Optical, electromagnetic and chemical processes occurring in our eyes and in consciousness while observing the color often correspond to parallel processes in the psychological sphere of a person. Experiences due to color perception can penetrate deep into the brain centers and determine emotional and spiritual perception. It was no coincidence that Goethe spoke of the sensory-moral effect of color. I was somehow told the following story. One business man organized a gala dinner. The guests entering the house were greeted by amazing smells coming from the kitchen, and all the guests were looking forward to their feast. When the cheerful company settled around the table, covered with superbly cooked dishes, the owner lit the dining room with a red light. The meat on the plates was painted a delicate pink and appetizing and fresh, but the spinach turned completely black and the potatoes bright red. No sooner had the guests come to their senses in surprise, as the red color turned to blue, the roast took on a putrid tint, and the potatoes seemed to become moldy. All invited immediately lost all appetite. But when, in addition to all this, the owner turned on the yellow light, turning the red wine into vegetable oil, and the guests into living corpses, several sensitive ladies got up and quickly left the dining room. It never occurred to anyone to think about food, although everyone present knew very well that all these strange sensations were caused only by a change in the color of the lighting. The owner, laughing, turned on the white light again, and soon a cheerful mood returned to all those gathered.
There is no doubt that color has a tremendous impact on us, regardless of whether we are aware of this or not.
The deep blue of the sea and distant mountains fascinates us, the same color in the interior seems eerie and lifeless to us, it instills horror in us, and we barely decide to breathe. The blue reflections on the skin make it pale, almost deadly. In the darkness of night, blue neon light seems to us attractive, like blue on a black background, and along with red and yellow light it creates a cheerful lively color. The blue sky bathed in sunlight renders us a revitalizing, as if activating effect, while the blue color of the sky illuminated by the moon causes passivity, arousing an incomprehensible longing in our heart.
Redness of a face gives out rage or fever, bluish, greenish or yellowish; its color indicates a painful condition of a person, although there is nothing painful in each of these pure colors. Red sky color threatens bad weather, and blue, green or yellow sky promises good weather.
On the basis of such everyday observations, it would seem impossible to proceed to simple and accurate conclusions about the expressiveness of color. Yellow shadows, violet light, blue-green fire, red-orange ice - all this would seem to be in clear contradiction with our experience and creates the impression of some other world. And only people who are able to respond deeply and admiringly are able to perceive color and its combinations abstractedly.
Using the example of the four seasons, it can be shown that the perception and experience of color can be predetermined objectively, although each person sees, feels and evaluates color in his own way. The judgment “pleasant - unpleasant” cannot be the basis of a correct and truthful color solution. More acceptable would be the criteria that arise when our judgments regarding each individual color are based on an assessment of the total color gamut. From the standpoint of the four seasons, this means that for each of them we should find those colors in the color ball that, in general, clearly express its character.
Spring, the awakening of nature, radiant with youth and joy, is usually expressed by colors, permeated with light. It is, of course, yellow as the closest to white and yellow-green as the highest degree of manifestation of yellow. Light pink and light blue colors enhance and enrich this sound. And yellow, pink and purple are perceived by the color of buds that open.
The colors of autumn contrast sharply with the spring. In autumn, the green of plants dies off and acquires brown and purple hues.
The promises of spring are realized in the maturity of summer.
In the summer, nature seems to find its expression in abundance and pomp of forms and the power of color, it reaches the plastic fullness of its creative power. Warm, saturated, active colors that are only in a certain part of the color wheel, possessing special strength and energy, become the main ones for expressing the color intensity of summer. At the same time, various green colors reinforce here only shades of red, and blue - the sound of an additional orange color to them.
The image of winter, which in its magnetic attraction of the forces of the earth immerses nature in a passive state, requires colors that are cool, shining with inner depth, transparent and spiritualized. The majestic cycle of nature’s breathing, taking place in the change of seasons, thus finds itself a clear objective color expression. If, when choosing color combinations, to abandon our knowledge and not to constantly have the whole world of colors in front of our eyes, then our destiny is only tasteless, limited solutions and the loss of true and truthful ones.
Apparently, there is no other way for the emergence of a correct judgment about the expressive qualities of color than the study of its relationship with any other color or their combination.
