Reviewing previous chapters(1)

Light and colour in retrospect

This Post provides a link with CHAPTER 16 of my book “Painting with Light and Colour”. It is the first of three chapters that provide different approaches to reviewing the ideas presented so far. To whet your appetite, after an image of a painting made with a view to exploring the rules of Professor Marian Bohusz-Szyszko, there follows a reprise of the “Introductory”:

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An example of testing
Figure 1 : One way of exploring the ideas – oil paint

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Introductory

We have now arrived at the final section of “Painting with Light” . In it are
three chapters. The first (this one) reviews ideas that have been presented in
previous chapters. As explained there, some of these have a long history, going
back both to the Italian Renaissance and to 19th century developments in
science. Others are much more recent, arising from advances in the relatively
new disciplines of neurophysiology and computer modelling. From the point of
view of the subject of “painting with light”, the most important of the new insights
concerns ways in which the eye/brain mediates our perception of surface
solidity, surface form, illusory pictorial space and ambient illumination (the
prevailing quality of light). It tells of two great breakthroughs. The first being
the late 18th century realisation that colour and, indeed, all visual experience is
made in the head. The second, the discovery, roughly two centuries later, of two
functionally independent visual-systems. One of these has much to tell us about
surface-reflection (the subject of the previous chapters) and the other about
body-colour, the subject of the chapters that follow. This chapter is also in two
parts. The first contains a review of the theory. The second moves on to a list of
basic questions relating to it. Each of these is accompanied by a short answer.

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  CHAPTER 16 – REVIEWING THE IDEAS

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Some other ways of exploring the ideas

Below are images of seven paintings, made between 1964 and 2015 that explore the ideas  of Professor Marian Bohusz-Szyszko, as presented in previous chapters. It is important to stress that although they give some idea of the range of possibilities, they cannot reproduce the all important “harmony that runs parallel to nature”. For that it is necessary to have real paint on a real flat picture surface, illuminated by an external light source (preferably a natural light one)

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An example of testing
Figure 2 : A second way of exploring the ideas – Oil paint

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An example of testing
Figure3 : A third way of exploring the ideas – chalk pastel

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Figure 4 : A fourth way of exploring the ideas – Oil paint

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An example of testing
Figure 5 : A fifth way of exploring the ideas – acrylic paint

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An example of testing
Figure 6 : A sixth way of exploring the ideas – chalk pastel with water and gum arabic

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Figure 7 : A seventh way of exploring the ideas – chalk pastel

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Figure 8 : An eighth  way of exploring the ideas – acrylic paint

 

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Links to earlier chapters

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One thought on “Reviewing previous chapters(1)”

  1. Francis, It is wonderful to see these paintings by you as examples of so much of what you teach. Thank you for sharing these insights that can help so many artists regardless of their projects!

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