The second ant.i.thesis is between white and black; i.e., the inclination to light or dark caused by the pair of colours just mentioned. These colours have once more their peculiar movement to and from the spectator, but in a more rigid form (see Fig. 1).
FIGURE I
First Pair of ant.i.theses. (inner appeal acting on A and B. the spirit)
A. Warm Cold Yellow Blue = First ant.i.thesis
Two movements:
(i) horizontal
Towards the spectator <><>>>-----> Away from the spectator (bodily) (spiritual)
Yellow Blue
(ii) Ex- and concentric
B. Light Dark White Black = Second Ant.i.thesis
Two movements:
(i) discordant
Eternal discord, but with Absolute discord, devoid possibilities for the White Black of possibilities for the future (birth) future (death)
(ii) ex-and concentric, as in case of yellow and blue, but more rigid.
Yellow and blue have another movement which affects the first ant.i.thesis--an ex-and concentric movement. If two circles are drawn and painted respectively yellow and blue, brief concentration will reveal in the yellow a spreading movement out from the centre, and a noticeable approach to the spectator. The blue, on the other hand, moves in upon itself, like a snail retreating into its sh.e.l.l, and draws away from the spectator.
[Footnote: These statements have no scientific basis, but are founded purely on spiritual experience.]
In the case of light and dark colours the movement is emphasized.
That of the yellow increases with an admixture of white, i.e., as it becomes lighter. That of the blue increases with an admixture of black, i.e., as it becomes darker. This means that there can never be a dark-coloured yellow. The relationship between white and yellow is as close as between black and blue, for blue can be so dark as to border on black. Besides this physical relationship, is also a spiritual one (between yellow and white on one side, between blue and black on the other) which marks a strong separation between the two pairs.
An attempt to make yellow colder produces a green tint and checks both the horizontal and excentric movement. The colour becomes sickly and unreal. The blue by its contrary movement acts as a brake on the yellow, and is hindered in its own movement, till the two together become stationary, and the result is green.
Similarly a mixture of black and white produces gray, which is motionless and spiritually very similar to green.
But while green, yellow, and blue are potentially active, though temporarily paralysed, in gray there is no possibility of movement, because gray consists of two colours that have no active force, for they stand the, one in motionless discord, the other in a motionless negation, even of discord, like an endless wall or a bottomless pit.
Because the component colours of green are active and have a movement of their own, it is possible, on the basis of this movement, to reckon their spiritual appeal.
The first movement of yellow, that of approach to the spectator (which can be increased by an intensification of the yellow), and also the second movement, that of over-spreading the boundaries, have a material parallel in the human energy which a.s.sails every obstacle blindly, and bursts forth aimlessly in every direction.
Yellow, if steadily gazed at in any geometrical form, has a disturbing influence, and reveals in the colour an insistent, aggressive character. [Footnote: It is worth noting that the sour-tasting lemon and shrill-singing canary are both yellow.]
The intensification of the yellow increases the painful shrillness of its note.
[Footnote: Any parallel between colour and music can only be relative. Just as a violin can give various shades of tone,--so yellow has shades, which can be expressed by various instruments.
But in making such parallels, I am a.s.suming in each case a pure tone of colour or sound, unvaried by vibration or dampers, etc.]
Yellow is the typically earthly colour. It can never have profound meaning. An intermixture of blue makes it a sickly colour. It may be paralleled in human nature, with madness, not with melancholy or hypochondriacal mania, but rather with violent raving lunacy.
The power of profound meaning is found in blue, and first in its physical movements (1) of retreat from the spectator, (2) of turning in upon its own centre. The inclination of blue to depth is so strong that its inner appeal is stronger when its shade is deeper.
Blue is the typical heavenly colour.
[Footnote: ...The halos are golden for emperors and prophets (i.e. for mortals), and sky-blue for symbolic figures (i.e.
spiritual beings); (Kondakoff, Histoire de l"An Byzantine consideree princ.i.p.alement dans les miniatures, vol. ii, p. 382, Paris, 1886-91).]
