“the possibility of dispersing colors through a given layout naturally appealed to me. The idea of putting a lot of color on the panel surfaces didn't. It would probably have been too strong an effect to live with. I wanted something more woven in. the interstices – that was suggested by I. M. Pei – suited me better because if one chose to look at them the eye would be moved along by the differences in color.”

Kenneth Noland, p. 18
Conversation with Karen Wilkin' (1986-1988)

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Kenneth Noland 28
American artist 1924–2010

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“General Burnside wanted to put his colored division in front, and I believe if he had done so it would have been a success.”

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Still I agreed with General Meade as to his objections to that plan. General Meade said that if we put the colored troops in front, we had only one division, and it should prove a failure, it would then be said and very properly, that we were shoving these people ahead to get killed because we did not care anything about them. But that could not be said if we put white troops in front.
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“The color blue is no less beautiful because it exists along side the other colors of a rainbow, and "blueness" itself depends upon the existence of the other colors, for if there were no color but blue, we would never be able to see it.”

Ken Wilber (1949) American writer and public speaker

The Spectrum of Consciousness (1993), Prologue, p. 6
Context: An argument can be legitimately sustained only if the participants are speaking about the same level. Argumentation would — for the most part — be replaced with something akin to Niels Bohr's principle of complementarity. Information from and about the different vibratory levels of bands of consciousness — although superficially as different as X-Rays and radio waves — would be integrated and synthesized into one spectrum, one rainbow. … Each band or level, being a particular manifestation of the spectrum, is what it is only by virtue of the other bands. The color blue is no less beautiful because it exists along side the other colors of a rainbow, and "blueness" itself depends upon the existence of the other colors, for if there were no color but blue, we would never be able to see it. In this type of synthesis, no approach, be it Eastern or Western, has anything to lose — rather, they all gain a universal context.

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“Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing.”

Maxfield Parrish (1870–1966) American painter and illustrator

Letter to F.W Weber (1950); as quoted in Maxfield Parrish by Coy Ludwig (1997)
Context: It is generally admitted that the most beautiful qualities of a color are in its transparent state, applied over a white ground with the light shining through the color. A modern Kodachrome is a delight when held up to the light with color luminous like stained glass. So many ask what is meant by transparent color, as though it were some special make. Most all color an artist uses is transparent: only a few are opaque, such as vermillion, cerulean blue, emerald green, the ochres and most yellows, etc. Colors are applied just as they come from the tube, the original purity and quality is never lost: a purple is pure rose madder glowing through a glaze of pure blue over glaze, or vice versa, the quality of each is never vitiated by mixing them together. Mix a rose madder with white, let us say, and you get a pink, quite different from the original madder, and the result is a surface color instead of a transparent one, a color you look on instead of into. One does not paint long out of doors before it becomes apparent that a green tree has a lot of red in it. You may not see the red because your eye is blinded by the strong green, but it is there never the less. So if you mix a red with the green you get a sort of mud, each color killing the other. But by the other method. when the green is dry and a rose madder glazed over it you are apt to get what is wanted, and have a richness and glow of one color shining through the other, not to be had by mixing. Imagine a Rembrandt if his magic browns were mixed together instead of glazed. The result would be a kind of chocolate. Then too, by this method of keeping colors by themselves some can be used which are taboo in mixtures.

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