Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania - 1810, Hamburg. German painter, draftsman. He studied in 1799-1801 at the Copenhagen Academy of Arts under N. Albigor, then in Dresden (1801-1803). From 1804 he worked in Hamburg. In Runge's early work The Triumph of Love (1801, Hamburg, Kunsthalle), the appeal to a monochrome composition in the form of a relief with putti, the strict academic manner of the drawing testify to the influence of the manner of his teacher, professor at the Copenhagen Academy Albigor. As in Albigor's drawings, the plot is interpreted by the young artist deeply emotionally. Under the influence of Albigor, a connoisseur of ancient art who had been in Italy, the artist's interest in the classical heritage was formed. In 1800, Runge got acquainted with copies of J. Flaxman's drawings for the works of Homer and Aeschylus, which brother Daniel sent him to Copenhagen from Germany, read an article about them by A. V. Schlegel in the journal Ateneum (1799). The influence of Flaxman's line drawing, as well as Cornelius's illustrations of Goethe's Faust (1808), is palpable in Runge's illustrations for Homer's Iliad and works on the themes of Ossian's songs. However, the artist creates his own style of drawing with a pen and a brush, in which a significant role is assigned to the effects of chiaroscuro. Runge's drawings reflected the pre-romantic moods at the turn of the 18th-19th centuries. A significant place in the work of Runge was occupied by a portrait. The portrait of the three of us (1805) and two self-portraits of the artist (1805, 1806, all - Hamburg, Kunsthalle) express the concept of a romantic portrait. He depicts himself at the moment of various spiritual movements - deep agitation or melancholy, immersed in the world of thoughts, as if alone with himself. Actually, a self-portrait with brother Daniel and wife Polina is also a portrait of the three of us, where the feeling of melancholy harmony of the general mood of the portrayed is enhanced by a poetic mountain landscape, against which three figures are depicted. As a romantic artist, Runge often chooses the form of a paired portrait (My parents, 1806, Hamburg, Kunsthalle), which allows him to convey the world of human feelings in juxtaposition of characters, temperaments, and moods. Portraits of the artist depicting children (Children of the Huelsenbeck family, 1805-1806; Portrait of a son, Otto Sigismund Runge, 1805, both - Hamburg, Kunsthalle) by the immediacy of the images, the concreteness of the reproduction of nature and the landscape background, anticipate the works of the German masters of early realism - Biedermeier. For German churches, the artist created canvases Rest on the Flight into Egypt (1805-1806) and Christ Walking on the Water (1806-1807, both - Hamburg, Kunsthalle). In the smooth outline of the figures, the scrupulous reproduction of the details of a bright landscape background with fantastic plants, the restrained but deep inner mood of the characters, one can feel the influence of the art of the masters of the Northern Renaissance, the study of Dürer's works. In his later years, under the influence of the teachings of the German mystic J. Boehme, the artist became interested in the symbolism of color, the problem of the connection between color and musical harmony. Runge expressed these ideas in his treatise The Color Wheel. The canvases of the four-part cycle conceived in 1807 (Morning, Noon, Evening, Night) were to be shown to music and poetry reading. The artist intended to express in them the idea of continuous movement in the life of nature and man, the harmony of their coexistence, which worried the romantics. In the canvas created by Runge cycle (Morning, 1808, small version; Morning, 1808-1809, large version, both - Hamburg, Kunsthalle) blue, white and pink colors of the spectrum symbolize the awakening of nature. Soaring female figures surrounded by putti and spring flowers create the illusion of dance movements accompanied by musical accompaniment. Many of the artist's drawings (Hamburg, Kunsthalle) are devoted to the same romantic theme. The work of Runge, as the largest romantic artist, had a significant impact on the subsequent development of German and European art of the 19th century.
Lit.: Einem H. Philipp Otto Runge. Das Bildnis der Eltern. Stuttgart, 1957; Fraeger I. Philipp Otto Runge und sein Werk. Munchen, 1975; Jensen J Ch. Philip Otto Runge. Leben und Werk. Koln, 1977; Betthausen P. Philipp Otto Runge. Leipzig, 1980.
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Lecture topic: Color Studies in 19th Century Europe. Philippe Otto Runge and Michel Eugene Chevreul.