The ultimate feeling it creates is one of rest.
[Footnote: Supernatural rest, not the earthly contentment of green. The way to the supernatural lies through the natural. And we mortals pa.s.sing from the earthly yellow to the heavenly blue must pa.s.s through green.]
When it sinks almost to black, it echoes a grief that is hardly human.
[Footnote: As an echo of grief violet stand to blue as does green in its production of rest.]
When it rises towards white, a movement little suited to it, its appeal to men grows weaker and more distant. In music a light blue is like a flute, a darker blue a cello; a still darker a thunderous double ba.s.s; and the darkest blue of all-an organ.
A well-balanced mixture of blue and yellow produces green. The horizontal movement ceases; likewise that from and towards the centre. The effect on the soul through the eye is therefore motionless. This is a fact recognized not only by opticians but by the world. Green is the most restful colour that exists. On exhausted men this restfulness has a beneficial effect, but after a time it becomes wearisome. Pictures painted in shades of green are pa.s.sive and tend to be wearisome; this contrasts with the active warmth of yellow or the active coolness of blue. In the hierarchy of colours green is the "bourgeoisie"-self-satisfied, immovable, narrow. It is the colour of summer, the period when nature is resting from the storms of winter and the productive energy of spring (cf. Fig. 2).
Any preponderance in green of yellow or blue introduces a corresponding activity and changes the inner appeal. The green keeps its characteristic equanimity and restfulness, the former increasing with the inclination to lightness, the latter with the inclination to depth. In music the absolute green is represented by the placid, middle notes of a violin.
Black and white have already been discussed in general terms.
More particularly speaking, white, although often considered as no colour (a theory largely due to the Impressionists, who saw no white in nature as a symbol of a world from which all colour as a definite attribute has disappeared).
[Footnote: Van Gogh, in his letters, asks whether he may not paint a white wall dead white. This question offers no difficulty to the non-representative artist who is concerned only with the inner harmony of colour. But to the impressionist-realist it seems a bold liberty to take with nature. To him it seems as outrageous as his own change from brown shadows to blue seemed to his contemporaries. Van Gogh"s question marks a transition from Impressionism to an art of spiritual harmony, as the coming of the blue shadow marked a transition from academism to Impressionism. (Cf. The Letters of Vincent van Gogh. Constable, London.)]
This world is too far above us for its harmony to touch our souls. A great silence, like an impenetrable wall, shrouds its life from our understanding. White, therefore, has this harmony of silence, which works upon us negatively, like many pauses in music that break temporarily the melody. It is not a dead silence, but one pregnant with possibilities. White has the appeal of the nothingness that is before birth, of the world in the ice age.
A totally dead silence, on the other hand, a silence with no possibilities, has the inner harmony of black. In music it is represented by one of those profound and final pauses, after which any continuation of the melody seems the dawn of another world. Black is something burnt out, like the ashes of a funeral pyre, something motionless like a corpse. The silence of black is the silence of death. Outwardly black is the colour with least harmony of all, a kind of neutral background against which the minutest shades of other colours stand clearly forward. It differs from white in this also, for with white nearly every colour is in discord, or even mute altogether.
[Footnote: E.g. vermilion rings dull and muddy against white, but against black with clear strength. Light yellow against white is weak, against black pure and brilliant.]
Not without reason is white taken as symbolizing joy and spotless purity, and black grief and death. A blend of black and white produces gray which, as has been said, is silent and motionless, being composed of two inactive colours, its restfulness having none of the potential activity of green. A similar gray is produced by a mixture of green and red, a spiritual blend of pa.s.sivity and glowing warmth.
[Footnote: Gray = immobility and rest. Delacroix sought to express rest by a mixture of green and red (cf. Signac, sup.
cit.).]
The unbounded warmth of red has not the irresponsible appeal of yellow, but rings inwardly with a determined and powerful intensity. It glows in itself, maturely, and does not distribute its vigour aimlessly (see Fig. 2).
The varied powers of red are very striking. By a skillful use of it in its different shades, its fundamental tone may be made warm or cold.