"explaining form by superimposed colour, as in architectural mouldings"
English translation: Ruskin held that form was disguised, not revealed, by the use of colour
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| 16:21 Aug 24, 2011 |
| English language (monolingual) [PRO] Art/Literary - Art, Arts & Crafts, Painting | ||||
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|  Selected response from: B D Finch France Local time: 11:05 | |||
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| Discussion entries: 1 | |
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Answers
14 mins confidence: 
Showing the shape of a building in your drawing by using colour to define areas Explanation: The author is saying that there is a tendency to use colour in a picture to bring out details in the architecture, but that this should be done by some subtler means. |
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2 hrs confidence:
attempting to express/portray depth in moldings by using different colors Explanation: I found more of the same piece on line and I think the following section makes more clear what Ruskin is saying: It is a favourite dogma among modern writers on colour that "warm colours" (reds and yellows) "approach" or express nearness, and "cold colours" (blue and grey) "retire" or express distance. So far is this from being the case, that no expression of distance in the world is so great as that of the gold and orange in twilight sky. Colours, as such, are ABSOLUTELY inexpressive respecting distance. http://www.readbookonline.net/read/19622/56180/ He is countering what he says is a theory of colors and the perception of depth or distance. He is saying that this theory is stupid and that it does not cohere with human perceptions of depth or distance. |
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2 hrs confidence:
Ruskin held that form was disguised, not revealed, by the use of colour Explanation: As your reference is, unfortunately, in Greek, I cannot refer to the actual quotation. However, I suspect that Ruskin was writing about drawing and painting, not architecture and that he was using the example of architectural mouldings being picked out in a contrasting colour to that of the walls or ceilings as a waspish criticism. In other words, if you use colour in your work to try to show form, you should give up fine art and become a housepainter instead. -------------------------------------------------- Note added at 2 hrs (2011-08-24 19:20:46 GMT) -------------------------------------------------- I equally suspect that Ruskin was not writing specifically about drawings/paintings of buildings, but about drawing and painting in general. The Impressionists later used light and colour in a way that dissolved form. -------------------------------------------------- Note added at 16 hrs (2011-08-25 08:29:01 GMT) -------------------------------------------------- Thanks for the reference, I had forgotten how good Ruskin was and must get a paper copy! The reason Ruskin used the example of architectural mouldings was simply that, given the Victorian fashion for applying them to their walls and ceilings and picking them out using colour, it was a very familiar image. The mouldings broke the flatness of the surfaces they were applied to and picking them out in colour was meant to both draw attention to them (it showed you had the money to buy them and some were much more expensive and exclusive than others) and to emphasise their effect. He also uses apples and cheeks as images to make the same point. By superimposed colour, I don't think he means layering washes of colour, but superimposing local colour on the object. I take back what I wrote above about Ruskin dismissing atmospheric perspective, as he convincingly defends it here. However, I still think he is quite wrong about hue and advancing and recessive colour, though to a large extent he is arguing in opposition to the mechanical understanding of that effect. The apparent distance effect of a colour does depend on how it relates to other colours around it. Some years ago, I painted the ceiling of a small, high-ceilinged room in a dusty mid-tone pink to lower it and make the room seem larger. I believe it worked very well and other people agreed. Had I painted the walls red, it would not have worked, but painting them pale grey allowed the pink to have the effect of advancing the surface it was painted on. |
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4 hrs confidence:
superimposed (layers of) color cannot replicate form (architectural mouldings being an example) Explanation: Ruskin believes that color cannot replicate the form of an object. He is criticizing the layering colors to indicate depth or projection as a "crutch." In this text, he goes on to explain that: "An apple is prettier, because it is striped, but it does not look a bit rounder; and a cheek is prettier because it is flushed, but you would see the form of the cheek bone better if it were not. Colour may, indeed, detach one shape from another, as in grounding a bas-relief, but it always diminishes the appearance of projection . . ." He wants to emphasize that color is an adornment and not a means of rendering the structure and dimensionality of an object. When he says "The blue ground will not retire the hundredth part of an inch more than the red one," he is disputing the practice of using a complementary color to give the effect of depth -- the illusion that an object, or a part of an object, is closer or farther away in a composition. He was generally in favor of reducing the number of colors in an artist's palette. -------------------------------------------------- Note added at 23 hrs (2011-08-25 15:27:51 GMT) -------------------------------------------------- Thanks for the note! This was my second thought, but I didn't want to stay too far away from the pictorial so I didn't mention it. However, Ruskin is talking about representation, not house painting, so I would think hard before trusting that interpretation 100%. I went back and forth over the two possibilities. |
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