Color and “Light”Glenn Hirsch,

Instructor

‘light’ = ‘emotion’

the contrast of light and dark

the variety of warm and cool

Paige Valentine

Elmer Bischoff

http://www.google.com/url?sa=i&rct=j&q=&esrc=s&frm=1&source=images&cd=&cad=rja&docid=8UYNsVmi7bxJ6M&tbnid=Ym7pMYH0Uf9aVM:&ved=0CAUQjRw&url=http://paintings-art-picture.com/paintings/archives/1139/rembrandt-harmenszoon-van-rijn-hendrickje-bathing-in-a-river&ei=D6BPUsWkPJHO9gSdmIHIDg&bvm=bv.53537100,d.eWU&psig=AFQjCNEAoJqdid6TtGKWSenGhutD5wsuBA&ust=1381036390754468

“Theatrical” light: spotlight, cast shadow

John Singer Sargent

Rembrandt Berthe Morisot

Dutch Master vs. Impressionism

Maurice de VlaminckMonet

Impressionism vs. Expressionism

Alexei JawlenskyPaul Gauguin

Expressionism

Kathy Wilson

Abstract Expressionism

Color theory to enhance the illusion of “light”

What’s the ‘true color’ of the house?

The ‘real’ color doesn’t exist independently of the light

Claude Monet painted the cathedral at different times of day

The contrast of warm and cool versions of each color

Colors

a "warm yellow" Cadmium Yellow Medium

a "cool yellow" Cadmium Yellow Light or Pale or Lemon

a "warm red" Cadmium Red Medium or Light

a "cool red" Quinacradone Crimson or Alizarin Crimson

a "warm blue" Ultramarine Blue

a "cool blue" Cobalt Blue or Cerulean Blue or Turquoise Blue

a "warm green" Sap Green or Chromium Oxide Green or Perm Green Light

a "cool green" Pthalocyanine Green or Viridian

a "warm brown" Burnt Sienna or burnt umber

a "cool brown" Raw Sienna or raw umber

a "black" Any black or mix your own: Alizarin Crimson + Pthalo Green

a white Titanium white or "Permalba" brand oil white

Paul Wonner

Lighter b/w value in the light

Brighter intensity in the light

Warmer (orangey) red in the light (vs bluer purplish) in the shadow

Chromatic scale:

• Light to dark• Bright to dull• Warm to cool

Georgia O’Keefe

“real” or “abstract”

Brandon Jauregui

Brandon Jauregui

The brush changes direction, following the contour of the shapes

Work from thin to thick, allow each layer to dry, block in the whole composition, including the light and shadow

Painting the background also redefines the edge of the shape

(e.g., behind the cheek)

Andrew Durgin-Barnes

Andrew Durgin-Barnes

Stephen Magnum

Brandon Jauregui

Brandon Jauregui

Elinor Schnarr

Elinor Schnarr

Elinor Schnarr

Abigail Drapkin

David Park, Portrait of S.C. Pepper, 1953

Elinor Schnarr after Jean Dominique Ingres

Elinor Schnarr after Jean Dominique Ingres