Various sources, mainly Wikipedia and the Spanish Encyclopedia of Color. On the site at Mikhalkevich this issue is covered minimally, so I do not quote it on this topic.
So, in the last lecture, we considered color ball Philip Otto Runge. Let me add a little about him.
Philip Otto Runge (German Philipp Otto Runge, July 23, 1777, Wolgast - December 2, 1810, Hamburg)- German romantic painter, the largest - together with Caspar David Friedrich- representative romanticism in German fine arts.
Self-portrait of Philip Otto Runge, 1802-1803
Born in a large family of shipbuilders in Western Pomerania, which was at that time under the control of Sweden. His school teacher was Ludwig Kosegarten. Since 1799, with the financial support of his brother (subsequently, articles, letters and notes of the artist were published through his efforts), he studied painting with Jens Yuel at the academy in Copenhagen. In 1801 he became close in Dresden with K. D. Friedrich And by Ludwig Tiek delved into mystical treatises Boehme brought to his attention Teak. In 1803 he met and became friends with Goethe, with whom he shared an interest in the problems of color, the natural-philosophical and natural-science searches of both, feeding on different sources, went in a similar direction: Goethe, who has always been more than reserved about romanticism, spoke with unfailing approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification. "Color Sphere" (Goethe "Teaching about color" appeared in the same year). In recent years, he worked on a great mystical and philosophical pictorial concept "Four Times of the Day", the work was left unfinished. Died of tuberculosis.
Runge color ball.
Spanish Encyclopedia of Color (p.788, full details of the encyclopedia see the community profile) regarding mystical research Runge in the field of color (my translation, sorry for the clumsiness, the encyclopedic language is very specific):
"The symbolic spiritualistic coloration, empirical, Goethean rather than Newtonian, which defines research Runge in the field of mixing moving discs, transparency and glazes, inherent in the ratio Runge to color, starting from 1803 approximately (the time of acquaintance Runge With Goethe and its expression with mystical triangle relationships between primary subtractive colors And Holy Trinity in the shape of " blue - father, red - Son, And yellow - Holy Spirit).
By 1809 Runge also referred green tonality ( life) to the physical world and blue and purple("cold") to the female world, as well as red (Love) to an ideal world, and orange and yellow ("warm") to the male world, and presented these associations in the form six-pointed star, which forms the basis of his color system. The following year he published his famous book "Farbenkugel" ( "Color ball") , begun at the end of 1806, in which he finally described his system of color theory.
Michel Eugene Chevreul
(French Michel Eugène Chevreul; August 31, 1786 - April 9, 1889)- French organic chemist, foreign corresponding member Petersburg Academy of Sciences (1853).
Biography of Chevreul
Chevreul was born in Angers in a family of hereditary doctors. At the age of 17 Chevreul went to Paris and entered the chemical laboratory there L.N. Vokelana later became his assistant in V botanical garden. In 1813 Chevreul was appointed professor of chemistry at Carolingian Lyceum, and later became director Gobelin Manufactory where he did his research on color contrast ("Principles of Simultaneous Color Contrast, 1839)" . In 1826 Chevreul became a member Academy of Sciences, and in the same year howl was elected foreign members Royal Society in London, whose medal (Copley Medal) was awarded in 1857. In 1829 he was elected a foreign member Swedish Royal Academy of Sciences.
Chevreul replaced his master, Wakelana, and as Professor of Organic Chemistry at National Museum of Natural History in 1833, and 33 years later he also became its director and held this post until 1879, although after leaving the post he retained his professorship. For his centenary in 1886 chevrel was awarded a gold medal, it became a national event. He received letters of thanks from many heads of state and monarchs, including Queen Victoria. He had a whole series of meetings recorded with Felix Nadar during which the son Nadara Paul photographed him, so it was the first photo interview in history. Certainly it was a fitting tribute to a man who had endured the entire French Revolution and lived to see the opening day eiffel tower.
Ironically, Chevreul began studying the effects of aging on the human body shortly before his death, which took place in Paris on April 9, 1889. He was honored with a public funeral. In 1901, a statue was unveiled in his memory in the museum to which he dedicated so many years of his life.
Chevreul's works
Scientific works Chevreul covered many fields, but he is best known for his classic studies on animal fats, published in 1823. ("Studies on fatty particles of animal origin").