To understand the psychologically spiritual expressiveness of each color, peculiar only to him, comparisons are necessary. To avoid possible errors, it is necessary in the most accurate way to give the name of the color, determine its character, which we mean, as well as the color with which we will compare it. When we say “red color”, it is necessary to bear in mind what red it is, and in relation to which color one or another of its characteristics originated. Yellowish-red color, orange-red is something completely different than bluish-red, and orange-red on a lemon-yellow background is again very different from orange-red on a black background or on a lilac background of the same brightness. In the following, we will look at yellow, red-orange, blue, orange, purple and green in the order in which they are located on the twelve-part color wheel (Fig. B), and describe their interrelationships in order to accurately determine their psychological and spiritual expressiveness.
YELLOW.
Yellow is the brightest of all colors. It loses this quality as soon as it is dimmed in gray, black or purple. Yellow is a compacted and more material white color. The deeper this turned yellow light penetrates into the thickness of opaque materials, the more it resembles yellow-orange, orange and red-orange. Red color is its boundary, which yellow cannot cross. In the middle of the path from yellow to red is orange, the strongest and most concentrated degree of penetration of light into matter. Golden color is the maximum sublimation of matter by the power of light, subtly radiating, opaque and light as pure vibration. In earlier times, gold was often used in painting. It meant a luminous, light-emitting matter. The golden mosaic vaults of the Byzantine cathedrals, as well as the backdrops of the paintings of the old masters, acted as a symbolic space of the underworld, a wonderful kingdom of the sun and light. The golden nimbus of the saints was a sign of their special insight. The state of holiness was perceived as illumination with light, plunging into which they almost lost their breath. The symbol of heavenly light could only be gold.
To say, in common parlance, “to see the light,” meant to understand the previously hidden truth. Speaking about some person that he has a “bright head”, we indirectly call him clever. Yellow as the brightest of the colors symbolizes the mind, knowledge. According to Grünewald, Christ ascending to heaven, shrouded in yellow radiance, is an expression of universal wisdom.
Konrad Witz wrote the Synagogue in a yellow robe to give her an expression of rationality and a penchant for thought.
As soon as the concept of truth arises, the color yellow appears immediately.
Blurred truth is a sick truth, not true at all. Therefore, dull yellow color will express envy, betrayal, duplicity, doubt, mistrust and insanity. In Giotto's The Kiss of Judas and in The Last Evening by Holbein Jude is depicted in a dull yellow robe. The gray-yellow color of the veil over the shoulder of a female figure in El Greco's painting “Tearing the Clothes off of Christ” evokes a strange impression. But the same yellow color in contrast with the dark tones carries something radiantly joyful.
Figures 60-63 show how the same yellow, depending on the colors placed next to it, changes its expressiveness. Yellow on a pink background acquires a greenish tint and its radiance disappears. Where pure love reigns (pink), there is a bit of reason and knowledge (yellow).
When yellow is superimposed on orange, it gives the impression of a purified light orange tone. Both colors side by side are reminiscent of the radiance of the bright morning sun over the field of ripening wheat. If yellow is given on a green background, then it shines, eclipsing green. Since the green color is a mixture of yellow and blue, yellow looks here, as if visiting relatives.
Yellow color on a violet background acquires extremely great strength, harsh and ruthless. But when yellow is mixed with purple, it immediately loses its character and becomes painful, brownish and indifferent.
Yellow on medium-lightened blue shines, but as a stranger and lost. Gently sensual light blue with difficulty brings next to a bright cognitive beginning of yellow.
Yellow on red creates a powerful, loud chord that evokes the sound of an organ on Easter morning. Its magnificence radiates a wealth of knowledge and being.
Yellow color on a white background (Fig. 58) gives the impression of a dark color that has lost its radiance. White color pushes it and puts in a subordinate color position. If we replace the white background color with yellow, and the yellow color with white, then both colors will change their expression.
Yellow color on a black background manifests itself in the brightest and most aggressive brilliance. He is sharp and sharp, uncompromising (Fig. 58).
The different behavior of yellow clearly demonstrates the difficulties that appear when trying to define generic expressive peculiarities of a particular color without taking into account direct observation of its specific manifestations in various situations.
RED.
The red color on the color wheel is neither yellowish nor bluish. Its powerful, irresistible brightness is not easy to eclipse, but it is extremely volatile and easily changes its character. It becomes very susceptible when it takes on a yellowish or bluish tint. Both yellowish and bluish red are distinguished by their modulation capabilities.
Red-orange color is dense and opaque, but so bright, as if filled with internal heat. The warmth of the red color rises in red-orange to the power of the flame.
Red-orange light has a beneficial effect on plant growth and enhances the activity of organic functions. With the right selection of contrasting colors, the red-orange color becomes an expression of feverish, belligerent passion. Associated with the planet Mars, red is associated with ideas about wars and demonic worlds. And it is no coincidence that the clothing of the warriors was red-orange as a sign of their bloody craft.
