"I've recently had it brought to my attention that the current accepted primary colors are magenta, cyan, and yellow. I teach elementary art and I'm wondering if I really need to point out that fact or if I should continue referring to the primary colors the way I always have — red, yellow, and blue! Anyone have an opinion?"
("CMYK" at Whatis.com):
"There is a fundamental difference between color and pigment. Color represents energy radiated…. Pigments, as opposed to colors, represent energy that is not absorbed…."
Color Box Applet:
for elementary color education:Colored Shadow Explorations.A good starting point for
non-elementary education:
The "Color" category in Wikipedia.Further background:
From "The Relations between
Poetry and Painting," by Wallace Stevens:
"The theory of poetry, that is to say, the total of the theories of poetry, often seems to become in time a mystical theology or, more simply, a mystique. The reason for this must by now be clear. The reason is the same reason why the pictures in a museum of modern art often seem to become in time a mystical aesthetic, a prodigious search of appearance, as if to find a way of saying and of establishing that all things, whether below or above appearance, are one and that it is only through reality, in which they are reflected or, it may be, joined together, that we can reach them. Under such stress, reality changes from substance to subtlety, a subtlety in which it was natural for Cézanne to say: 'I see planes bestriding each other and sometimes straight lines seem to me to fall' or 'Planes in color. . . . The colored area where shimmer the souls of the planes, in the blaze of the kindled prism, the meeting of planes in the sunlight.' The conversion of our Lumpenwelt went far beyond this. It was from the point of view of another subtlety that Klee could write: 'But he is one chosen that today comes near to the secret places where original law fosters all evolution. And what artist would not establish himself there where the organic center of all movement in time and space—which he calls the mind or heart of creation— determines every function.' Conceding that this sounds a bit like sacerdotal jargon, that is not too much to allow to those that have helped to create a new reality, a modern reality, since what has been created is nothing less."
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From Bester's The Deceivers (1981):
He stripped, went to his Japanese bed in the monk's cell,
p a t t e r n s |