Aesthetics: a Critical Theory of Art
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164 Aesthetics Such, briefly, are the general characteristics of color. Let us now consider them in their mutual combination and development. Colors in mutual combination possess three chief characteristics. First, all colors have their complementaries. Secondly, since they affect each other with light or shade, they are divided into warm and cool tones. Thirdly, colors in their juxtaposition are regarded as harmon- ious, opposite, or contrasting. Thus, "in Chevreul's phraseology, combinations ...of cold colors change each other's peculiar hue the most, and of warm colors the least; because the complementaries of these cold colors are warm colors, i. e., bright, and each appear- ing on the field of the neighboring cold color, seems to fade it out; while the complementaries of the juxta- posed warm colors are not bright, and do not have sufficient strength to affect their neighbors at all." ' ' Colors are in greatest opposition when they show the least tendency to combine without destruction, whether in hue or brilliancy or transparency.
What to read after Aesthetics: a Critical Theory of Art?
You can find similar books in the "Read Also" column, or choose other free books by Henry G Hartman to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
164 Aesthetics Such, briefly, are the general characteristics of color. Let us now consider them in their mutual combination and development. Colors in mutual combination possess three chief characteristics. First, all colors have their complementaries. Secondly, since they affect each other with light or shade, they are divided into warm and cool tones. Thirdly, colors in their juxtaposition are regarded as harmon- ious, opposite, or contrasting. Thus, "in Chevreul's phraseology, combinations ...of cold colors change each other's peculiar hue the most, and of warm colors the least; because the complementaries of these cold colors are warm colors, i. e., bright, and each appear- ing on the field of the neighboring cold color, seems to fade it out; while the complementaries of the juxta- posed warm colors are not bright, and do not have sufficient strength to affect their neighbors at all." ' ' Colors are in greatest opposition when they show the least tendency to combine without destruction, whether in hue or brilliancy or transparency.
What to read after Aesthetics: a Critical Theory of Art?
You can find similar books in the "Read Also" column, or choose other free books by Henry G Hartman to read onlineMoreLess
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