Optical mixing and its legacy

Lesser known outcomes

Ealier, in Chapters 8, 9, and 10, much was written explaining about how “optical mixing” was central to  Seurat’s ideas about “painting with light”. Here it is used to introduce lesser or unknown aspects of the subject of interactions between adjacent regions of  colour (the subject of this and the next four chapters). The more familiar aspects have been given less space because they have already been treated authoritatively in books by Joannes Itten * and Joseph Albers** of the Bauhaus,*** as well as in countless other books and magazine articles, with varying degrees of reliability.

optical mixing
Detail from “La Grand Jatte” by Georges Seurat


Links to the three chapters mentioned above:

Like Chapter 20, these earlier chapters also take “optical mixing” as their starting point. However, their concern is not with contrast effects but with other topics:

Other earlier chapters from “Painting with Light and Colour”.


*      Johannes Itten

**    JosephAlbers

***  The Bauhaus

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