I have always thought of it as being the "color" of the light falling on whatever one is painting. Depth is created not only by values, but by color. I know some people say that it's warm and cool light, but I think that's an over simplification. If one is painting a white fabric, tthe shadows will contain at least three colors, probably more, and the colors will be different depending on a multitude of other factors. One can also interpret the colors in a multitude of ways. That's why I use a limited pallet. Otherwise there are just too many choices. If I were to let myself interpret colors without any limits, my painting would end up being very fragmented colorwise. Using a limited pallet produces a cohesive painting. I think the most important choices are made when one decides what "neutrals" one will use. The grays will set the color tone of one's painting, even for a colorist.

Colorist Part Two
 

Linda,

What you are describing is DEPICTING or RENDERING COLOR.

Color harmony is an entirely different thing. It has NOTHING to do with light or form. It has to do with COLOR RELATIONSHIPS.

There are a few well known laws of color harmony.

A: MONOCHROMATIC
The color is variations of one color. The Sargent below is an example.

COMPLEMENTARY
Two colors from opposite sides of the color wheel. Ie. Red and green.
One should dominate-the other could be a grey-as in a grey-green or a slightly less saturated color.

The Whistler you posted is an excellent example of that. It is called both "Miss Cicely Alexander" and "Harmony in Grey and Green".
The backgound is not just a grey-but a grey-green. It is a foil for the complement red-in this example a pink flower. If it were a purple grey-the flower should be a yellow.

The Renoir below is an example of a complementary color harmony, blue and orange.

These are the basic ones. There is also analogous- colors next to each other in the color wheel, tetradic-colors equidistant on the color wheel, split complementary- color on either side of the complement on the color wheel and split complementary- two sets of complementary color in one picture.

The Gauguin below is an example of a split complementary, red and green, yellow and violet.

Same color harmony- two cultures.
 

Both of these painting use almost exactly the same color harmony-but one is flat, the other has form and light. The first is a 16th century Savahid Persian painting, the second is a 19th century French painting by Bazille.

Very well put. I see your point.

My defintion of a colorist seems to be more broad range but I believe the majority will agree with your perspective.

I can't get over the idea that to go from mid range orange to a highlight orange to a dark orange to finally an orange with a little bounce of reflective light is not really orange. It is a combination of colors that appear to be in the same hue.

And with that I feel I have exhausted my thoughts.

I wish I had more color sensibility, so I'm glad this topic was started so that I could enjoy the delicious examples shown. Thanks to all who posted them!

Thank-you John and Julie for all of those who participated as well.

Here is a little tip; before you photograph- draw- plan, whatever, your next effort, make sure all the elements obey some color law. If your subject is wearing a cool pink, try a warm green backround behind her/him. I run around with little snippets, fabric, flowers etc. to work out my harmonies.

In my Scottsdale workshop last year my model was dressed in a pale celadon green. She was placed against a rich pink drape. If you arrange you colors beforehand you cannot miss.

Of course Van Gogh, too, is one of the great colourists of all time. He is also one of the great draftspeople of all time too. He successfully brings colours and line together where neither is more dominant than the other. Colour and line are as much a subject as the people or landscapes of his pictures. His use of colour and line stem from a gut response to his particular feeling for the unworded beauty of things. His sense of colour and shape are unforced and unrestrained, although he is far from the mad, irresponsible image that lay art history likes so much to talk about. His work comprises thoughtful and rational compositions - mature workings-out of his innate creative passion. A true colourist has a fetish for colour - a delight in it that is almost taboo.

What a Storehouse of Information!!!
 

[QUOTE=Sharon Knettell]Here is a little tip; before you photograph- draw- plan, whatever, your next effort, make sure all the elements obey some color law. If your subject is wearing a cool pink, try a warm green backround behind her/him. I run around with little snippets, fabric, flowers etc. to work out my harmonies.

