Color Is Very Important In Painting.
The most important element of color is the paint. There are three qualitative features in paints. First of all, its color – dark blue, green, etc. Further – the lightness of paint. Paint can be made lighter and darker, without changing of its specific character: light green and dark green are shades of the same green paint, but with different degree of the lightness. Thirdly, at last, is intensity of paint. It is possible to take away its colorful content, force of its color until it, remaining of same color of a paint, will not become absolutely grey; or, on the contrary, without changing of its lightness, to add a colorful pigment to it more and more.
Further very important distinction between paints is advanced by concept of warm and cold tones. Warm name such tone, which is closer to yellow, red, ardent; they are warm and please, excite you. Cold tones, which are closer to dark blue and green, which are connected in our imagination with water and the sky, calm you down and make you sad. Warm colors physiologically excite you stronger, than cold, therefore they as though act forward, seem closer than the cold. Therefore, warm colors are called as positive, cold – neutral, or negative. Among old masters admirers of warm colors were Titian, Rubens, and Rembrandt; of cold are Botticelli, Greco, Murillo and others.
Each tone in a picture is connected with an environment, depending on it becomes colder, lighter or darker; next tone can support or weaken it. The red roof seems absolutely other at the pure blue sky or at cloudy. Besides, each tone varies depending on a basis, a ground, an underpainting. The painter aspires to see all tone of the picture at once to advance their mutual relations. On the one hand, he observes the tone with especial attention, seeming identical or related on degree of the lightness (for example, tone of the white house or a white cloud). Distinctions of this type painters name values. On the other hand, the artist is interested in relations of paints among themselves on degree of their warmth or coldness. At these steps and relations are built searches of the general tonality dominating in the whole picture. Thus it is necessary to discriminate tone and a local paint. Local paints are those generally pure, not mixed, not refracted, which are connected with certain subjects in our imagination such as the green grass, a red raincoat, which both in a shade, and on light remains red, only darker or lighter. So, the Italian and Netherlands painters of XV century perceived the world. Tones, on the contrary, we name those changes, which occur to paints under the influence of light, air, reflexes, association with other paints; when the same local paint acquires absolutely various tone in a shade and on light. The feeling of tone coloring starts to develop in XVI century, reaches the flowering during a baroque epoch, becomes especially intensified at impressionists.
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