This allowed him to figure out the true nature of the soap; and also he was able to open the composition stearin, a white substance found in the solid parts of most vegetable and animal fats, and olein, the liquid part of any fat, and isolate stearic and oleic acids, whose names he also came up with. This work led to important improvements in the production of candles.
Chevreul was an implacable enemy quackery and an absolute skeptic about physics research spiritualism that started at the time (see his work "On the Magic Wand and Turning Tables", 1864). His research on the magic pendulum ("magic pendulum", one would like to translate it as "magic pendel", translator's note, i.e. me), dowsing and turntables are revolutionary. In his work "About the Magic Wand" Chevreul explains how human muscle responses, completely involuntary and subconscious, are responsible for magic-like movements. At the end Chevreul discovers that as soon as a person who holds a vine or a magic pendulum is aware of the reaction of his brain, the movements immediately ceased and could no longer be reproduced at will.
Chevreul was also influential in the art world. After he was appointed director of the dye workshops at Tapestry Manufactory in Paris, he received many complaints about the paint used there. In particular, black colors looked different next to blue. He determined that the perceived color of the yarn (thread) was influenced by the surrounding threads. This led him to the concept simultaneous contrast.
WITH Chevreul also related to the concept "The Chevreul Illusion"- when a bright stripe appears along the edges of flowers of the same color, but of different saturation, located next to each other.
Leonardo da Vinci, may have been the first to notice that colors observed side by side influence each other. Goethe, however, was the first to pay particular attention to these related contrasts, but continued to insist that they originate in the brain. The observer who simultaneously looking at the same red, but first on a yellow background, and then on purple, will have two different impressions: in the first case darker red, in the second - more orange red. Chevreul managed to establish the difference between these two ways of occurrence simultaneous contrast, and he talked about both changes in saturation and differences in "optical content". We now know for sure about three factors, which can replace each other under the influence of the environment of a different color. These three factors are related to the spatial color system and are called lightness, hue and saturation. The same color will have a brighter effect on a dark background, and a darker effect on a light background; pure red will have a more red effect on a yellow background and a more yellow effect on a redder background; grey-red will have a more colored effect (less grey) on a gray background than on a colored one.
Back to Chevreul, who in his work of 1839 shows that a color will give an adjacent color an additional shade. As a result, the opposite complementary color will appear brighter, and the complementary colors will appear "dirty", for example, yellow next to green takes on a purple hue.
The laws of color contrast took Chevreul during his search for adequate color organization as required for textile production. For this purpose, he developed circle of 72 color segments, which is specified.
The circle defines hues based on the various changes that colors undergo towards white (higher intensity) or black (lower intensity). By Chevreul, a gradation of 10 transitions is possible.
It is worth noting that in its color wheel, Chevreul places each of the saturated colors in a different radius within its segment. Pure yellow lies closer to the center than pure blue. Pure red lies at point 15 on the scale. Thus, the lightness values of the hue for the various pigments are placed in a more suitable position than in previous systems.
IN color wheel Chevreul we find 3 secondary colors (primary blends - orange, green and purple) along with three subtractive primary colors (red, yellow, blue) as well as six secondary blends. The segments thus arising are thus divided into six zones, and each radius is divided into 20 sections in a staircase to indicate different brightness levels.
In his hemisphere Chevreul tried to spatially represent colors as a bidirectional (2D) color wheel. The black axis of the hemisphere becomes a pointer, directing to a certain level of the scale. The numbering will provide for the proportions of the color, for example 9B/1C would mean that 9/10 of black and 1/10 of the corresponding color makes up the given hue.
Chevreul was convinced that many different shades of color and them harmony can be defined using relationships between numbers, and he wanted his color system to be a suitable tool available to all artists and people working with colored material. Although his systems of harmonies, which he described as "Harmony of analogues" And "Harmony of Contrasts", had a great influence, he was unable to discover the law of color harmony. It just doesn't exist.
In the next lecture, I will tell you about 2-3 more researchers in the field of color in the 19th century. Lots of stuff and personalities.
I will have no man in my boat who is not afraid of a whale.
German romantic painter, graphic artist, worked in watercolor, also known as a talented poet and art theorist. 
