4/3/2023 0 Comments Its judy time paletteThis tells me that hue and saturation are doing most of the work, not value. In the full-color image, the sky is full of life and vibrance, but it’s flat in the grayscale. This gives the painting a simple and concise value structure. Most of the colors are compressed within a tight value range (they are similar in lightness), apart from the dark accents. Here’s the painting in grayscale so we can see all the values: All you need to know for this post is that white objects in shadow can appear lighter than they really are and you need to adjust for this when mixing colors. I won’t get into the details as it’s a complex area. Color constancy is essentially an autocorrection system for the way we perceive color. It’s possible that you see these colors as being lighter than they really are due to something called color constancy. Regarding the ocean, look at the light colors that represent whitewash and breaks in the water. It adds depth and plays into the idea of a vague, low-lit scene (a crisp horizon line would look out of place here). This helps bump up the contrast against the lighter colors.Ī faint blue line represents the horizon line. The clouds are basically a flat color shape, but notice how they are a touch darker around the top edges. The dull blue clouds separate the ambient sky and ocean. It reminds me of Claude Monet’s The Rocks at Belle-Île, Port-Domois, which I wrote about a few years ago. It’s this warmth that gives the painting a soft glow, as if Courbet painted with light itself. ![]() The orange also provides temperature contrast against the cool greens and blues. This gives the sky a transparent appearance. If you look closely, it seems that Courbet scumbled orange over the top of the pale green rather than blending the two colors together. ![]() There’s a soft color gradation in the ambient sky. The pastels make the dark accents appear darker and sharper, and the dark accents make the pastels appear softer and lighter. The soft pastel colors and dark accents complement each other nicely. It’s also a gentle balance between doing enough to make the painting interesting, and not overdoing it with too much color. The color relationships tend to be subtle and nuanced. It’s not easy to paint with restrained colors like this. Mostly soft pastels and dark accents no rich or vivid colors. Current location: Metropolitan Museum of Art, New YorkĬourbet used a restrained color palette.( Click here to see a high-resolution photo of the painting.) Key Details
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