Tone Relations in Painting
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33 E, is represented the scale which would be made by limiting the pigments employed to Burnt Sienna, Yellow Ochre, Cobalt Blue and White. This is about the range of Color and Intensity to be found ia much landscape painting of the XVII, XVIII, and early XIX centuries.
Type A — Complementaet Paies. Instead of three Colors in each register, two Colors which are complementary, or nearly so, may be used (fig. 34). This makes possible only a very limited range of Color and Intensity, but it is surp...rising how much effect can be produced by the expression merely of different Intensities in Tones relatively warm and relatively cool. It is an abstract 42 TONE RELATIONS method of representation in which all the possible Colors are gen- eralized into two opposing Colors on either side of the Color circle. G and H in fig. 34 illustrate approximately Color ranges to be found in some of the landscape backgrounds of early Renais- sance paintings and in some landscape paintings of the XVII century.
What to read after Tone Relations in Painting?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Upham Pope to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
33 E, is represented the scale which would be made by limiting the pigments employed to Burnt Sienna, Yellow Ochre, Cobalt Blue and White. This is about the range of Color and Intensity to be found ia much landscape painting of the XVII, XVIII, and early XIX centuries.
Type A — Complementaet Paies. Instead of three Colors in each register, two Colors which are complementary, or nearly so, may be used (fig. 34). This makes possible only a very limited range of Color and Intensity, but it is surp...rising how much effect can be produced by the expression merely of different Intensities in Tones relatively warm and relatively cool. It is an abstract 42 TONE RELATIONS method of representation in which all the possible Colors are gen- eralized into two opposing Colors on either side of the Color circle. G and H in fig. 34 illustrate approximately Color ranges to be found in some of the landscape backgrounds of early Renais- sance paintings and in some landscape paintings of the XVII century.
What to read after Tone Relations in Painting?
You can find similar books in the "Read Also" column, or choose other free books by Arthur Upham Pope to read onlineMoreLess
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