A Quote by Mark Rothko
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.
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'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.
And I'll see your true colors shining through I see your true colors and that's why I love you so don't be afraid to let them show your true colors, true colors are beautiful like a RAINBOW.
Art is a creation of a higher order than a copy of nature which is governed by chance.... By the elimination of all muddy colors, by the exclusive use of optical mixture of pure colors, by a methodical divisionism and a strict observation of the scientific theory of colors, the neo-impressionists insures a maximum of luminosity, of color intensity, and of harmony- a result that has never yet been obtained.
The rainbow is a part of nature, and you have to be in the right place to see it. It's beautiful, all of the colors, even the colors you can't see. That really fit us as a people because we are all of the colors. Our sexuality is all of the colors. We are all the genders, races, and ages.
Colors are primordial ideas, children of the aboriginal colorless light and its counterpart, colorless darkness Light, that first phenomenon of the world, reveals to us the spirit and the living soul of the world through colors.
Words in the mind are like colors on the palette of the artist. The more colors we have access to, the easier it is to create a captivating picture on the canvas, and the more practice we give to using those many colors appropriately and uniquely, the more likely we will be to create a masterpiece of self expression.
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 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.
Rays were blazing through the atmosphere of the earth, the horizon became bright orange, gradually passing into all the colors of the rainbow: from light blue to dark blue, to violet and then to black. What an indescribable gamut of colors! Just like the paintings of the artist Nicholas Roerich.
The pleasure a man gets from a landscape would [not] last long if he were convinced a priori that the forms and colors he sees are just forms and colors, that all structures in which they play a role are purely subjective and have no relation whatsoever to any meaningful order or totality, that they simply and necessarily express nothing....No walk through the landscape is necessary any longer; and thus the very concept of landscape as experienced by a pedestrian becomes meaningless and arbitrary. Landscape deteriorates altogether into landscaping.
My choice of colors does not rest on any scientific theory; it is based on observation, on feeling, on the experience of my sensibility. Inspired by certain pages of Delacroix, an artist like Signac is preoccupied with complementary colors, and the theoretical knowledge of them will lead him to use a certain tone in a certain place. But I simply try to put down colors which render my sensation.
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.
Black, white and nude are my essential colors. Each time I start a collection, I start with these colors; they are the elemental colors we refer to from the beginning.
In black and white there are more colors than color photography, because you are not blocked by any colors so you can use your experiences, your knowledge, and your fantasy, to put colors into black and white.
People observe the colors of a day only at its beginnings and ends, but to me it's quite clear that a day merges through a multitude of shades and intonations with each passing moment. A single hour can consist of thousands of different colors. Waxy yellows, cloud-spot blues. Murky darkness. In my line of work, I make it a point to notice them.
The light is there, and colors surround us. However, if there were no light nor colors in our own eye, we wouldn't perceive such things outside of us.
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