If we return to 1872, a moment in which many contemporary European artists were testing the effects of new colors and the new 19th century color theories, especially simultaneous contrast. The results of these experiments lead directly to Impressionism, Pointillism, Fauvism and other color-contrast movements.
Example 1. Hans Thoma, 1872, “Summer.”
Our first example in 1872 by Hans Thoma explored blue-violet against warm yellows as an example of color intensification when juxtaposed with contrasting or complementary colors. Soon neo-impressionists like Pierre Bonnard applied these effects in their quest for greater luminosity (see example2).
Example 2. Pierre Bonnard, early 20th century, “Breakfast Room.”
By the mid to late 20th century artists like Richard Diebenkorn, Wayne Thiebaud and David Hockney experimented with vivid complementary color contrasts to enliven their paintings. Compare Wayne Thiebaud’s landscape (example 3) with David Hockney’s painting (example 4). Both artists are playing with linear perspective distortions and heightened complementary color contrasts.
Example 3. Wayne Thiebaud California landscape.
Example 4. David Hockney California (Hollywood) landscape.
Notice how Hockney uses a rolling horizon and how Thiebaud places his serpentine curves vertically within his central shape. (a retrospective exhibition of David Hockney’s paintings is now on view at New York’s Metropolitan Museum of Art)
My image in example 6 borrows from all four preceding examples. I use the soft blurred edges of Bonnard, and the rolling horizon of Hans Thoma and Hockney. I tried this motif earlier (example 5) but this week I softened and enlarged the concept (see example 6).
Example 5. Earlier and different painting with shared motif, 36×36.
Example 6. Softer and larger reconsideration of a similar motif, 36×48.
I returned to Grand Central Station as I considered color contrasts with a different motif. Here bright Celeste blues were contrasted against dark and blackened browns. The floor reflects pinks and blues merging almost edgelessly while sharing close bright values (example 7).
Example 7. Grand Central Terminal Interior, oil, 36×36.
December 13th is the day to Register for my classes for the winter semester (mid January through March) at the Silvermine School of Art. Come work with me in the studio. Call the Silvermine School of Art at 203 966 6668 ext. 2 to register. Registration for my week long spring workshop also opens on December 13.
I invite you to join me in an upcoming workshop at Artsplace in Cheshire, Connecticut at 203 272 2787. The Workshop is “Natural Elements: Painting with the Masters, Old and New Techniques” January 6 and 7th, 10 am – 4 pm.
I am sorry to not be at the Lily Pad West Gallery in Milwaukee, Wisconsin next Thursday and Friday evenings, December 7 and 8 at 215 N. Broadway, Milwaukee as previously announced but, my artwork will be there. Info@lilypadgallery.com
Join me this spring at the Huntsville Museum of Art (Huntsville Alabama) for a Master Workshop there, Natural Elements: Painting with the masters, Old & New Techniques with David Dunlop”. The workshop is part of the Museum Academy program. Thursday May 3rd – Sunday May 6; 9:00 am to 4:30 pm. Register on line at hsvmuseum.org or call 256 535 4350 ext 215.
Valeri Chelini
Exploring cold colors like blues, violets against warm yellows and reds contrasting edges of central items is common technics in some favorite paintings. Consider Edvard Munch’s “Scream”. Combination of just red, yellow and violet make a deal.
Thank you, David for article.
Valeri