Dis­cov­er­ing Art: The Mak­ing of an Artist Part 75

Part 75 Key Dis­cov­ery:

International Artist - - Contents -

Ter­tiary Color Har­monies & Ese­dra Gi­ulio, Borgh­ese Gar­dens, Rome By Barry John Ray­bould

Ter­tiary Color Har­monies

Much of the plea­sure from view­ing a paint­ing is de­rived, to a large ex­tent, from the har­mony of the col­ors used in it. This har­mony is ba­si­cally an or­derly re­la­tion­ship of col­ors, just as a mu­si­cal har­mony is an or­derly re­la­tion­ship of notes. This is part of the mu­sic of the paint­ing.

The ter­tiary har­mony uses all six ter­tiary hues. You can think of these six ter­tiary hues as a warm and cool ver­sion of each of the three sec­ondary hues.

In a land­scape, the warmer yel­low-or­ange and red-or­ange col­ors are usu­ally seen in the fore­ground, to­gether with yel­low-greens in the veg­e­ta­tion. The cooler blue-greens are seen more in the mid­dle dis­tance. The red-vi­o­let and blue-vi­o­lets are seen in dis­tant hills and moun­tains, and in the near shad­ows.

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