A Quote by Ludwig Wittgenstein

Our ordinary language has no means for describing a particular shade of color. Thus it is incapable of producing a picture of this color. — © Ludwig Wittgenstein
Our ordinary language has no means for describing a particular shade of color. Thus it is incapable of producing a picture of this color.
It seems obvious that colors vary according to lights, because when any color is placed in the shade, it appears to be different from the same color which is located in light. Shade makes color dark, whereas light makes color bright where it strikes.
The difficulty with color is to go beyond the fact that it's color ? to have it be not just a colorful picture but really be a picture about something. It's difficult. So often color gets caught up in color, and it becomes merly decorative. Some photographers use it brilliantly to make visual statements combining color and content; otherwise it is empty.
Some have said that if you take a great picture in color and take away the color, you'll have a great black-and-white picture. But if you're shooting something about color and you take away the color, you'll have nothing.
For many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. And the color of where you can never go.
Your attitude is like a box of crayons that color your world. Constantly color your picture gray, and your picture will always be bleak. Try adding some bright colors to the picture by including humor, and your picture begins to lighten up.
Painting is drawing, with the additional means of color. Painting without drawing is just 'coloriness,' color excitement. To think of color for color's sake is like thinking of sound for sound's sake. Color is like music. The palette is an instrument that can be orchestrated to build form.
The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
When I would visit my Granny as a little boy, we would play this game of closing our eyes and describing everything around us. The color of a tie. The shade of a cloth. It was really quite a wonderful way to learn how to look, to notice things and to appreciate what is around you.
Dark green is my favorite color. It's the color of nature and the color of money and the color of moss!
The fact is, that of all God's gifts to the sight of man, color, is the holiest, the most divine, the most solemn. We speak rashly of gay color and sad color, for color cannot at once be good and gay. All good color is in some degree pensive, the loveliest is melancholy, and the purest and most thoughtful minds are those which love color the most.
Flowers and flames. And color. Color as color, not as volume or light - only as color.
Color is life, for a world without color seems dead. As a flame produces light, light produces color. As intonation lends color to the spoken word, color lends spiritually realized sound to a form.
The true color of life is the color of the body, the color of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest color of the unpublished blood.
Color is a language. It is the language of painting. How painting expresses itself is in large part with color.
When I use color, people say, "Oh he's Indian, that's why he's using color!" Perhaps this is true, Indians aren't scared of color, and perhaps that's what makes me different. But also, I personally love color, regardless of where I come from.
The dominant invades the entire picture, as it were. In this way I seek to individualize the color, because I have come to believe that there is a living world of each color and I express these worlds.
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