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
Translation from German by Sergey Averintsev
My days were sad
In a hopeless thought, the spirit sank,
The soul had no strength
And no one wanted to hear
How dark and languid the heart trembled,
How it froze in last longing,
How depressingly
It smelled
For all living things, an unbearable sight:
The darkness of the underworld, decay, decay and darkness.
But the will stood; in the very abyss of trouble
Gracious light was shed on my pain.
At the hour when hopes collapse
Freezing blood,
The sweet image was a consolation to me;
Unloved, I kept love, -
Until the time when in the soul of a dull
In the muddy, dead chaos, the image of the darling has sunk
And sick spirit
He became dumb and deaf;
The bottomless yawn opened; emptiness around:
There is not a spark in my blood, there are no stars for the eye.
And no matter how light the heart and the sky prayed,
It did not find participation for itself!
Growth point, ovary of all flowering,
The purest fire, the joy of being!
Open to anticipation
The future was mine.
But the living flame of the hearth has cooled down,
The ashes are getting cold, everything around is not nice,
I. open pharynx
Seeing the void
I asked myself if I was born
Is he condemned to such a lot in the world?
God, there is no peace for me, no satisfaction for me;
Shorten the time of my languor!
Or am I really forsaken by God,
I, who dared to grumble and blame,
Not able to in a strict sentence
Is it good to accept the incomprehensible?
I failed to sanctify every moment of bliss
Is not then the image of perfection taken away,
My lovely image
No longer with me?
Take away with him the time destined for me,
Take away eternity; the soul is an unbearable burden.
With a word you called me out of chaos,
You gave everything, and everything, and you took everything!
No! Love without measure and limit
God, was my groan really heard?
Has my blindness really begun to see?
Having given everything, will I get up healed?
What I prayed for, can I know?
Your mercy, Good, I want to tell.
You gave light to the spirit
You gave the eye a color!
In evil days, when melancholy hampered the mind,
Temen became to him the transparent meaning of a flower,
But now I see: refracted in the paint,
A ray is revealed and things are drowning in God's caress.
Did the blackness darken the heart
And frightened, like a vision of evil?
Beloved stood before me,
And the soul lived in her eyes.
At the hour when the heavenly ray opened to me,
With the fullness of the earthly spirit my combined.
All is one: the gift
Mountain, valley heat.
He who does not know the light of the higher life,
There is no point in this life either.
Your eyes are dark: drawing moisture
Well, I drink strength and courage.
The world, alive with secret rays,
All in bloom lies in front of me.
I see a fiery gaze, a beloved gaze,
And the tenderest heat of your cheeks,
Blood flows faster, veins come to life,
The whole bodily composition is instantly full of strength!
your eye
Strong magic;
Shake your hand - a living spring murmurs,
A fleeting moment is perceived in the mystery of eternity.
So for the fact that he was faithful to faith without faith,
I love love without measure today.
Poetry of the German Romantics / Comp., foreword. and comment. A. V. Mikhailova. – M.: Artist. lit., 1985. - S. 247-249.
Comment by A. V. Mikhalov:
PHILIP OTTO RUNGE
The remarkable North German artist Philipp Otto Runto (1777-1810) was born in the city of Wolgast in Pomerania, at that time a Swedish territory. His teacher was G.-L.-T. Kosegarten, a sentimentalist poet and "Ossianist", who also had a strong influence on Caspar David Friedrich. Acquaintance with Tik subsequently had some effect on Runge's state of mind, but even earlier, the artist, who studied painting in Hamburg and Copenhagen, was so imbued with romantic moods that seemed to be floating in the air and refracted them in such a peculiar way that Tik, upon meeting, was struck by his drawings, which aspired to to graphic brevity and hieroglyphics in the transfer of the most abstract romantic fantasies. The graphic cycle "The Times of the Day" was analyzed by Görres in an inspired review (1808), which in no way resembles the usual examples of this genre; Runge's research in the field of color theory was approved and highly appreciated by Goethe, who sincerely sympathized with Runge and spoke warmly of him. Just before the death of the artist, who died of tuberculosis, the artist wrote to him a long, heartfelt letter from Brentano, who was also occupied with the problem of a graphically stingy and deep in meaning image - almost on the same days the artist himself wrote a letter to Brentano, their letters met on the way, but the poet’s letter was already did not find Runge alive. Runge was constantly attracted by the need to express himself in the word, to explain the essence of his images in it, and he, but without success, proved himself in literary work. One of his tales (written in the Low German dialect) - "About the Almond Tree" - appeared in Arnim's Hermits' Newspaper, along with another - "About the Fisherman and His Wife" - she became part of the "Tales" of the Brothers Grimm. Both remained in the memory of German readers. The second of the tales is the source of Pushkin's Tale of the Fisherman and the Fish. Runge wrote many poems, but did not seek to publish them. They were included in the capital edition of his letters and literary works published by his brother Daniel in 1840-1841” (p. 476).
- (Runge) (1777-1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In the symbolic and allegorical compositions The times of the day ... ... Art Encyclopedia
Runge Philip Otto- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature, combined with latent emotionality (“We Three”, 1805); V… … encyclopedic Dictionary
Runge, Philip Otto- Philipp Otto Runge. Portrait of children Huelsenbeck. RUNGE (Runge) Philip Otto (1777 1810), German painter and graphic artist, art theorist. representative of early romanticism. Sharp portraits (“We are three”, 1805), allegorical compositions ... ... Illustrated Encyclopedic Dictionary
Runge Philip Otto- Runge (Runge) Philipp Otto (23.7.1777, Wolgast, Mecklenburg, ‒ 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German ... ...
RUNGE (Runge) Philip Otto- (1777 1810) German painter and graphic artist, art theorist. representative of early romanticism. Truthful, pointed portraits (We three, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary
Runge- Surname Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Theater of Satire Runge, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlib Ferdinand (1794 ... Wikipedia
Runge- 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 the early... ... European Art: Painting. Sculpture. Graphics: Encyclopedia
Runge- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799-1801) and Dresden academies ... Art Encyclopedia
Runge- (Runge) Philipp Otto (7/23/1777, Wolgast, Mecklenburg, 12/2/1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799 1801) and Dresden (1801 1803) Academy of Arts. One of the founders of Romanticism in German ... ... Great Soviet Encyclopedia
Runge F. O.- RUNGE (Runge) Philip Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (We three, 1805); V… … Biographical Dictionary
Books
- Classicism and Romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848 , This book is dedicated to the fine arts and architecture of the era of classicism and romanticism. The richness and diversity of artistic creation in the period between Rococo and Realism, of course, ... Category: Culturology. art history Publisher:
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.
