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<p>[QUOTE="Tigermoth1, post: 7825717, member: 121422"]If I may interject a brief digression into the basics of color theory, according to Munsell's "Book of Color and Color Notation," color is composed of three dimensions: Hue, Value and Chroma. Hue is the common name of a color: Red, Blue, Yellow, etc. Value may be viewed as the various degrees of brightness or luminosity on a scale from absolute black ("0") to absolute white ("10"). Tint would indicate lightness; whereas, shade would indicate degree of darkness. Chroma indicates color intensity or strength and is described by using the words weak, moderate or strong.</p><p><br /></p><p>Hue and value and chroma may be visualized as a sphere where the center may be thought of as grey and the north pole as white and the south pole as black; the medium hues would be at the equator of the sphere. Or, visualize a color tree whose trunk grows from darkness to light and whose branches represent the hues from purple to yellow extending out in degrees of chromatic strength.</p><p><br /></p><p>A vocabulary of fourteen words is sufficient to describe all colors: red, yellow, green, blue, purple, hue, black, gray, white, value, weak, moderate, strong, chroma. There are two groups of colors: Chromatic colors (all colors other than neutral colors having hue and chroma) and Achromatic or Neutral colors (white, black and grays, colors which are distinguished by the absence of hue and chroma).</p><p><br /></p><p>Pure color, the amalgam of all the colors in creation, white light = the life force; black (not the paint so named from a tube, but the opposing idea, the concept of vacuum, void), the absence of all sensation of color = death, along with forms, echoing again the interplay of the life wish and the death wish, Eros and Thanatos, like the Ying and the Yang, beginning and ending, passive and dominant themes, the hide and seek of everyday reality and the imagination run throughout Kandinsky's writings and artwork.</p><p><br /></p><p>Forms and lines, released from any "academic" representational format, become very dynamic, super-charged in their relationship to themselves and to one another, to movement, a transcendence from the viscerally felt aggressive, sexual and chaotic towards order, meaning and spirituality, a sublimation into "musicality" (if you will) -one tends to speak of the "harmony" of his forms, "dissonant" forms, "lyrical passages" and finds rhythmic concordance and equivalence in his free-floating color plane -one can also speak of the musicality of his color, in terms of their incongruous, offensive or pleasurable aspect. His colors though do not necessarily serve the figure/ground motif, and, in fact, may be seen as independent; color intensity contributes to the "mood" of his paintings, whether the themes inferred are harrowing or joyous.</p><p><br /></p><p>Kandinsky's works present a very subjective engagement with art, like never before expected of the viewer; a challenge, wherein the intuitive process of peeling away the representational aspect, the uncovering or distillation of quintessential and elemental forms engaged in their own geometric momentum and precision, <b>play, not just in the space of the canvas </b>-where meaning is found in the relationships between forms, between colors, painting that finally banishes figure/ground relationship by use of the schematic allover linear grid, referencing only itself, bringing the viewer into the landscape of unconscious yearnings and desires (interior landscapes, objects of desire) where the arbitrariness of the title of the work is our only guide to interpreting what the painting is about <b>-but in our living space, in our own body.</b> We glide through the mirror of his canvases into a cosmic exhalation and orgasmic wish-fulfillment, wherein the Soul finally becomes one with the Beloved.[/QUOTE]</p><p><br /></p>
[QUOTE="Tigermoth1, post: 7825717, member: 121422"]If I may interject a brief digression into the basics of color theory, according to Munsell's "Book of Color and Color Notation," color is composed of three dimensions: Hue, Value and Chroma. Hue is the common name of a color: Red, Blue, Yellow, etc. Value may be viewed as the various degrees of brightness or luminosity on a scale from absolute black ("0") to absolute white ("10"). Tint would indicate lightness; whereas, shade would indicate degree of darkness. Chroma indicates color intensity or strength and is described by using the words weak, moderate or strong. Hue and value and chroma may be visualized as a sphere where the center may be thought of as grey and the north pole as white and the south pole as black; the medium hues would be at the equator of the sphere. Or, visualize a color tree whose trunk grows from darkness to light and whose branches represent the hues from purple to yellow extending out in degrees of chromatic strength. A vocabulary of fourteen words is sufficient to describe all colors: red, yellow, green, blue, purple, hue, black, gray, white, value, weak, moderate, strong, chroma. There are two groups of colors: Chromatic colors (all colors other than neutral colors having hue and chroma) and Achromatic or Neutral colors (white, black and grays, colors which are distinguished by the absence of hue and chroma). Pure color, the amalgam of all the colors in creation, white light = the life force; black (not the paint so named from a tube, but the opposing idea, the concept of vacuum, void), the absence of all sensation of color = death, along with forms, echoing again the interplay of the life wish and the death wish, Eros and Thanatos, like the Ying and the Yang, beginning and ending, passive and dominant themes, the hide and seek of everyday reality and the imagination run throughout Kandinsky's writings and artwork. Forms and lines, released from any "academic" representational format, become very dynamic, super-charged in their relationship to themselves and to one another, to movement, a transcendence from the viscerally felt aggressive, sexual and chaotic towards order, meaning and spirituality, a sublimation into "musicality" (if you will) -one tends to speak of the "harmony" of his forms, "dissonant" forms, "lyrical passages" and finds rhythmic concordance and equivalence in his free-floating color plane -one can also speak of the musicality of his color, in terms of their incongruous, offensive or pleasurable aspect. His colors though do not necessarily serve the figure/ground motif, and, in fact, may be seen as independent; color intensity contributes to the "mood" of his paintings, whether the themes inferred are harrowing or joyous. Kandinsky's works present a very subjective engagement with art, like never before expected of the viewer; a challenge, wherein the intuitive process of peeling away the representational aspect, the uncovering or distillation of quintessential and elemental forms engaged in their own geometric momentum and precision, [B]play, not just in the space of the canvas [/B]-where meaning is found in the relationships between forms, between colors, painting that finally banishes figure/ground relationship by use of the schematic allover linear grid, referencing only itself, bringing the viewer into the landscape of unconscious yearnings and desires (interior landscapes, objects of desire) where the arbitrariness of the title of the work is our only guide to interpreting what the painting is about [B]-but in our living space, in our own body.[/B] We glide through the mirror of his canvases into a cosmic exhalation and orgasmic wish-fulfillment, wherein the Soul finally becomes one with the Beloved.[/QUOTE]
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