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Some colours are stronger than others. Red, for instance, is considered a stronger - or more colourful - colour than (say) green. The strength of a colour is called "intensity" or "chroma".

The purity and brightness of a colour; The relative saturation of a hue on a scale from bright (pure) to dull (mixed) with another hue or a neutral; also called chroma.
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intensity. Also called chroma or saturation. It refers to the brightness of a color (a color is full in intensity only when pure and unmixed). Color intensity can be changed by adding black, white, gray, or an opposite color on the color wheel.

This term is used to describe the brightness, or the dullness of a color.
Intermediate colors
Obtained by mixing adjoining Primary and Secondary colors.

Intensity- The brightness or dullness of a color.
Interior- The inside of a building or another hollow form, such as a box.
Interior Design - Is the art of planning and creating indoor spaces such as rooms.

color used in its purest hue without mixing can be said to have its purest .
ITALIAN RENAISSANCE revival of classical art, literature, and learning based on humanism.
KILN an oven for drying, firing and glazing clay.

intensity: the property of color that refers to the brightness or dullness of a color; how pure the color is.

The degree of purity or brilliance of a color. Also known as chroma or saturation.

intensity The relative purity or saturation of a hue (color), on a scale from bright (pure) to dull (mixed with another hue or a neutral. Also called chroma.

What enables painting is the perception and representation of . Every point in space has different , which can be represented in painting by black and white and all the gray shades between.

intensity...The saturation, strength, or purity of color.
intermediate color...A color produced by a mixture of a primary color and a secondary color.
IMPASTO; thick paint applied with brush, palette knife or fingers etc..

- The brightness or dullness of a hue or color. For instance, the of the pure color blue is very bright. When a lighter or darker color is added to blue, the is less bright, or more subdued.

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The brightness (purity) or dullness of a color, also known as chroma.
Intermediate colors (Tertiary)
A color made by mixing a primary color with secondary color.

In intensity and immediacy of expression, Matisse never surpassed Woman with a Hat, a portrait of his wife Amélie.

The of their activity and breadth of their contributions have not guaranteed that the documentation of Latino and Latin American art is accessible or has even survived.

The intensity of a color, from bright to dull.
A round shape where of all points are at the same distance from its center.

The of the colours in the group on the left is counterbalanced on the right by darker tones.

Intensity or saturation of a color. Purity of color. Paintings are considered "bright" if their tonality is bright.

Full of the of feeling aroused by his surroundings, Cézanne's art was also deeply cerebral, a conscious search for intellectual solutions to problems of representation.

The movement gets its name because it is seen as combining the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, the Bauhaus and Synthetic Cubism.

However, Bronzino lacked the emotional that was such a characteristic of Pontormo's work and excelled as a portraitist rather than a religious painter.

Gothic paintings are darkly mystical, infused with an ethereal emotional intensity. The mysticism of the Middle Ages imparts a sense of uniqueness and wonder to Gothic art.

"Over the next few years Dalí devoted himself with passionate to developing his method, which he described as 'paranoiac-critical', ...

While his reaction to his election as Pius II did not involve a dramatic 'conversion' from his career as womanizer, genial belletrist and place-seeker (for he had displayed a steadier and soberer sense of purpose from 1446), the intensity with which ...

The search of harmony and forms is not as important as trying to achieve the highest expression , both from the aesthetic point of view and according to idea and human critics. Expressionism assessed itself mostly in Germany, in 1910.

Paintings like Van Gogh's ‘Sunflowers' (1888) opened our eyes to the intensity of expressive colour. He used colour to express his feelings about a subject, rather than to simply describe it.

Hatoum uses color to emphasize the of her experiences and to suggest wider political meanings beyond her personal experiences. The installation Light at the End (2002) consists of an iron metal frame and five electric elements.

Rogier van der Weyden, famous for portraits and altarpieces such as the Descent from the Cross (1439-43; Prado, Madrid), worked in a more idealistic vein, instilling his compositions with unprecedented monumentality and emotional intensity.

She showed at the Salon des Artistes français in Paris from 1893 to 1941, especially large watercolors of idealized women that have both a certain Pre-Raphaelite (since a journey in Italy, ...

With her terrified eyes she observes others with a desperate intensity full of unanswered questions. They talk to her slowly, reassuringly, but she stays clamped to her fear. Jozio's heart wrings with compassion.

Their shimmering is enhanced by the equally strong presence of orange in the boat's reflection and the scarlet accent of Aline's bow. Renoir has put into practice aspects of current color theory.

This is a style of art in which traditional adherence to realism and proportion is overridden by the intensity of an artist's emotional response to the subject.

By using saturated hues of similar value (), and placing them side by side with sharp dividing lines without blending, he demonstrated that an optical effect could be achieved even if the colors used were not complementary on the color wheel.

The intensity and color of the emission differs for various materials and can change as a material ages.

Areas which do not print are blocked with photo sensitive emulsion that has been exposed with high arc lights. A squeegee is pulled from back to front, producing a direct transfer of the image from screen to paper.

However, Swillen's overriding emphasis on the aesthetic content of a picture, which typify the idea of art-for-art's-sake, perhaps miss one of the most compelling aspects of Vermeer's work: the emotional intensity of his figures.

She simplified the objects and landscapes she depicted, using vibrant colors that added to the paintings.

Saturation: The greatest possible intensity of the color.
Scumbling: Dragging paint in a broken manner over a previously painted dry surface.
Sketch: 1. A brief statement of the subject. 2. A drawing complete in itself.

Colour: See section on Colour has three basic attributes - hue, and value. Since the Impressionists and especially Claude Monet turned colour into subject-matter (rather than language), it has become more central to the history of art.

See also: See also: Painting, Movement, Expression, Composition, Impression

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