The banners of the revolution were also painted in red orange color. In this color the heat of passionate physical love burns. Pure red color means spiritual love. So, in his picture The Coronation of Mary, Charonton painted God the Father and the Son in red robes. Madonna of the Isenheim Altar and the Stuppach Madonna of Grünewald are depicted in red robes.
In purplish red — the color of the cardinals — secular and spiritual power is united.
Changing the contrasting colors, I will try to show how the expressiveness of the red-orange color can change due to these changes.
On an orange background, a red-orange appears smoldering, dark and lifeless, as if dried up. If we deepen the color of orange to dark brown, then red fire will flare up in it with dry heat; but only in contrast with black color red-orange will unfold its highest, invincible, demonic passion. On green, it will act as a defiant, irritated aggressor, banal and noisy. On a blue-green background it will seem like a fire that has broken out, and on a cold red one it will seem to be dying out heat, forcing cold red to strong, active resistance. The various manifestations of red-orange color in our experiments provide only a weak idea of its expressive possibilities. In contrast to yellow, red has a lot of modulations, since it can be varied within the contrasts of warm and cold, light and dark, faded and saturated, without destroying its red color base. The red color, from the demonically gloomy orange-red on a black background, to the angelic-tender pink, can express all intermediate gradations of sensations of the realms of the underworld and the heavenly. For him, only the path to the unearthly, spiritual world, transparent and airy, is closed, for there dominates the blue color.
BLUE.
A pure blue color is a color in which there are neither yellowish nor reddish hues. If red is always active, then blue is always passive, if you treat it from the point of view of material space. From the point of view of spiritual immateriality, blue, on the contrary, makes an active impression, and red - a passive one. The whole point here is the "direction of sight."
Blue is always cold, red is always warm. The blue color seems to be compressed and concentrated in itself, it is introverted. And if red is subject to blood, then blue is subject to nerves. People who, in their subjective color preferences, are blue-colored, most of them have a pale complexion and poor blood circulation. But their nervous system is stronger. Blue color has the power, similar to the forces of nature in winter, when everything hidden in darkness and silence accumulates energy for nucleation and growth. Blue always gives the impression of a shadow, and at the zenith of its magnificence tends to darkness. Blue is an elusive nothing, which is still constantly present as a transparent atmosphere. In the earth's atmosphere, blue color spreads, ranging from the brightest azure of heaven to the deepest blue black of the night sky. Blue attracts us with the trepidation of faith in infinite spirituality. For us, blue is a symbol of faith, as for the Chinese it is a symbol of immortality.
When blue is darkened, its dull color causes in us a feeling of superstition, fear, a feeling of being lost and sadness, but at the same time, this color always points the way to the supersensible, spiritual, transcendental.
Figures 68-71 show the changes in impressions that blue produces depending on the color environment.
If blue is given on yellow, then it appears very dark and has lost its strength. Where clear intellect reigns, faith seems dull and dark.
When the blue color is brightened to light yellow, it emits cold light. Its transparency turns yellow into a dense material color.
Blue on a black background glows in its full purity and strength. Where black ignorance prevails, the blue color of pure faith shines like a distant light.
If we put blue on a lilac background, it will seem alienated, empty and weak. Lilovy takes away from him the significance of a large material force, "exercising faith." She returns to him when the mauve becomes darker. On dark brown (dull orange), blue is excited to a strong vibration, and next to brown, as simultated to it, it comes to life, and considered to be “dead” brown begins to celebrate its resurrection.
On a red-orange background, blue retains its purity, which finds its way out in bright radiation. Here, the blue color asserts and justifies itself in its strange unreality.
Blue against the background of a calm green color acquires a strong reddish tint. And only thanks to this inclination is it saved from the paralyzing saturation of the green color, while retaining its living impact.
Blue, prone by nature to the expression of solitude, quiet humility and deep faith, is often used in paintings depicting the Annunciation.
GREEN.
