Works of Johann Wolfgang von Goethe
Page 320
and contrariwise.
811
In proportion as one end of the supposed index deviates from the central intensity of the colours, arranged as they are in the natural order, so the opposite end changes its place the contrasted gradation, and by such a simple contrivance the complemental colours may be indicated at any given point. A chromatic circle might be made for this purpose, not confined, like our own, to the leading colours, but exhibiting them with their transitions in an unbroken series. This would not be without its use, for we are here considering a very important point which deserves all our attention.
812
We before stated that the eye could be in some degree pathologically affected by being long confined to a single colour; that, again, definite moral impressions were thus produced, at one time lively and aspiring, at another susceptible and anxious — now exalted to grand associations, now reduced to ordinary ones. We now observe that the demand for completeness, which is inherent in the organ, frees us from this restraint; the eye relieves itself by producing the opposite of the single colour forced upon it, and thus attains the entire impression which is so satisfactory to it.
813
Simple, therefore, as these strictly harmonious contrasts are, as presented to us in the narrow circle, the hint is important, that nature tends to emancipate the sense from confined impressions by suggesting and producing I whole, and that in this instance we have a natural phenomenon immediately applicable esthetic purposes.
814
While, therefore, we may assert that the chromatic scale, as given by us, produces an agreeable impression by its ingredient hues, we will here remark that those have been mistaken who have hitherto adduced the rainbow as an example of the entire scale; for the chief colour pure red, is deficient in it, and cannot be produced, since in this phenomenon, as well as in the ordinary prismatic series, the yellow-red and blue-red cannot attain to a union.
815
Nature perhaps exhibits no general phenomenon where the scale is in complete comb nation. By artificial experiments such a appearance may be produced in its prefer splendour. The mode, however, in which the entire series is connected in a circle, is rendered most intelligible by tints on paper, till after much experience and practice, aided by du susceptibility of the organ, we become penetrate with the idea of this harmony, and feel it present in our minds.
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Characteristic Combinations.
816
Besides these pure, harmonious, self-developed combinations, which always carry the conditions of completeness with them, there are others which may be arbitrarily produced, and which may be most easily described by observing that they are to be found in the colorific circle, not by diameters, but by chords, in such a manner that an intermediate colour is passed over.
817
We call these combinations characteristic because they have all a certain significancy and tend to excite a definite impression; an impression, however, which does not altogether satisfy, inasmuch as every characteristic quality of necessity presents itself only as a part of a whole, with which it has a relation, but into which it cannot be resolved,
818
As we are acquainted with the impressions produced by the colours singly as well as in their harmonious relations, we may at once conclude that the character of the arbitrary combinations will be very different from each other as regards their significancy. We proceed to review them separately.
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Yellow and Blue.
819
This is the simplest of such combinations. It may be said that it contains too little, since every trace of red is wanting in it, it defective as compared with the whole scale. This view it may be called poor, and as the two contrasting elements are in their lowest state, may be said to be ordinary; yet it is recommended by its proximity to green — in short, bycontaining the ingredients of an ultimate stab
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Yellow and Red.
820
This is a somewhat preponderating combintion, but it has a serene and magnificent effect. The two extremes of the active side are seen together without conveying any idea of progression from one to the other. As the rest of their combination in pigments is yellow-red, so they in some degree represent this colour.
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Blue and Red.
821
The two ends of the passive side with the excess of the upper end of the active aid. The effect of this juxtaposition approaches that of the blue-red produced by their union.
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Yellow-Red and Blue-Red.
822
These, when placed together, as the deepened extremes of both sides, have something exciting, elevated : they give us a presentiment of red, which in physical experiments is produced by their union.
823
These four combinations have also the common quality of producing the intermediate colour of our colorific circle by their union, a union which actually takes place if they are opposed to each other in small quantities and seen from a distance. A surface covered with narrow blue and yellow stripes appear green at a certain distance.
824
If, again, the eye sees blue and yellow next each other, it finds itself in a peculiar disposition to produce green without accomplishing it, while it neither experiences a satisfactory sensation in contemplating the detached colours, nor an impression of completeness in the two.
825
Thus it will be seen that it was not without reason we called these combinations characteristic; the more so, since the character of each combination must have a relation to that of 1 single colours of which it consists.
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Combinations Non-Characteristic.
826
We now turn our attention to the last kind combinations. These are easily found in the circle; they are indicated by shorter chords, 1 in this case we do not pass over an entire intermediate colour, but only the transition from one to the other.