Born in Wolgast (Mecklenburg). He received his primary art education in Hamburg.
From 1799 to 1801 he studied at the Copenhagen Academy with N. Abilgor. In the early 1800s worked under the influence of a teacher. It is felt especially strongly in the painting “The Triumph of Love” (1801, Kunsthalle, Hamburg), written in a strict academic manner. This canvas is characterized by the monotony of the composition. At this time, the artist became close to the circle of romantics, headed by L. Tieck and F. Schlegel. From 1801 to 1803 he continued his education in Dresden. He closely communicated with the Dresden romantics. During this period, the artist seriously studied copies of the illustrations by J. Flaxman to the works of Homer and Aeschylus, got acquainted with the article dedicated to them by A. V. Schlegel, published in the journal "Athenium" in 1799. Later, under the influence of these drawings and illustrations of Cornelius to "Faust" Goethe (1808) Runge made a series of pictures for Homer's Iliad. The individual style of the author manifested itself here in a special play of light and shadow.
Runge had a peculiar manner of writing, in which the influence of Biedermeier art is felt. In his work, he was close to Jena romanticism. The desire for a romantic presentation of the world was embodied in Runge's portraiture, especially in such portraits as "The Three of Us" (1805, not preserved, formerly - Kunsthalle, Hamburg), "Self-Portrait" (1805, 1806, Kunsthalle, Hamburg), "Portrait of a son , Otto Sigismund Runge" (1805, Kunsthalle, Hamburg), "Children of Huelsenbeck" (1805-1806, Kunsthalle, Hamburg), "My Parents" (1806, Kunsthalle, Hamburg). The heroes of the portraits harmoniously appear against the background of the landscape, which helps to reveal their mental, emotional state: anxiety, excitement, melancholy, sadness, thoughtfulness. The artist's creative manner is characterized by sincerity, spontaneity and realism in depicting models and landscapes. The motto formulated by the artist: “Everything gravitates toward the landscape that comprehends the universe” reflects his attitude to the landscape.
Being a romantic artist, Runge often turns to the form of a paired portrait, which gives him the opportunity to show the complex world of human emotions and feelings intertwined with a variety of characters and temperaments.
In 1804, Runge moved to Hamburg, wrote a number of theoretical works on art.
The most famous was the composition "Color Sphere", in which the interpretation of the symbolic meaning of colors is given.
The late period of Runge's work is characterized by the appearance of a special coloristic symbolism and a harmonious combination of music and color, which were due to the artist's strong passion for the teachings of the German mystic J. Boehme. The idea of the cycle, consisting of four canvases, belongs to this time: “Morning”, “Noon”, “Evening”, “Night”. According to the author, they should have been perceived with music and poetry reading. This cycle is a continuous movement, development, harmonious fusion of human life and nature. For example, in the painting "Morning" (small version, 1808; large version, 1808-1809, both in the Kunsthalle, Hamburg), blue, white and pink colors symbolize the awakening of nature. Women, surrounded by angels and flowers, as if floating in the air, create a sense of dance.
F. O. Runge influenced the subsequent development of German and European art.
PHILIP OTTO RUNGE (Philipp Otto Runge)
Self-portrait, 1802-1803
German artist and theorist, one of the leaders of romanticism in German fine arts.
Born in Wolgast (a city on the territory of modern Poland) in the family of a merchant-ship owner. At the age of eighteen, he came to Hamburg to study trading, but soon (in 1897) he felt a penchant for painting and began to take private drawing lessons.
In 1799-1801 he studied at the Academy of Fine Arts in Copenhagen with the famous Danish painter and draftsman N. A. Abilgor, then in Dresden (1801-1803), where he met the poet and thinker Johann Wolfgang Goethe.
During these years, the Dane N. Abilgor had a special influence on him with his clear classic style of drawing. I also experienced a noticeable impact of J. Flaxman.
