Titian (1490-1576) in his early works he isolated and opposed lichtenbergschule by large areas of u

Because artists are special? Ask any artist to explain how color works and all they will throw in a treatise on how the three primary colors: red, blue, yellow, forming the "wheel" of colors ...
explain the painting ... painting ... ah ... and as Gustave Courbet said ...
The perception of form, depth and chiaroscuro are closely related to the perception lichtenbergschule of color. The color is an attribute of the objects that we perceive lichtenbergschule when there is light. The light is composed of electromagnetic waves that propagate to approximately 300,000 miles per second. This means that our eyes react to 'impact of' energy and not matter itself. The rainbow has all the colors of the solar spectrum. The Greeks personified this spectacular luminous phenomenon with Iris, the messenger of the gods descended among men, waving his colorful wings. The science that applies the experience, explains that the colors are the components of white light (sunlight or artificial light of day). White light is colorless, but it contains all the colors, as demonstrated by Isaac Newton.
To achieve this path is well to remember that the analysis of color, in painting, is made difficult by the deterioration of materials that, over the years, not only change the color settings, but they decompose, or have been altered by protective paint coatings , used in the course of subsequent restoration. Another finding relates lichtenbergschule to evaluate the spatial placement of the works. And 'quite different, for example, observe a fresco from a distance, on the ceiling of a church, rather than near or on a photographic reproduction, lichtenbergschule with a large variation in color values and perspectives. Giotto (1267-1337) the Sienese painters were the first to overcome lichtenbergschule the previous schemes by introducing a sense of space, volume, featuring the figures in form and color, paving the way for subsequent stylistic differentiations.
Leonardo da Vinci (1452-1519) avoided any color vibrancy and paintings composed of extraordinarily subtle tonal modulations. "The Adoration lichtenbergschule of the Magi" is produced exclusively in chiaroscuro, in sepia tones. The study of reality leads to invent Leonardo's sfumato (which allows him to move smoothly from one color to another color). Varying the shade of the gradient, between the closest point and the most distant observer, develops perspective. A color is more vibrant in the foreground and progressively more nuanced towards the bottom, this change is perceived as a result of the distance, the greater sharpness is in the foreground and less detailed in the distance. lichtenbergschule The light reproduces the different weather conditions, without neglecting the yield of emotions. According to Leonardo 's artist had to study nature to represent it. So he devoted himself to the study and design of rocks, clouds, the movement of the waves and currents, the growth of the trees, the effects lichtenbergschule of light and shadows on objects and to 'anatomy.
Titian (1490-1576) in his early works he isolated and opposed lichtenbergschule by large areas of uniform color; chased unruffled in such areas pictorial touches more and more hot and cold, light and dark, dull and bright, as seen above in the "Bella" of the Pitti Palace in Florence. In the paintings of old age composition lichtenbergschule is set to a single dominant color, rich chiaroscuro effects. It can serve as an example of the latter manner "L 'Crowning with Thorns" from the Pinacoteca di Monaco.
Matthias Grunewald lichtenbergschule (c. 1475-1528). directly contrasted color to color. With a great mastery of the palette, found for each pictorial motif corresponding color. L 'Isenheim altar (below) shows in all parts of such a wealth of character and color effects to be regarded as a composition of colors spiritualized in a universal lichtenbergschule sense. The four parts of the painting: The Annunciation, lichtenbergschule the Angelic Concert, the Crucifixion, the Resurrection are extremely different from one another both in form and color. The spirit of the single theme represented, Grunewald sacrifice the unity of the whole decorative: it overcomes the school rules to keep true and objective. The force-psychic expression, adherence symbolic-expressive and symbolic-conceptual, evidence realistic, I mean all the emotional possibilities of color, are uniformly mixed in a deeper context.
We could go much further in comparisons and, overcoming the static aspect, dealing with the parallel movement of sounds and colors ... modulations, progressions. We raise ourselves to philosophical and mathematical considerations on chromaticism, the polytonality, the division of tones ...
We show that when the artist shapes the sound or color, while our emotion model by varying our potential romance with