Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
Josef AlbersRead
Simultaneous contrast is not just a curious optical phenomenon β it is the very heart of painting. Repeated experiments with adjacent colors will show that any ground subtracts its own hue from the colors which it carries and therefore influences.
Interpretation
Simultaneous contrast describes how colors affect one another, highlighting their interplay in painting.
Josef Albers emphasizes the essential role that color interaction plays in painting through the principle of simultaneous contrast. This phenomenon illustrates that the perception of a color is influenced by the colors surrounding it, thereby affecting the overall composition and impact of the artwork. Understanding this concept is crucial for artists as it helps them manipulate colors effectively to enhance their artistic expression.
In practice
An art instructor might use this quote to teach students about color theory.
Instead of art I have taught philosophy. Though technique for me is a big word, I never have taught how to paint. All my doing was to make people to see.
When we are honest - that's my saying - if we are honest then we will reveal ourselves. But we do not have to make an effort to be individualistic, different from others.
Ah, the creative process is the same secret in science as it is in art. They are all the same absolutely.
Traditionally art is to create and not to revive. To revive: leave that to the historians, who are looking backward.
In order to use color effectively it is necessary to recognize that color deceives continually.
The aim of our studies is to prove that color is the most relative means of artistic expression, that we never really perceive what color is physically.
When you produce an album, you're dealing with it theatrically. It has to have a structure, and the inner response to that is that the ear loves it.
My career is as an actress. I am an actress playing a comedienne.
And it was always the stories that needed the telling that gave us the rope we could cross any river with. They balanced us high above any crevasse. They made us be natural acrobats. They made us brave. They met us well. They changed us. It was in their nature to.
At Vienna, one of the audience affirmed publicly that my performance was not surprising, for he had distinctly seen, while I was playing my variations, the devil at my elbow, directing my arm and guiding my bow. My resemblance to the devil was a proof of my origin.
As artists, we belong to an ancient and holy tribe. We are the carriers of the truth that spirit moves through us all. When we deal with one another, we are dealing not merely with our own human personalities but also with the unseen but ever-present throng of ideas, visions, stories, poems, songs, sculptures, art-as-facts that crowd the temple of consciousness waiting their turn to be born.
You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd.
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