Under the influence of Abilgor, who lived in Italy, Runge's interest in antiquity and classical painting was formed. In an early work - the painting "The Triumph of Love" (1801, Kunsthalle, Hamburg) - the composition with putti figures in the form of a relief is executed in monochrome. The strict classical construction of the composition testifies to the influence of the academic tradition, in particular Abilgor. In 1800, the artist got acquainted with the drawings by J. Flaxman for the works of Homer and Aeschylus, read articles about them by A. V. Schlegel in the Ateneum magazine (1799). The influence of the English artist's linear drawing was manifested in Runge's illustrations for the Iliad and on the themes of the Songs of Ossian, popular among European masters of the pre-romantic era. However, Runge creates his own style of drawing with pen and brush, which is built on a thin ephemeral line, but the effects of light and shadow play a significant role in it. Runge's drawings reflected pre-romantic moods in European art of the late 18th century.
In 1802-03 R. worked on the allegorical composition The Times of the Day.
Returning to Hamburg in 1803, he painted and at the same time worked in the trading company of his older brother Daniel. From 1804 he lived mainly in Hamburg.
Throughout his life, the artist turned to the portrait, which became a favorite genre of romantics.
In the canvas “We Three” (1805, died in a fire in 1931) and two self-portraits of the artist (1805, 1806, all from the Kunsthalle, Hamburg), the concept of a European romantic portrait is clearly expressed. Runge depicts himself in moments of various spiritual movements - agitation, melancholy, immersed in thought. The canvas “The Three of Us” is also a self-portrait, where the artist depicted himself with his brother Daniel and his wife Polina (the picture has not been preserved). The feeling of melancholic harmony of the general mood of the portrayed enhances the mountain landscape, against which the figures are depicted.
This portrait, like the paired portraits often found among romantics, symbolizes fraternal friendship, spiritual closeness, but it also emphasizes internal spiritual differences, the individuality of natures. Runge often refers to the form of a paired portrait (My Parents, 1806, Kunsthalle, Hamburg), which makes it possible to convey the world of human feelings in a juxtaposition of characters and moods. Portraits depicting children (“Children Huelsenbeck”, 1805-1806; “Portrait of a Son”, 1805; both - Kunsthalle, Hamburg) sincere immediacy in the reproduction of nature anticipate the work of the masters of early realism - Biedermeier.
In line with the romantic aspirations of the era and the artist's appeal to the national tradition, themes from the national history. For German churches, he creates canvases "Rest on the Flight into Egypt" (1805-1806) and "Christ Walking on the Waters" (1806-1807; both - Kunsthalle, Hamburg). In the smooth outline of the figures, the reproduction of the details of a bright landscape background with fantastic plants, the deep spiritual concentration of the characters, one can feel the influence of the masters of the Northern Renaissance, the study of Dürer's works.
The sum of the mystical moods of the master, on the one hand, inspired by the teachings of J. Boehme, and on the other hand, associated with the search for an aesthetic absolute, characteristic of romanticism in general, was intended to be a four-part cycle The Times of the Day, symbolizing the merging of man with nature, it was supposed to be shown in the form wall panels to music and poetry reading, with special lighting. The preparatory drawings for the cycle, with their ornamental-rhythmic emblems, as well as the enchantingly fabulous Morning in color (the only pictorial sketch, carried out in 1808-1809) belong to the number of original anticipations of symbolism and modernity.
Back in 1802, Runge conceived a pictorial cycle depicting the times of the day. Morning, afternoon, evening and night, replacing each other, were for the romantics a symbol of both human life and earthly history; they embodied the eternal law, according to which everything in the world is born, grows, grows old and goes into oblivion - to be reborn again. Runge deeply felt this universal unity, as well as the inner kinship of different types of art: he intended to exhibit The Times of the Day in a specially designed building, accompanied by music and poetic text. Runge did not have enough life to realize his plan: out of four paintings, only one, “Morning”, was completed. She is naive and bright, like a fairy tale. A baby lying on a yellow-green meadow symbolizes the dawning day; a female figure against the background of a golden sky and lilac distances - the ancient Roman goddess of the morning dawn, Aurora. In terms of freshness of colors and lightness of tonal transitions, this picture is much superior to the previous works of the artist. “Sometimes,” wrote Runge, “color excites with its pallor, and sometimes it attracts with its depth. When does the green of a meadow, the richness of the color of dewy grass, the delicate foliage of a young beech forest, or a transparent green wave attract you more? Then, when they are in the sparkling rays of the sun or in the peace of the shade? In the variety of colors, in the complex relationships of color, light and shadow, the artist saw the key to the secrets of the Universe, the revelation of the World Spirit - this is how some romantics called God, who seemed to them dissolved in nature. “We are not able to express how each color touches us,” said Runge’s friend, the German romantic writer Ludwig Tieck, “because colors speak to us in a more gentle language. This is the World Spirit, and he rejoices that he can give an idea of himself in a thousand ways, while hiding from us ... But a secret magical joy embraces us, we come to know ourselves and remember some ancient, immeasurably blissful spiritual union.