Thank you, Sharon, for ALL of the information that you have taken the time to put into this discussion. I can't wait to read the next installment. How about putting all this into a book? With the depth of your knowledge, its success is a sure thing.

Carol,

Thank-you so much. My next installment is finishing a portrait that is due next week!

Thomasin,

Van Gogh, what liberating COLOR! I was trying a bit to keep the color more or less geared to portraiture; however, Van Gogh's colors explode on the canvas. His color was so unpretentious and unselfconsious. He was not selling anything- to me the mark of a great artist.

Here is one that is so powerful!

Sharon
 

Thank you for giving such great information on my question and to all participants I did not think it would develop into a wealth of information.

So much information!
 

What a terrific thread and so many postings of beautiful paintings. I have seen Paxton' s work at museums before and loved them but have never seen "The Breakfast". What a brilliant painting of white on white. Oh to see that one in person!

Along with identifying color as value, hue,temperature and intensity you have to consider the local color and two other influences, color of the light and influence of other local colors.

Color of the light determines if your light areas are warm or cool and that color of light washes over everything creating harmony The shadow is usually the complement with some of the light bounced into it.

The effect of local colors bouncing into each other really hit me when I was trying to paint sunlit grass. I had the color of the grass mixed, the value was correct added some orange for sunlight and was troubled by how flat it looked. It was a clear day with a bright blue sky I picked up a glob of sky color and swiped it across the grass and then the color was true. It was a lesson learned that I consider whenever and whatever I paint now.

Thank you everyone for the postings on this thread there is so much information and it is such a learning experience to see all the approaches to color.

Sharon that photo of the ballerina is stunning. I can only imagine how the colors glow in real life.

Here are some contemporary "colorist" portraits by John Ebersberger http://www.johnebersberger.com/.

Same culture - two harmony's

These are from two Japanese Masters, one is a female artist ! Which ?

I hope you planning on telling us the answer, Alan. I vote for no. 2.
I will not divulge my reasons unless I am proven right!

Julie, I am going to reveal the facts tomorrow.
In the meantime I hope that others will add their thoughts about the reasons why the two pictures are so different in expression.

I am probably prejudiced in my understanding of female artists intentions :sunnysmil but I could'nt help thinking that the two pictures had typical character traits that match the Yin Yang concept.

I vote for #2.

Many years ago, I was attracted to a very tiny painting of an Italian nobleman done in the 14th century. I could not have been more than 9" high and exquisitely painted. What made it so surprising as well is that it was done by a woman and in the 1300's.

I have always signed my name with an S. rather than Sharon as I did not want people to judge me by my sex.

Alan, this would make a wonderful new thread. Was it or wasn't it done by a women- or what are the differences, are they perceivable? Do you think that you could do this?

Alex,
what do you think is the female characteristic of this piece ?

Sharon,
It is a splendid idea, I will think about it, but I don't want to start a battle of the sexes ;)

Alan,

I do think though, that this is getting off topic. When threads become off-topic they become confusing. The original thrust of this thread was about colorists. I do think that although this is an interesting detour, it is a detour non-the-less.

Sharon,
I agree. The female-versus-male-stuff was a side remark, my intention was to show two beautiful, very different, color schemes from Japan.

And you did! Japanese color schemes are dear to my heart. I often rip them off. Those were two exquisite examples and I appreciate you for posting them. They are wonderful examples of the fact that color transcends cultures, which goes to the very heart of this discussion.

#2

Allan, I hope you will agree to start a new thread. I don't think it will start a battle of the sexes. On the contrary, it would be enlightening and quite fascinating. If you start it, one of us moderators can move these posts relating to it over to the new thread. I'm already thinking of images to post! And I promise I'll answer your question!

Steve, that is lovely work, thanks for introducing me to that painter.

Yes, Alan, I agree - start the new thread!
I vote for #2 also.


[Moderator's Note: I continued the discussion about the gender of the Japanese artists on this thread below:]

Painted by a woman.... does it show?