowerstempestsarekind on April 26th, 2011 12:10 am (UTC)
That's great; thank you! I'd never considered that about the color yellow before, but it makes sense; it changes too easily.

I had a copy of an issue of National Geographic that had an article about the cleaning of the Sistine Chapel; it was amazing. I read it a bunch of times when I was younger--although now all I really remember is the vibrant color on the page.