The Great Morning, 1809-10, Kunsthalle, Hamburg
The Small Morning, 1809-10, Kunsthalle, Hamburg
Considering the optics of colors as the key to the art of the future, Runge corresponded with Goethe about this. Having singled out three primary colors (yellow, red, blue) and three derivatives (orange, violet and green), he summarized his thoughts and experiments in the book “The Ball of Colors, or the Construction of Relationships between All Mutual Mixtures of Colors and Their Total Affinity” (Farbenkugel oder Construction des Verhältnisses aller Mischungen der Farben zu einander und ihrer vollstandigen Affinität, 1810), which was a remarkable stage in the development of post-Newtonian optics, still retaining artistic and practical interest.
The book was published in 1810, the year of Runge's death.
Runge died young, remaining true to the Protestant principle that fine art should have a spiritual purpose.
In 1840-1841, two volumes of his writings were published (along with the Ball of Flowers - two fairy tales composed by Runge in Plattdeutsch, a Low German dialect, and included in the Grimm's Tales: About a Fisherman and His Wife and Juniper, both 1806, together with an epistolary legacy).
Runge made several self-portraits
F. O. Runge. Morning (small version). Oil. 1808. (See appendix 63). In the 1800s, the German romantic Philipp Otto Runge worked on the series The Times of the Day. First, drawings appeared, then on the basis of them four engravings "Morning", "Day", "Evening" and "Night" were published twice. Then the artist intended to create large picturesque panels based on these motives. Runge proceeded from the idea of the closeness of all the arts, especially painting, literature and music. Its idea is easier to understand from the author's own commentary, since in the images traditional allegorical figures were combined with images generated by the artist's imagination, and each element, including any flower or blade of grass, had a symbolic meaning. Moreover, in the picturesque panels it was assumed that the colors would also have a certain symbolic meaning. Runge's program testified that he understood the times of the day not just as a change of morning and day, evening and night, but as a reflection of the divine Universe, its perfection, all-pervading and creative power. Thus, the paintings had a certain "iconic" beginning, it was necessary to stand before them and prayerfully listen to the mysterious sounds coming from the higher, heavenly spheres.
The main layer of allegories is the resurrected images of ancient myths, which Winckelmann spoke about. Where one allegory has appeared, another must be expected. The winged young man is depicted with his eyes tied with a ribbon, at his feet a cornucopia. It is Benevolence, the offspring of happiness and beauty. The word "favor", that is, favor, is masculine in Latin, and therefore this allegory is represented by the figure of a youth. The cornucopia indicates wealth, and blindfolds are a sign that favor can be blind. The young nymph is crowned with flowers, winged, her pink chariot is pulled by Pegasus, in her hands are roses and a dying torch. We see Aurora - the deity of the beginning of the day...
The situation with symbols is even more difficult. Their world is much wider. These are plants, animals, objects, flowers, letters and numbers. The folds of clothes, posture, facial expression can be symbolic. Here are some examples. Anemone is a flower of sadness and death. His image appeared in the legend of Adonis, who died on a bed of anemones, on the petals of which red spots appeared by themselves. In the scenes of the crucifixion of Christ, this is a sign of the grief of Mary, his mother. The number one is the source of other numbers, a symbol of unity. Two - a hint at the human and divine nature of Christ, an indication of the female sex, which is divisible, that is, reproduces offspring.
Symbols often appear in those epochs when the idea of dual worlds is spreading. So it was in romanticism, symbolism. Allegories appear in the Renaissance, classicism. Be that as it may, they are an essential part of our cultural heritage. For a long time in our society, they were treated with disdain or suspicion. It seemed that they contradict the need for a realistic reflection of reality, they lead consciousness into worlds alien to us. In fact, both symbols and allegories are a different way and a different level of comprehension of reality, and masters of various eras willingly turned to them.
