“Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition. Ruskin said in his Elements of Drawing, "Give me some mud off a city crossing, some ochre out of a gravel-pit, a little whitening, and some coal dust, and I will paint you a luminous picture, if you give me time to gradate my mud, and subdue my dust."”

— Kenneth Clark

In many works by the greatest colourists — Rembrandt and Watteau are examples — there are very few identifiable colours.
Source: The Romantic Rebellion (1973), Ch. 10: Turner II: The Liberation of Colour

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Kenneth Clark 47

Art historian, broadcaster and museum director 1903–1983

Dawud Wharnsby (1972) Canadian musician

"Everyday"
The Poets And The Prophet (2006)
Context: Every picture you give me I save, and every colour you use is so true to you. Every minute we spend I engrave, and every memory rethought is so new. There is trust that we must recognize. There is so much that we must learn to see and be, if we could only open our minds. Just grow with God and please be patient with me, and I will give you my life.

“One sunny spring day I heard the music coming down Karl Johan [street] and it filled me with joy. The spring, the sun, the music, all blended together to make me shiver with pleasure. The music added colour to the colours. I painted the picture [his painting 'Music on Karl Johan'] allowing the colours to reverberate with the rhythm of the music. I painted the colours as I saw them at that moment.”

Edvard Munch (1863–1944) Norwegian painter and printmaker

Quote in 'Livsfrisen tilblivelse', Blomqvist, Oslo 1929, p. 12
1896 - 1930

“I have gained very great inspiration from the Cornish land- and seascape, the horizontal line of the sea and the quality of light and colour which reminds me of the Mediterranean light and colour which so excites one’s sense of form; and first and last there is the human figure which in the country becomes a free and moving part of a greater whole. This relationship between figure and landscape is vitally important to me. I cannot feel it in a city.”

Barbara Hepworth (1903–1975) English sculptor

Source: 1932 - 1946, The Studio 132:643', (1946), p. 280

“A painting grows like a plant. Use all colours, all shapes. Everything that attracts and excites me is a part of me. Painting is about proportions, relationships which breathe life. "Painting is a harmony which runs parallel to nature."”

Stefan Szczesny (1951) German painter and sculptor

Mustique (2002)

“.. in my ideal of a good painting; there's unity. The drawing and the colour are no longer distinct; as soon as you paint you draw; the more the colours harmonize, the more precise the drawing becomes. I know that from experience. When the colour is at its richest, the form is at its fullest.”

Paul Cézanne (1839–1906) French painter

Source: Quotes of Paul Cezanne, after 1900, Cézanne, - a Memoir with Conversations, (1897 - 1906), p. 221 in: 'What he told me – III. The Studio'

“First: my Friend planted a Row of Indian corn that was Coloured Red and Blue; the rest of the Field being planted with corn of the yellow, which is the most usual color. To the Windward side, this Red and Blue Row, so infected Three or Four whole Rows, as to communicate the same Colour unto them; and part of ye Fifth and some of ye Sixth. But to the Leeward Side, no less than Seven or Eight Rows, had ye same Colour communicated unto them; and some small Impressions were made on those that were yet further off.”

Cotton Mather (1663–1728) American religious minister and scientific writer

As quoted in Zirkle, Conway (1935), The beginnings of plant hybridization p. 105

“With respect to the use of this sparkling coloured material [butterfly wings, around 1955] – the constituent parts of which remain indistinguishable – with the aim of producing a very vivid effect of scintillation, I realised that, for me, this responds to needs of the same order as those that formerly led me, in many drawings and paintings, to organize my lines and patches of colour so that the objects represented would meld into everything around them, so that the result would be a sort of continuous, universal soup with an intensive flavour of life.”

Jean Dubuffet book Prospectus et tous écrits suivants

Source: 1960-70's, Prospectus et tous écrits suivants, 1967, p. 116

“I could feel my colour. I could feel racism…in the way people looked at you, and the way they talked to you. Now, though, because of the mixing of cultures, it seems like some kind of brilliant social experiment…In some ways it seems to me the city of the future.”

Jeet Thayil (1959) Indian writer

In the cultural scene in London
Jeet Thayil on why 'Where are you from?' is a complicated question for all of us

“If England is to remain supreme, she must be able to appeal to the coloured against the white, as well to the white against the coloured. It is therefore not merely as a matter of sentiment and of justice, but as a matter of safety, that we ought to try and lay the foundation of some feeling on the part of coloured races towards the crown other than the recollection of defeat and the sensation of subjection.”

Robert Gascoyne-Cecil, 3rd Marquess of Salisbury (1830–1903) British politician

Source: Letter to the Viceroy of India Lord Lytton (7 July 1876), quoted in S. Gopal, British Policy in India, 1858-1905 (Cambridge University Press, 1965), p. 115

“On this subject any general rule is impossible; love, like the chamelion, is coloured by the air in which it lives — and the finer the air the richer the colour. Some young ladies have a happy facility of falling in and out of love; their heart, like a raspberry tart, is covered with crosses.”

Letitia Elizabeth Landon (1802–1838) English poet and novelist

The Monthly Magazine

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Kenneth Clark 47

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