Chapter 6: Light and Color

   This chapter emphasizes the use of both light and color in establishing the contours and relationships of figures in space. Light and color are every bit as crucial in "rendering space", as is perspective. We learned that "aerial or atmospheric perspective" rules were largely formulated
by da Vinci. His, "Madonna of the Rocks", illustrates how an artist can use these principles. For
example, the foreground in this painting is in stark contast to the background. The vivid contrast between the lightness of the Madonna and Child's faces and the darkness of the brown stone walls, focuses the viewers attention on the animate rather than the inanimate figures in the foreground. (This is an example of "chiaroscuro". A variation of which, would reach its zenith in the "tenebrism" demonstrated in some of Artemisia Gentileschi's works.) By the same token, Leonardo is able to show the mountains in the background are quite distant by using "atmospheric perspective". How? Because large objects in the distance are less distinct, are perceived as bluer in color, and have reduced contrast between light and dark- just as these mountains are shown. Also mentioned, were two linear methods of modeling. In "The Coiffure", Mary Cassatt uses "hatching", that is, closely spaced parallel lines, in her drawing. In the "Head of the Satyr", Michelangelo uses parallel lines that intersect at an angle ( or "cross-hatches") for the same purpose.
   The section on "color" is equally interesting. My favorite work is Jane Hammond's, "Fallen, 2004-ongoing". As the title suggests, it is a artistic statement about the tragedy of war. This time Iraq. Here
fallen leaves  represent fallen warriors. Each leave bears the name of a man or woman killed in that conflict. In contrast to Maya Lin's somber "Vietnam Memorial" in polished black granite, we have a
"warm" color scheme of "analogous colors" with yellows, reds, an oranges predominating. The idea
of representing fallen warriors with beautiful fallen autumn leaves, really touches one's heart! Her use of color is so emotionally expressive. The text goes on to talk about "local color". That is, the actual
color of objects when viewed close up under good lighting. Next,"perceptual color", the color of objects when viewed at a distance under changing light and/or atmospheric conditions is addressed. Leonardo da Vinci's, "Madonna of the Rocks" is an excellent example of perceptual color. (See my comments above.)  Of course, what me might call "optical color", is the way the viewer's eye
and brain mix colors. (Two hues on the "color wheel", can be transformed into a third new hue by the eye and brain of the "beholder".) We see this technique used effectively in the works of Seurat( "pointillism")  and Close ("layered pointillism"). Some artist's use "arbitrary colors" for artistic purposes. Pierre Bonhard's, "Terrace at Vernon", is a case in point. His colors are not true to life, either locally or perceptually. His color use is arbitrary but not capricious! He wants to exploit the
interplay between the "warm" orange hues and the "cool" violet ones. It's a striking oil painting.
Finally, the symbolic use of color is discussed. What a color means symbolically, varies greatly
between cultures, individuals, and circumstances. For example, most Western cultures associate black
with funerals, et cetera. While many Eastern cultures,  insterad associate white with funerals. By the same token, the color red can suggest "blood or anger" in one context and  "heart or love" in another.
The process is very subjective. What comes to mind when I mention the book, "The Red Badge of Courage"? What feelings do you have when I mention, " a red, valentine balloon"? All in all, a very
informative chapter.