827
These combinations may justly be called no characteristic, inasmuch as the colours are too nearly alike for their impression to be significant. Yet most of these recommend themselves to a certain degree, since they indicate a progressive state, though its relations can hard be appreciable.
828
Thus yellow and yellow-red, yellow-red at red, blue and blue-red, blue-red and red, reprsent the nearest degrees of augmentation at culmination, and in certain relations as to quantity may produce no unpleasant effect.
829
The juxtaposition of yellow and green has always something ordinary, but in a cheerful sense; blue and green, on the other hand, is ordinary in a repulsive sense. Our good fore-fathers called these last fool’s colours.
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Relation of the Combinations to Light and Dark.
830
These combinations may be very much varied by making both colours light or both dark, or one light and the other dark; in which modifications, however, all that has been found true in a general sense is applicable to each particular case. With regard to the infinite variety thus produced, we merely observe:
831
The colours of the active side placed next to black gain in energy, those of the passive side lose. The active conjoined with white and brightness lose in strength, the passive gain in cheerfulness. Red and green with black appear dark and grave; with white they appear gay.
832
To this we may add that all colours may be more or less broken or neutralised, may to a certain degree be rendered nameless, and thus combined partly together and partly with pure colours; but although the relations may thus be varied to infinity, still all that is applicable with regard to the pure colours will be applicable in these cases.
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Considerations Derived From the Evidence of Experience and History
.
833
The principles of the harmony of colours having been thus far defined, it may not be irrelevant to review what has been adduced in connexion with experience and historical examples.
834
The principles in question have been derived from the constitution of our nature and the constant relations which are found to obtain in chromatic phenomena. In experience we find much that is in conformity with these principles, and much that is opposed to them.
835
Men in a state of nature, uncivilised nations, children, have a great fondness for colours in their utmost brightness, and especially for yellow-red: they are also pleased with the motley. By this expression we understand the juxtaposition of vivid colours without an harmonious balance; but if this balance is observed, through instinct or accident, an agreeable effect may be produced. I remember a Hessian officer, returned from America, who had painted his face with the positive colours, in the manner of the Indians; a kind of completeness or due balance was thus produced, the effect of which was not disagreeable.
836
The inhabitants of the south of Europe make use of very brilliant colours for their dresses. The circumstance of their procuring silk stuffs at a cheap rate is favourable to this propensity. The women, especially, with their bright-coloured bodices and ribbons, are always in harmony with the scenery, since they cannot possibly surpass the splendour of the sky and landscape.
837
The history of dyeing teaches us that certain technical conveniences and advantages have had great influence on the costume of nations. We find that the Germans wear blue very generally because it is a permanent colour in cloth; so in many districts all the country people wear green twill, because that material takes a green dye well. If a traveler were to pay attention to these circumstances, he might collect some amusing and curious facts.
838
Colours, as connected with particular frames of mind, are again a consequence of peculiar character and circumstances. Lively nations like the French for instance, love intense clothes especially on the active side; sedate nations like the English and Germans, wear straw coloured or leather-coloured yellow accompanied with dark blue. Nations aiming dignity of appearance, the Spaniards and &?lians for instance, suffer the red colour of their mantles to incline to the passive side.
839
In dress we associate the character of the colour with the character of the person. We may thus observe the relation of colours single and in combination, to the colour of the complexion, age, and station.
840
The female sex in youth is attached to rose colour and sea-green, in age to violet and dark green. The fair-haired prefer violet, as oppose to light yellow, the brunettes, blue, as opposed to yellow-red, and all on good grounds. The Roman emperors were extremely jealous with regard to their purple. The robe of the Chinese Emperor is orange embroidered with red; his attendants and the ministers of religion wear citron-yellow.
841
People of refinement have a disinclination to colours. This may be owing partly to weakness of sight, partly to the uncertainty of taste, which readily takes refuge in absolute negation. Women now appear almost universally in white and men in black.
842
An observation, very generally applicable, may not be out of place here, namely, that man, desirous as he is of being distinguished, is quite as willing to be lost among his fellows.
843
Black was intended to remind the Venetian noblemen of republican equality.
844
To what degree the cloudy sky of northern climates may have gradually banished colour may also admit of explanation.
845
The scale of positive colours is obviously soon exhausted; on the other hand, the neutral, subdued, so-called fashionable colours present infinitely varying degrees and shades, most of which are not unpleasing.
It is also to be remarked that ladies, in wearing positive colours, are in danger of making I complexion which may not be very bright still less so, and thus to preserve a due balance with such brilliant accompaniments, they are induced to heighten their complexions artificially.
