How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . &k^ MONET-GAHO and of pink and rose and violet. All these constituentcolors he places side by side in minute patches, and imme-diately the latter begin to act and react on one another,as a number of bright people will do upon one another,when assembled together in a room. I will mention onlyone recognized fact: red, yellow, and blue, being re-garded as the primary colors, and the combinatio
How to study pictures by means of a series of comparisons of paintings and painters from Cimabue to Monet, with historical and biographical summaries and appreciations of the painters' motives and methods . &k^ MONET-GAHO and of pink and rose and violet. All these constituentcolors he places side by side in minute patches, and imme-diately the latter begin to act and react on one another,as a number of bright people will do upon one another,when assembled together in a room. I will mention onlyone recognized fact: red, yellow, and blue, being re-garded as the primary colors, and the combinations ofany two of these—namely, red + yellow = orange, yel-low 4- blue = green, blue + red = purple—being re-garded as secondary colors, it has been demonstrated thatthe juxtaposition of any secondary with the remainderprimary will heighten the brilliancy of each. Thus,orange and blue are mutually enforcing; so green andred, and yellow and purple. While this law applieseverywhere in painting, it applies with more subtlety andvivacity when the color spaces, instead of being big, aresplit up into an infinite number of tiny fragments; forthe result may be likened to an intricate web, scintillatin
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Keywords: ., bookcentury1900, bookdecade1910, booksubjectpainting, bookyear191