Green is an intermediate color between yellow and blue. Depending on whether it contains more yellow or blue, the nature of its expressiveness also changes. Зеленый является одним из тех цветов, который получается при смешении двух основных — желтого и синего цвета, но эту операцию трудно осуществить с той точностью, при которой ни один бы из них не преобладал. Зеленый — это цвет растительного мира, образующийся благодаря фотосинтезу таинственного хлорофилла. Когда свет попадает на землю, а вода и воздух высвобождают свои элементы, тогда силы, сосредоточенные в зеленом, стремятся выйти наружу. Плодородие и удовлетворенность, покой и надежда определяют выразительные достоинства зеленого цвета, в котором соединяются познание и вера. Если сияющий зеленый затемняется серым цветом, то у зрителя легко возникает чувство ленивой вялости. Если зеленый принимает желтые оттенки, приближаясь к желто-зеленому цвету, то это создает впечатление юных, весенних сил природы. Весеннее утро или утро раннего лета без желто-зеявного цвета, без надежды и радостного ожидания летних плодов немыслимо. Желто-зеленый может быть активизирован до своего предела путем добавления оранжевого цвета, хотя в этом случае он легко приобретает грубый, вульгарный характер. Если зеленый принимает синий оттенок, то это приводит к увеличению его духовной значимости. Окись марганца обладает интенсивным сине-зеленым цветом. Этот ледяной цвет представляет собой полюс холода, подобно тому как красно-оранжевый является в мире цвета полюсом тепла. Сине-зеленый цвет в противоположность к зеленому и синему производит впечатление сильной холодной агрессивности. Амплитуда модуляций зеленого цвета весьма велика и с помощью контрастных сопоставлений можно добиться его самых различных выразительных проявлений.
ORANGE.
Orange color - a mixture of yellow with red - is the most active. In the material sphere, it has the brightness of sunlight, reaching a maximum of active, warm energy in a red-orange shade. Festive orange color easily takes on the shade of proud, outward pomp. When dispersed, it quickly loses its character, and the blackened black color fades and turns into a dull, silent and dry brown. If this brown is brightened, then we get beige tones, creating a warm, wholesome atmosphere with our friendliness.
VIOLET.
Крайне трудно установить точный фиолетовый цвет, который не имел бы ни красноватого, ни синеватого оттенка. Многие люди не обладают способностью разбираться в оттенках фиолетового. В качестве антипода желтого цвета — цвета познания — фиолетовый является цветом бессознательного и таинственного, то угрожающего, то ободряющего, но всегда впечатляющего. В зависимости от соседних контрастирующих цветов он нередко может вызвать у зрителя даже гнетущее настроение. Когда фиолетовый цвет покрывает большие площади, он может стать определенно угрожающим, особенно рядом с пурпурным цветом. «Свет этого рода, падающий на ландшафт», — говорил Гёте, «наводит на мысль о всех ужасах гибели мира».
Violet is the color of unconscious piety, which becomes the color of the dark superstition. From dark purple, as if erupting in it disasters. It is clear that it is clear that it is clear.
In the most general form, the range of expressive possibilities of the world of violet hues can be represented as follows: pure purple color carries darkness, death and at the same time piety, blue-purple evokes a feeling of loneliness and self-denial, red-purple is associated with heavenly love and spiritual grandeur. And at the same time, the embryos of many plants have light purple shoots and yellow kernels.
It is considered that all clarified colors represent the brighter side of life, while the darker ones symbolize its dark and negative forces.
Check the accuracy of these statements about the expressive manifestations of color can be using two experiments. If two colors are complementary with respect to one another, then their interpretations should be complementary with each other.
When two colors are mixed, the interpretation of the newly formed mixture should also correspond to the interpretations of each of its components.
The more we think about the psychological and emotional expressiveness of color, the more mysterious it will seem to us.
On the one hand, the manifestations of color itself are changeable, and on the other hand, our subjective abilities to experience color.
Each color can vary in five aspects:
Outlined in this section allows you to make one critical comment in relation to the creative process of the artist. His impressions and spiritual experiences can be very intense and great, but if from the very beginning of work on the work he does not choose the main group that is necessary for him from the whole range of colors, then the final result may be questionable. Therefore, subconscious perception, intuitive thinking and positive knowledge should be one whole, in order to choose the true and correct ones from the variety of possibilities available to us.
Matisse wrote: “When properly formulated, it turns out that the process of painting a picture is no less logical than the process of building a building. Questions of talent should not play a role here. Man has it or not. And if there is a talent, then it will somehow manifest itself in the work. ”
The use of expressive possibilities of color is especially characteristic of the works of Konrad Witz (1410-1445) and, above all, of his next paintings: “Caesar and Antipater”, “David and Abishay”, “Synagogue”, Public art collection in Basel. This series includes Peter Bruegel the Elder (1525-1569) Parable of the Blind, Naples, National Museum, and Matthias Grünewald (1475-1528) Resurrection of Christ from the Isenheim Altar, Colmar, Unterlinden Museum.
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