Colorist

[Linda Ciallelo]

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.

[Sharon Knettell]

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.

[Sharon Knettell]

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.

[John Reidy]

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.

[Julie Deane]

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!

[Sharon Knettell]

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.

[Thomasin Dewhurst]

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.

[Carol Norton]

[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.

[Sharon Knettell]

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!

[Debra G DeRouen]

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.