A Quote by Wassily Kandinsky
As a picture painted in yellow always radiates spiritual warmth, or as one in blue has apparently a cooling effect, so green is only boring.
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It's untrue to say the colors I use are not those of reality. They are real: The red I use is red; the green, green; blue, blue; and yellow, yellow. It's a matter of arranging them differently from the way I find them, but they are always real colors. So it's not true that when I tint a road or a wall, they become unreal. They stay real, though colored differently for my scene.
Maybe it's because I'm a designer, but when I am in a state of excitement, everything is so sharp and colorful and amazing, and I can look at blue and I see the yellow in it and the green in it, and the green-blues, the yellow-blues, so.
Imagine a mosaic picture of a house in the country: lots of red and blue and yellow and black and brown and white and a dozen different shades of green tiles which make a beautiful picture if you stand back far enough. All the little red squares are true - true things, true places, true feelings. But the red squares aren't the picture. All the rest of it is lies and stories, often within the same sentence.
When mountains and waters are painted, blue, green, and red paints are used, strange rocks and wondrous stones are used, the four jewels and the seven treasures are used. Rice-cakes are painted in the same manner. When a person is painted, the four great elements and five skandhas are used.
Bastian had climbed a dune of purplish-red sand and all around him he saw nothing but hill after hill of every imaginable color. Each hill revealed a shade or tint that occured in no other. The nearest was cobalt blue, another was saffron yellow, then came crimson red, then indigo, apple green, sky blue, orange, peach, mauve, turquoise blue, lilac, moss green, ruby red, burnt umber, Indian yellow, vermillion, lapis lazuli, and so on from horizon to horizon. And between the hill, separating color from color, flowed streams of gold and silver sand.
Red, electric blue - the only color I don't wear is green, which I still don't wear. I wear certain color greens, but I have such yellow skin so I always like to wear bold colors.
My palette contains a warm and cool of each primary, plus four modifiers: Yellow Ochre, Burnt Sienna, Blue-Violet and Phthalo Yellow-Green just mix as I go for each painting.
My heart is green, yellow, blue, and white.
I should like the fields tinged with red, the rivers yellow and the trees painted blue. Nature has no imagination.
There is no blue without yellow and without orange, and if you put in blue, then you must put in yellow, and orange too, mustn't you? Oh well, you will tell me that what I write to you are only banalities.
At first, my bedroom had flowers and yellow walls and huge furniture in plastic that was orange and green - and furry green bed cover and everything. Then, I think the day I turned 13, I painted the walls black and put Kurt Cobain on the wall and just changed everything into a dark theme.
The colours red, blue and green are real. The colour yellow is a mystical experience shared by everybody.
A man who never lies must have green blood in his veins, or blue or yellow, but definitely not red!
Transparency painted in a picture produces its effect in a different way than opaqueness.
If you take blue paint and yellow paint and you mix them, you get green paint. But if you take blue light and yellow light and mix them, you get white light. This is a shock to most people.
If we seek for the simplest arrangement, which would enable it [the eye] to receive and discriminate the impressions of the different parts of the spectrum, we may suppose three distinct sensations only to be excited by the rays of the three principal pure colours, falling on any given point of the retina, the red, the green, and the violet; while the rays occupying the intermediate spaces are capable of producing mixed sensations, the yellow those which belong to the red and green, and the blue those which belong to the green and violet.
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