Seurat was interested in much more than the perception of colour, and in his reading of contemporary science (particularly that of von Helmholtz) and in his paintings, explored much of visual experience.
I parked myself right in front of Appuldurcombe House, and looked in the opposite direction, where St Martin’s Down rises above our village.
This final article summarises the importance of different cues to depth in painting.
Linear perspective is one of the most controversial topics in the theory of painting, and few issues about it are generally agreed.
Aerial perspective includes reduction in contrast, reduction in chroma, and colour shift towards ‘cooler’ i.e. more blue, colours. But it can be more complex.
Considers the role of texture and detail gradient, shading and shadow in the depiction of depth in paintings.
The importance of relative size, and height in the picture plane, in imparting depth and space in painting.
When we sketch, draw, or paint we accomplish the small miracle of depicting a three-dimensional motif on our two-dimensional ground. This first article considers the cues for visual depth.
Cézanne’s final style, featuring his characteristic ‘constructive stroke’ with patches of colour built from groups of parallel brushstrokes, […]