It is extremely difficult to establish an accurate color purple, which would not have had either a reddish or bluish hue. Many people do not have the ability to deal in shades of purple. As an antipode yellow – the color of knowledge – Purple is the color of the unconscious and the mysterious, something threatening, something reassuring, but always impressive. Depending on the neighboring contrasting tones it can often cause the viewer even oppressive mood. When violet color covers large areas, it can definitely be threatening, especially close to magenta. “Light this kind of falling on the landscape,” – said Goethe – “suggests all the horrors of the death of the world.” Purple – the color of the unconscious piety, which is darkened or more dim as it becomes the color of dark superstition. From dark purple burst like disaster lurking in it. But once he brightened when the light and illuminate the knowledge of his austere piety, then we begin to admire its beautiful soft tones. In the most general form of a range of expressive possibilities of the world of purple tones can be represented as follows: strictly purple color carries the darkness, death, and at the same time devotion, blue-violet a feeling of loneliness and samootreshёnnosti, red and purple is associated with celestial love and spiritual greatness. And at the same time, the germs of many plants have light purple and yellow grains of shoots. It is believed that all the bleached colors are a lighter side of life, while dark tinted symbolize her negative forces. Check the accuracy of these statements about the expressive forms of color is possible by means of two experiments. If the two colors are complementary with respect to one another, then their interpretation should be complementary to each other.
Yellow: purple = clear knowledge: dark, emotional piety.
Blue: Orange = humble faith a proud identity.
Red: Green = material force: sympathy.
When the two colors are mixed, the interpretation of the newly formed mixture must also comply with interpretations of each of its components.
Red + yellow = orange = power and knowledge creates a proud identity.
Red + Blue – Purple = love and faith generate emotional piety.
Yellow + blue – green = knowledge and belief generate sympathy (compassion).
The more we think about the psychological and emotional expressiveness of color, the more mysterious it would seem to us. Variability, on the one hand, is the manifestation of colors, but on the other, and our ability to experience the subjective color. Each color can change in five ways:
– The nature of color when the green can become more yellowish or bluish and orange can take a red or a yellow tint;
– In brightness when the red color can be pink, red, dark red, and blue – blue, blue and dark blue;
– In saturation when the blue color can be more or less white or lighten darkened with black, gray or complementary – orange;
– Quantitatively or distributing color when, for example, a large green space located next to a small yellow space, or on the web a lot of yellow in comparison with the green or on the web as much yellow as green and;
– As a result of occurrence of simultaneous contrast effects.
The content in this section allows you to make one critical remark in relation to the creative process of the artist. His impressions and emotional experiences can be very intense and great, but if from the very beginning of work on a product he does not choose the color of the entire set of primary colors of the world, for his own group, the end result may be questionable. Therefore subliminal perception, intuitive thinking and positive knowledge must be integral to the variety of options available to us to choose the true and correct.
Matisse wrote: “With the correct formulation of the case it appears that the process of painting is not less logical than the process of construction of the building. Questions do not have the talent to play the role here. A person has it or not. And if the talent is there, it is somehow manifest in the work. ”
Using the expressive possibilities of color is especially true for the works of Konrad Witz (1410-1445) and especially following his paintings: “Caesar and Antipater,” “David and Abishai,” “synagogue” The public art collection in Basel. This number can be attributed paintings by Pieter Bruegel the Elder (1525-1569), “The Parable of the Blind”, Naples, National Museum, and Matthias Grünewald (1475-1528) “The Resurrection of Christ” from Izenheymskogo altar, Colmar, Unterlinden Museum.