Why is art a personal act, and at the same time orgasmic?
Art is a personal act insofar as it comes from the pure observation of the person creating the piece who reveals a bit of themselves through their art. But at the same time, it is a self-fulfilling act which expresses itself in the rendered interpretation of the artists perspective.
The poet Baudelaire once said about artists: "The more a man cultivates the arts, the less randy he becomes... Only the brute is good at coupling, and copulation is the lyricism of the masses. To copulate is to enter into another—and the artist never emerges from himself." It’s like chocolate!
Colour is everywhere in our lives, nature reveals its splendour with colour, it’s in our clothes, products, home, it plays a huge role in marketing. Nature reveals mood and symbolism that artists assimilate in their paintings. Colour evokes emotions, playing a vital part in art, but colour is not something we think about, talk about or discuss as part of life.
Visual artists, poets, writers and sciences can help us start to learn how to observe this spectacular world of colour that we all take for granted in our everyday lives.
The Perks of Art is to extract excerpts and entities which are often overlooked from one’s lifespan and draw them out in a new light. Art give an international voice that we all can relate. Art is to pull that which is often over looked and simply to invite you to look at them more closely.
Colour is an invitation to look at colour and to reflect on it. We have 10 million colours that we can differentiate, yet we only have 11 basic colour terms: White, Black, Grey, Yellow, Red, Blue, Green, Brown, Pink, Orange, Purple. There is a huge asymmetry between what we can see and how we can express colour.
Someone saying their favourite colour is green… they are actually saying they like about 1million different greens. Is it a cool green, or warm greens, dark or light green? We are limited to describe verbally which specific green colour we actually like.
What is more bizarre, is that we all experience colour, but never really understand “Colour” and its sensory effects on the viewer.
Colour is an important tool in understanding paintings from the past. Colour is a way of establishing different various meanings that may not always be obvious. Colour is a way of understanding the symbolism of a painting. Colour is useful in understanding the economic context in which a painting was created, like a particular historical valued or expensive pigment, thus was used in specific commissioned paintings. Colours are also useful in decoding historical paintings and cultural movements.
Colour has a Nostalgic association especially in term of art history. Colour can be expressed in numerous and diverse cultural techniques that denotes our world, thus depicting the artist observation.
In one of the ways that works of Art can be approached, and there are many different perspectives, but colours throughout history has been closely tied with the artists of each era and movements. Therefore, studying available historical pigment colours proves to be very instrumental in the study of Art. As science evolve with new innovative pigments, inspires artists to experiment, thus evolving from one movement to the other.
The significant ground-breaking paint tube discovery redefined the direction of art, not only by changing how or where artists worked, the quality control of the paint, accessibility, but ultimately what was art.
John G. Rand ingenious innovative era of the paint tubes that was put into production by Windsor Newton in 1841 in England offered a straight from the tube accessibility to a variety of new affordable colours for the plein air palettes, motivating the artist to apply thicker spontaneous, decisive brush stroke of pure colours.
The “Industrial Age” between 1704-1710 expanded the initiation of synthesis new pigments. The first synthetic inorganic pigment was Prussian blue, then synthesized chrome yellow in 1809 and the first chrome oxides green pigment in 1809…
This innovative paint tube has changed the course of art, thus immerged the impressionist movement. French artist Pierre-August Renoir a leader in the advancement of the Impressionist style stated that “Without colours in tubes, there would be no Cézanne, no Monet, no Pissarro, and no Impressionism,” if it hadn’t been for an unknown American portrait painter, John G. Rand who lead the way for industrial chemists to invent in the 19th century colours for artists to take full advantage of alluring new pigments.
The paint tube opened the door for “plein air” painting, liberating the studio bound artists and consequently, apprenticeships were replaced with workshops, art institutions or informal excursions.
The simplification of tube paints also eliminated the technical knowledge aspects of paint binders, mediums and pigments taught by the Masters and in scholastic programs.
The new tubes of paint only need minimal amount of thinning with manufactured turpentine or blending paint mediums, linseed, stand oil or walnut oil. Thus, reverting Van Eyck in 1410 invention of oil painting by eliminating the resin, the primary ingredient in paint binders and varnishes of the past, from the paint tubes because it would rapidly harden in the tube. That was the major ingredient in vanish which helped the paint stick, shinny, transparent and dry, without it, the paint was flat and died slowly. The solution is for the artists manually add fast drying mediums, alkyds or oil to the paint while painting.
Make colour the subject of the work rather than an aspect of the object…
Register today with Lise King “The Practical Science of Colour Mixing Workshop” and explore the wonderful world of pigment colour mixing.
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