The Rainbow Mosaic at Pergamon and Aristotelian Color Theory

1967 ◽  
Vol 71 (1) ◽  
pp. 81 ◽  
Author(s):  
Gloria Saltz Merker
Keyword(s):  
Color Theory

“He” Had Me at Blue: Color Theory and Visual Art

Leonardo ◽  
2014 ◽  
Vol 47 (5) ◽  
pp. 460-465
Author(s):  
Barbara L. Miller
Keyword(s):  
Visual Art ◽  
Turning Points ◽  
Combustible Mixture ◽  
Color Theory ◽  
Blue Color ◽  
History Of ◽  
Bodily Activity

Schopenhauer and Goethe argued that colors are dangerous: When philosophers speak of colors, they often begin to rant and rave. This essay addresses the confusing and treacherous history of color theory and perception. An overview of philosophers and scientists associated with developing theories leads into a discussion of contemporary perspectives: Taussig’s notion of a “combustible mixture” and “total bodily activity” and Massumi’s idea of an “ingressive activity” are used as turning points in a discussion of Roger Hiorns’s Seizure—an excruciatingly intoxicating installation.

Color Theory

2020 ◽  
pp. 92-109
Author(s):  
Steven Webber
Keyword(s):  
Color Theory

color + theory

2017 ◽  
pp. 24-39
Author(s):  
Ron Reed
Keyword(s):  
Color Theory

Color Theory

Stage Makeup ◽  
2019 ◽  
pp. 11-18
Author(s):  
Richard Corson ◽  
James Glavan ◽  
Beverly Gore Norcross
Keyword(s):  
Color Theory

Rayism

2018 ◽  
Author(s):  
Anthony Parton
Keyword(s):  
Visual Perception ◽  
Life Span ◽  
Target Group ◽  
Color Theory ◽  
Material Objects ◽  
Italian Futurism ◽  
Avant Garde ◽  
Limited Life ◽  
The Brain ◽  
Consistent Response

An abstract and non-objective style of painting, Rayism ("Luchizm") was pioneered by the Russian artist Mikhail Larionov in early 1912. The style represented the first theoretically coherent and practically consistent response on the part of the Russian avant-garde to the challenges of French Cubism and Italian Futurism. In divorcing art from figuration and in its emphasis on the purely formal qualities of painting, Rayism prepared the way for the development of both Suprematism and Constructivism. Larionov’s innovative style was practiced chiefly by those artists in his immediate orbit: painters such as Natalia Goncharova, Alexander Shevchenko, and Mikhail Le-Dantiyu, who belonged to the Donkey’s Tail and Target group. While Rayism had a limited life-span in Russia, being overtaken by Suprematism in 1915, Larionov and Goncharova continued to practice the style throughout their careers, executing Rayist paintings right up to the 1950s. In its earliest phase, known as "Realistic Rayism" ("Realistichesky luchizm"), the style proceeded from Larionov’s interest in optics and Impressionist color theory and specifically from the idea that the color, contour, and form of our world is defined by rays of light reflected from all material objects. According to Larionov’s booklet Rayism (Luchizm) of 1912, his initial aim was to explore the nature of visual perception as it exists before the brain converts what we see into a comprehensible form.

Malevich, Kazimir Severinovich (1879–1935)

2018 ◽  
Author(s):  
Patricia Railing
Keyword(s):  
Color Theory ◽  
Centrifugal Forces ◽  
Cosmic Space ◽  
The Mind

During his studies with the Russian Impressionist Fedor F. Rerberg in 1906 Moscow, Kazimir Malevich learned color theory and the craft of Impressionist painting. In 1910 Malevich was painting in a bright Fauve style, and by 1912 he had mastered the structures of Parisian Cubism and elements of the Futurist movement, combining these styles in pieces such as Knifegrinder (1912). Malevich referred to the amalgamation of these two styles as Cubo-Futurism. Between 1913 and 1915 Malevich created highly accomplished Cubist paintings, and his early 1915 canvases were increasingly dominated by planes of pure colors floating over the Cubist contrast of objects. By the summer of 1915 Malevich was solely painting planes of colors in light on his canvases, a style he called Suprematism, by which he meant the "domination" of color within light. He explored color in light in his paintings from 1916 to 1918 in several ways, including using spinning discs and projectors to cast rays of light onto a white screen of pure light. This resulted in the discovery that spinning discs produce centrifugal forces, and he thus called his paintings, "Supr[ematist] Construction of Colour" where "construction" refers to "force." In 1918 to 1919 Malevich painted light itself in White on White (1918), while also exploring cosmic space in Suprematism of the Mind (Suprematism of the Spirit) (1919–1920). Out of the range of modern artistic trends during this time, Malevich created paintings of pure color, light, and non-objectivity, which itself became a leading modernist trend.

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