8 COLOR CONTRAST

Contrast in color is the simplest of all seven. It does not make great demands on color vision, because it can be demonstrated with the help of all pure colors in their ultimate saturation.

Just as black and white form the strongest contrast of light and dark, so is yellow, red and blue have the most pronounced color contrast (Fig. 4). In order to verify this, you need at least three colors that are clean and sufficiently distant from each other. This contrast creates the impression of diversity, strength, decisiveness. The intensity of contrast in color always decreases as the colors we choose move away from the main three. So, orange, green and purple in their contrast is already much weaker than yellow, red and blue, and the effect of flowers of the third order is even less pronounced. When each color is separated from each other by black or white lines, their individual character becomes more pronounced, and the mutual radiations and mutual influences thereby decrease. Each color in this case manifests, first of all, its real concreteness. Although the main group of three colors of yellow, red and blue represents the greatest contrast in color, however, all other pure colors can undoubtedly be presented in a series of strong contrasts (Fig. 6).

Contrast in color makes it possible, by lightening and darkening the chosen colors, to obtain a multitude of completely different combinations (Fig. 7). The number of variations here is very large and. accordingly, the number of their expressive possibilities is equally infinite. The inclusion of white and black in the palette depends on the theme and the individual preferences of the artist. As it was shown in the figures related to the section "Color and color effect", white color weakens adjacent colors and makes them darker, black, on the contrary, enhances and makes them lighter. Therefore, black and white are important elements of color compositions (Fig. 5).

These exercises could be performed using randomly selected color spots as well. However, there is a great danger. Instead of studying the actual strength and tension of color combinations, doing these exercises begin to get involved in forms and draw spots. Such drawing in this case becomes the enemy of all picturesque. This should definitely be avoided. And simple stripes or a grid of a chessboard are most relevant here.

In the exercise shown in Figure 8, the task was to position the given number of yellow, red, blue, white and black squares in horizontal and vertical directions so as to maximize the feeling of color tension.

The composition of Figure 9 consists of local colors of maximum purity, as well as their clarified and dark gradations and included white and black. When the system of color combinations shown in Figure 6 is learned, you can quickly pick up the colors for the exercises in Figure 10.

Very interesting results are obtained if one of the colors plays the main role, and the others are used in small quantities - only to emphasize the qualities of the main color. By emphasizing a single color, we enhance the overall expressiveness of the work. After each schematic exercise, it is recommended to assign tasks to perform free compositions in accordance with the nature of this contrast.

Within the limits of contrast, many pictorial themes can be solved in color. This contrast gives the feeling of a special diversity of life generated by elemental force. The dark colors of the first and second order always evoke in us a feeling of the first-born cosmic-luminous forces and life-affirming materiality. Therefore, they are especially good for both the theme of the Coronation of Mary and for a realistic still life.

In contrast in color based folk art of various countries. Colorful embroidery, costumes and ceramics testify to the natural joy that bright colors evoke. In the early medieval manuscripts decorated with miniatures, the contrast in color is used in a wide variety of versions, and to a lesser extent in the motives of the spiritual order and more in order to create a joyful decorative variety of colors.

Contrast in color can very often be found in stained glass windows, especially early ones, where its elemental power takes precedence over the plastic forms of architecture.

Stefan Lochner, Fra Angelico, Botticelli and other artists built their paintings using primarily the principle of contrast in color.

Perhaps the most remarkable example of the manifestation of the semantic beginning of this contrast ratio is the work of Grünewald's “Resurrection of Christ”, since here he conveys the feeling of some kind of universal universal expressiveness.

In Botticelli's “Tombstone” painting, the contrast in color on which the painting is built gives the artist the opportunity to show the exciting grandeur of this scene. Its general color scheme symbolizes the cosmically significant moment of this world event.

It should be recognized that the expressive possibilities of contrast in color can manifest themselves in various ways. With it, you can express the rapid fun, deep sorrow, earthly birthright and cosmic universality.

A number of contemporary artists, such as Matisse, Mondrian, Picasso, Kandinsky, Leger and Miro, very often worked using color contrast. Especially Matisse, who wrote many still lifes and figure compositions using the diversity and power of this contrast. A good example here can serve as a female portrait "Amber Necklace", written in pure colors - red, yellow, green, blue, red-violet, white and black. These combinations served him as an expressive characteristic of a young, living and intelligent creature. The artists of the Blue Rider group - Kandinsky, Franz Marc and August Mack in the early periods of creativity worked almost exclusively on the contrast in color.

From a huge number of possible examples I selected the following works: “The Church in Ephesus” in the Apocalypse of Saint-North, XI century, Paris, the National Library; The Coronation of Mary, E. Sharonton, XV Century, Villeneuve-les-Avignon; "A Walk in May Day" from the "Richest Horologue of the Duke of Berry" by Paul Limburg, 1410, Chantilly, Conde Museum; “Composition 1928” by Piet Mondrian, collection of Mart Stam.