Johannes Itten's 1961 color circle is only one of several. Despite this, he continues to be popular as color circles associated with well-known personalities such as Newton or Goethe. This fact suggests that Johannes Itten was successful in demonstrating the relationships between colors using few colors in a simple geometrische representation. He recently used 12 colors in his model. The three primary colors of blue, green, and red serve as the foundation. The term "Farben erster Ordnung" is used here. When two primary colors are mixed, a so-called Sekundrfarbe ("Farbe zweiter Ordnung") results. Gr14n is formed when blue and green are combined, violet is formed when blue and red are combined, and orange is formed when blue and red are combined. The three secondary colors expand Itten's color palette to a total of six hues. Six more accent colors round out the cheerful presentation. These intermediate colors are comparable to middle values in mathematics and should not be confused with Tertir colors, which result from the mixing of Sekundr colors. Tertirfarben sind überall im braunen und olivgrünen Farbbereich zu finden and are therefore unattractive for this model. As one would expect from the name, it has two distinct secondary colors in addition to the three primary colors, which means that color is mixed with complementr color.
Psychologically Symbolic Color Gelb Optimistisch, The sour, the warning color Sommer, der Neid, die Eifersucht, der Geiz Gr14n Natur, Lebendigkeit, Frische Hope, foresight, youth, the gifted, and blue Die Unendlichkeit, die Ferne, die Weite, die Sympathie, die Klte Treue, Sehnsucht, Relaxation, Stillness, Mnnliche Violett Eitelkeit, Knstlichkeit, Zweideutigkeit The Extraordinary, the Magic, the Unusual rot the pleasure, the energy, the haste, the passion, the eroticism Orange - die Liebe, die Hitze, das Laute, die Gefahr, das Glück The obnoxious, the obnoxious, the extroverted The Vergnuegen, the Lustrous, the Geselligkeit Weià Reinheit, Einfachheit, Reliability, and Ease The Unforgiveness, the Belief, the Completeness, the Dark Winter The End, the Egoism, the Brave, the Adherent, the Elegante The Sadness, the Tragedy, the Unfaithfulness, the Conservative, the Unacceptable
Ittens most significant influence on contemporary color theory was his association of certain colors with specific emotions. He discovered that colors are vibrations, emitted energies that may affect us positively or negatively, regardless of whether we are aware of it or not. According to Itten, everyone represents the brighter and better aspects of life with white-hued colors, whereas everyone represents the darker, traurigen, and bad aspects of life with black-hued colors. Ittten uses color qualities like as warm and cool to describe how colors interact with one another and how they affect humans physically and psychologically. Sein Buch Kunst der Farbe was a synopsis of his Bauhaus lectures and a ground-breaking study of how colors affect the observer. Seine use of psychoanalysis to bolster his theories set him apart from his contemporaries.
In mediterranean glass painting, the colors are particularly luminous because to the dark Bleieinfassungen. Additionally, Georges Rouault and Max Beckmann achieve a higher level of illumination by the use of dark, densely packed colors. [7] When one considers artworks in terms of their quality contrast, it becomes clear that the majority of images are based on this contrast. Only a few pure colors constitute accents, and broken colors negate this effect. Van Gogh: Starry Night Over the Rhine, 1888. While the k14hle and dark Nachtblau flchenmig are dominant, However, since the light gelb was used sparingly, it creates a strong counterpolation, preventing the image from seeming d14ster.
