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En esta tercera carta, Vincent habla "Acerca del Arte". Por supuesto, trato de "ligar" las frases para procurar que parezca una sola carta escrita por Vincent.
Por otra parte, es importante tomar en cuenta que " El negro absoluto no existe, a decir verdad. Y tanto que en la naturaleza no se ve, a decir verdad, otra cosa que esos tonos e intensidades. El anaranjado, el verde y el violeta son colores 'compuestos'. Para pintar es necesario saber el resultado de mezclar los colores. Pero existen "Colores que realmente pueden conversar entre ellos" T La primavera tiene el nuevo trigo verde tierno y los manzanos rosas en flor.
El invierno tiene la nieve y mezcla de colores azul verde menudos personajes negros. Otro punto importante es que " Por lo que "considero que hacer estudios es sembrar, el hacer cuadros es recolectar.
Hay colores que contrastan armoniosamente entre ellos, pero yo me esfuerzo en hacerlo como lo veo, antes de ponerme a trabajar para lograrlo como yo lo siento. I prepared this letter because of th Vincent's Death anniversary: In this series of Articles: In this third one, Vincent talks "About Art". Of course, I will try to "link" the phrases in order to get a letter as if it was written by Vincent.
I will incorporate the letter number where I found the phrase, using the nomenclature of: T if somewhere I write Mezcla de colores azul verde How to develop your own Artistic Expression? But I asked myself: How does one learn it? On the other hand, it is very important to consider that " Absolute mezcla de colores azul verde does not really exist.
But like white, it is present in almost every colour, and forms the endless variety of greys, - different in tone and strength. So that in nature one really sees nothing else but those tones or shades. By adding black and some white one gets the endless varieties of greys - red grey, yellow-grey, blue-grey, green-grey, orange-grey, violet-grey.
To say, for instance, how many green-greys there are is impossible; there are endless varieties" Tas a very simple explanation of how someone must define the colours combination. To paint it is necessary to know how to mix the colours. In the same way, if one combines red and blue in order to produce violet, this secondary colour, violet, will be intensified by the immediate proximity of yellow.
And finally, if one combines yellow and blue in mezcla de colores azul verde to produce green, this green will be intensified by the immediate proximity of red. Each of the three primitive colours is rightly called complementary with regard to the corresponding secondary colours.
Thus blue is the complementary colour of orange; yellow, the complementary colour of violet; and red, the complementary colour of green. Conversely, each of the combined colours mezcla de colores azul verde the complementary colour of the primitive one not used in the mixture. This mutual intensification is what is called the law of simultaneous contrast" T But there are mezcla de colores azul verde that indeed have something to say for themselves.
To describe what kind of colours must be used with each season is so difficult, because of I think summer is not easy to express; generally, at least often, a mezcla de colores azul verde effect is either impossible or ugly, at least I think so, but then, as opposition, there is the twilight. But I mean to say that it is not easy to find a summer sun effect which is as rich and as simple, and as pleasant to look at as the characteristic effects of the other mezcla de colores azul verde.
Spring is tender, green young corn and pink apple blossoms. Autumn is the contrast of the yellow leaves against violet tones. Winter is the snow with black silhouettes. But now, if summer is the opposition of blues against an element of orange, in the gold bronze of the corn, one could paint a picture which expressed the mood of the seasons in each of the contrasts of the complementary colours red and green, blue and orange, yellow and violet, white and black " T That is how he spends his life, and life is too short to do everything" T Another important point is that " I am glad that I never 'learned' painting.
In all probability I would then have 'learned' to ignore such effects as this. Now I can say to myself, this is just what I want. If it is impossible, it is impossible, but I'm going to try it even though I don't know how it ought to be done" T Though "I consider making studies like sowing, and making pictures like reaping.
I believe one gets sounder ideas when the thoughts arise from direct contact with things than when one looks at them with the set purpose of finding certain facts in them. It is the same with the question of the colour scheme. There are colours which harmonize together wonderfully, but I try my best to make it as I see it before I set to work to make it as I feel it.
And yet feeling is a great thing, and without it one would not be able to mezcla de colores azul verde anything" T But I say to myself that it's better to do it in a year than to do it now, because I do not want the beauty to come mezcla de colores azul verde the material, but from within myself" T This means what I like to paint most is " When I come back home with a painted canvas, I think: And perhaps the time will come when we can extend our business and be more help to the others" T