847
An amusing inquiry might be made which would lead to a critique of uniforms, liveries cockades, and other distinctions, according t, the principles above hinted at. It might b observed, generally, that such dresses and insignia should not be composed of harmonious colours. Uniforms should be characteristic an dignified; liveries might be ordinary and striking to the eye. Examples both good and bad, would not be wanting, since the scale of colour usually employed for such purposes is limited and its varieties have been often enough tried.
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Aesthetic Influence.
848
From the moral associations connected wit the appearance of colours, single or combine their aesthetic influence may now be deduced for the artist. We shall touch the most essential points to lie attended to after first considering the general condition of pictorial representation, light and shade, with which the appearance of colour is immediately connected.
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Chiaro-Scuro.
849
We apply the term chiaro-scuro (Helldunkel) to the appearance of material objects when the mere effect produced on them by light and shade is considered. — Note DD.
850
In a narrower sense a mass of shadow lighted by &?reflexes is often thus designated; but we . here use the expression in its first and more general sense.
851
The separation of light and dark from all appearance of colour is possible and necessary. The artist will solve the mystery of imitation sooner by first considering light and dark independently of colour, and making himself acquainted with it in its whole extent.
852
Chiaro-scuro exhibits the substance as substance, inasmuch as light and shade inform us as to degrees of density.
853
We have here to consider the highest light the middle tint, and the shadow, and in the shadow of the object itself, the shadow casts on other objects, and the illumined shadow or reflexion.
854
The globe is well adapted for the general exmplification of the nature of chiaro-scuro, it is not altogether sufficient. The softened unity of such complete rotundity tends to vapoury, and in order to serve as a principle affects of art, it should be composed of plane surfaces, so as to define the gradations more.
855
The Italians call this manner “il piazzos;” in German it might be called “das Flächen hafte.” If, therefore, the sphere is a pet example of natural chiaro-scuro, a polygon would exhibit the artist-like treatment in w all kinds of lights, half-lights, shadows, and reflexions, would be appreciable. — Note EE
856
The bunch of grapes is recognised as a good example of a picturesque completeness in chiaro-scuro, the more so as it is fitted, from its form to represent a principal group; but it is only available for the master who can see in it what he has the power of producing.
857
In order to make the first idea intelligible to the beginner, (for it is difficult to consider it abstractedly even in a polygon,) we may take a cube, the three sides of which that are seen represent the light, the middle tint, and the shadow in distinct order.
858
To proceed again to the chiaro-scuro of a more complicated figure, we might select the example of an open book, which presents a greater diversity.
859
We find the antique statues of the best time treated very much with reference to these effects. The parts intended to receive the light are wrought with simplicity, the portion originally in shade is, on the other hand, in more distinct surfaces to make them susceptible of a variety of reflexions; here the example of the polygon will be remembered.-Note FF.
860
The pictures of Herculaneum and the Aldobrandini marriage are examples of antique paint
ing in the same style.
861
Modern examples may be found in single figures by Raphael, in entire works by Correggio, and also by the Flemish masters, especially Rubens.
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Tendency to Colour.
862
A picture in black and white seldom makes its appearance; some works of Polidoro are examples of this kind of art. Such works, inasmuch as they can attain form and keeping, are estimable, but they have little attraction for the eye, since their very existence supposes a violent abstraction.
863
If the artist abandons himself to his feeling, colour presently announces itself. Black no sooner inclines to blue than the eye demands yellow, which the artist instinctively modifies, and introduces partly pure in the light, partly reddened and subdued as brown, in the reflexes, thus enlivening the whole. — Note GG.
864
All kinds of camayeu, or colour on similar colour, end in the introduction either of a complemental contrast, or some variety of hue. Thus, Polidoro in his black and white frescoes sometimes introduced a yellow vase, or something of the kind.
865
In general it may be observed that men have at all times instinctively striven after colour in the practice of the art. We need only observe daily, how soon amateurs proceed from colourless to coloured materials- Paolo Uccello painted coloured landscapes to colourless figures. — Note HH.
866
Even the sculpture of the ancients could not be exempt from the influence of this propensity. The Egyptians painted their bas-reliefs; statues had eyes of coloured stones. Porphyry draperies were added to marble heads and extremities, and variegated stalactites were used for the pedestals of busts. The Jesuits did not fail to compose the statue of their S. Luigi, in Rome, in this manner, and the most modern sculpture distinguishes the flesh from the drapery by staining the latter.
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Keeping.
867
If linear perspective displays the gradation of objects in their apparent size as affected by distance, aerial perspective shows us their gradation in greater or less distinctness, as affect by the same cause.