Principles of Color -book


Leonardo da Vinci 1. - he developed the CHIAROSCURO style which other artists were to imitate up to Rembrandt and after. In chiaroscuro, da Vinci emphasised "the correct distribution of light and shadow" .

1. John the Baptist (c. 1513–16), Louvre


Peter Paul Rubens

2. Old Woman and Boy with Candles, c. 1616/17


Rembrandt, one of the greatest of all, who with a simple palette of red, golden yellow, brown, black, brown, black,white did subjects in a golden tone which many others failed to emulate and which led to drab effects described as "brown gravy".

3. The Philosopher in Meditation, 1632


Claude Lorrain came forth with astonishing effects of light and illumination that had been unequaled before his day.

4. An Artist Studying from Nature (1639), Cincinnati Art Museum


Claude inspired Turner of England who promptly became one of the leading colorist of all time. Turner was a profound student of color, designed color charts and otherwise gave himself to an ardent study of color mysteries. His luminous skies and sunsets anticipated Impressionism.

5. Snow Storm: Hannibal and his Army Crossing the Alps


The color circle of Moses Harris


the first color chart ever to appear in full hue

He spoke about :

- primitive colors: red, yellow,blue

- mediate colors: orange, green,purple

- compound colors: olive, slate and russet

The color compendium of Charles Hayter, 1826


Interesting story of colours:

CRIMSON-

Crimson is a strong, red color, inclining to purple. It originally meant the color of the kermes dye produced from a scale insect, Kermes vermilio, but the name is now sometimes also used as a generic term for slightly bluish-red colors that are between black and rose.

Crimson (NR4) is produced using the dried bodies of the kermes insect, which were gathered commercially in Mediterranean countries, where they live on the kermes oak, and sold throughout Europe.[2] Kermes dyes have been found in burial wrappings in Anglo-Scandinavian York. They fell out of use with the introduction of cochineal, because although the dyes were comparable in quality and color intensity it needed ten to twelve times as much kermes to produce the same effect as cochineal.


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