A Quote by Joshua Reynolds
Grandeur of effect is produced by two different ways which seem entirely opposed to each other. One is by reducing the colors to little more than chiaroscuro... and the other, by making the colors very distinct and forcible... but still, the presiding principle of both those manners is simplicity.
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The distinct blue, red, and yellow colors... though they have not the kind of harmony which is produced by a variety of broken and transparent colors, have the effect of grandeur.
'Color' is quite different from 'colors.' In an image with many colors, we find that all the colors compete with each other rather than interacting with each other. The results" colors.
I am always in the hope to express the love of two lovers by a marriage of two complementary colors - colors which marry each other... complement each other as a man and a woman do.
The little may contrast with the great, in painting, but cannot be said to be contrary to it. Oppositions of colors contrast; but there are also colors contrary to each other, that is, which produce an ill effect because they shock the eye when brought very near it.
Remember always that there not so very much difference between various people as we seem to imagine. Maps and atlases show us countries in different colors. Undoubtedly people do differ from one another, but they resemble each other also a great deal, and it is well to keep this in mind and not misled by colors on the map or by national boundaries.
I like to use really basic or classic colors, things that people have seen over and over and over again. Primary colors, at least in photography, have been around a lot longer than neon colors and really vibrant purples, hot pinks. Red, blue, yellow, orange - because of Kodachrome and the way that things were produced I think that those colors stood out more than any others.
One color alone means nothing. I acts as in a vacuum, with no other colors to relate to. It is only when colors relate to other colors that the fun begins.
I was wondering about my eyes; one of my eyes--the left--saw everything golden and yellow and orange, and the other eye saw shades of blue and grey and green; perhaps one eye was for daylight and the other was for night. If everyone in the world saw different colors from different eyes there might be a great many new colors still to be invented.
I use colors that have already been experienced through the light of day and through the state of mind of the total man. In other words, my colors are not colors that are laboratory tools which are isolated from all accidentals or impurities so that they have a specified identity or purity.
The longer you garden the better the eye gets, the more tuned to how colors vibrate in different ways and what they can do to each other. You become a scientist as well as an artist, with the lines between increasingly blurred.
We've achieved this feeling, for instance, with the colors. The colors in the park are harmonious with each other, not like in big cities where they don't.
Raphael and Titian seem to have looked at Nature for different purposes; they both had the power of extending their view to the whole; but one looked only for the general effect as produced by form, the other as produced by colour.
I like black for clothes, small items, and jewelry. It's a color that can't be violated by any other colors. A color that simply keeps being itself. A color that sinks more somberly than any other color, yet asserts itself more than all other colors. It's a passionate gallant color. Anything is wonderful if it transcends things rather than being halfway.
Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.
This whole which is visible in different ways in bodies, as far as formation, constitution, appearance, colors and other properties and common qualities, is none other than the diverse face of the same substance a changeable, mobile face, subject to decay, of an immobile, permanent and eternal being.
What is … important is that we — number one: Learn to live with each other. Number two: try to bring out the best in each other. The best from the best, and the best from those who, perhaps, might not have the same endowment. And so this bespeaks an entirely different philosophy — a different way of life — a different kind of relationship — where the object is not to put down the other, but to raise up the other.
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