A Quote by Pierre Bonnard

You reason colour more than you reason drawing Colour has a logic as severe as form. — © Pierre Bonnard
You reason colour more than you reason drawing Colour has a logic as severe as form.
You reason color more than you reason drawing... Color has a logic as severe as form.
There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Accurate drawing, accurate colour, is perhaps not the essential thing to aim at, because the reflection of reality in a mirror, if it could be caught, colour and all, would not be a picture at all, no more than a photograph.
This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour.
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
Colour, as the strange and magnificent expression of the inscrutable spectrum of Eternity, is beautiful and important to me as a painter; I use it to enrich the canvas and to probe more deeply into the object. Colour also decided, to a certain extent, my spiritual outlook, but it is subordinated to life, and above all, to the treatment of form. Too much emphasis on colour at the expense of form and space would make a double manifestation of itself on the canvas, and this would verge on craft work.
In the studio, we adhere to a strict colour code. Developed over decades, the colour code consists of a finite and precise colour palate... The whole world as we experience it comes to us through the mystic realm of colour.
For me, pink or lilac is the colour of innocence, it's the colour of love, it's the colour of everything happy.
In my house there is no attempt whatever to secure harmonies of colour, or form, or furniture.... I am entirely independent for daily happiness upon the sensual qualities of form or colour-when I want them I take them either from the sky or from the fields.
I don't have anything against colour. It is just not my first preference. I have always found black and white photographs to be quieter and more mysterious than those made in colour.
Sometimes I can see colour without opening my eyes. I saw that Billy's heart was no colour and every colour. Like water or diamonds or crystals, it's pure and reflects the light.
Having small touches of colour makes it more colourful than having the whole thing in colour.
The eye and soul are caressed in the contemplation of form and colour. The subtle changes of colour over a surface - transitions that are like music - are intangible in their reaction upon us. There is an immediate sensuous appeal!
In Asia, red is the colour of joy; red is the colour of festivities and of celebration. In Chinese culture, blue is the colour of mourning.
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