The Artist's Toolkit: Visual Elements and Principles
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The Artist's Toolkit: Visual Elements and Principles
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When small dots of pure color are applied close together, the viewer's eyes mix the colors. Notice that each dot of pure color the artist has used looks bright, but when your eye mixes them they are subdued, almost neutral.

Georges Seurat, Port-en-Bessin, 1888, Oil on canvas, The Minneapolis Institute of Arts, The William Hood Dunwoody Fund

Georges Seurat
Port-en-Bessin
1888
Oil on canvas
The Minneapolis Institute of Arts
The William Hood Dunwoody Fund
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When small dots of pure hue are applied close together, the viewer's eyes mix these hues. Notice the brightness of the pure hues the artist has used.

Detail of Georges Seurat's "Port-en-Bessin", 1888, Oil on canvas, The Minneapolis Institute of Arts, The William Hood Dunwoody Fund

Georges Seurat
Detail of Port-en-Bessin
1888
Oil on canvas
The Minneapolis Institute of Arts
The William Hood Dunwoody Fund
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Some artists use color in an arbitrary way. Instead of imitating the natural colors of objects, they used colors for symbolic or expressive purposes. In this painting the artist selected colors that symbolized universal principles such as spiritual harmony with nature, not the colors he really saw.

Franz Marc, Die grossen blauen Pferde (The Large Blue Horses), 1911, oil on canvas, Walker Art Center, Gift of the T. B. Walker Foundation, Gilbert M. Walker Fund

Franz Marc
Die grossen blauen Pferde (The Large Blue Horses)
1911
oil on canvas
Walker Art Center
Gift of the T. B. Walker Foundation, Gilbert M. Walker Fund
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In this painting the artist also selected colors for expressive purposes. Notice that all of the primary colors (red, blue and yellow) and secondary colors (green, orange and violet) have been used.

Ernst Ludwig Kirchner, Seated Girl (Fränzi Fehrmann), 1910; altered 1920, Oil on canvas, The Minneapolis Institute of Arts, The John R. Van Derlip Fund

Ernst Ludwig Kirchner
Seated Girl (Fränzi Fehrmann)
1910; altered 1920
Oil on canvas
The Minneapolis Institute of Arts
The John R. Van Derlip Fund
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In this painting shapes merely suggest natural objects and colors are applied scientifically, the way notes form chords in musical compositions. Orange, green, and purple - the three secondary colors - form a "dominant chord" that produces, according to the artist's theories, a feeling of harmony in the viewer.

Stanton Macdonald-Wright, Synchromy in Green and Orange, 1916, oil on canvas, Walker Art Center, Gift of the T. B. Walker Foundation, Hudson D. Walker Collection

Stanton Macdonald-Wright
Synchromy in Green and Orange
1916
oil on canvas
Walker Art Center
Gift of the T. B. Walker Foundation, Hudson D. Walker Collection
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In this painting the artist has used colors simply for the way in which they react with one another. Notice the intense red semi-circle and how it advances toward the viewer. The less intense colors seem to recede. Here, color creates movement!

Frank Stella, Tahkt-I-Sulayman Variation II, 1969, Acrylic on canvas, The Minneapolis Institute of Arts, Gift of Bruce B. Dayton

Frank Stella
Tahkt-I-Sulayman Variation II
1969
Acrylic on canvas
The Minneapolis Institute of Arts
Gift of Bruce B. Dayton
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Color Wheel  |  Value  |  Mood  |  Natural Color  |  Fantastic Effects

 
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