Eugene Delacroix Quotes

Though colour may appear at first a part of painting merely mechanical, yet it still has its rules, and those grounded upon that presiding principle which regulates both the great and the little in the study of a painter.

All painting worth its name, unless one is talking about black and white, must include the idea of color as one of its necessary supports, in the same way that it includes chiaroscuro, proportion, and perspective.

Color is everything. When color is right, form is right.

Color is crucial in painting, but it is very hard to talk about.

Color cannot stand alone.

It is only after years of preparation that the young artist should touch color - not color used descriptively, that is, but as a means of personal expression.

For those colours which you wish to be beautiful, always first prepare a pure white ground.

Color is crucial in painting, but it is very hard to talk about. There is almost nothing you can say that holds up as a generalization, because it depends on too many factors: size, modulation, the rest of the field, a certain consistency that color has with forms, and the statement you're trying to make.

You put a blob of yellow here, and another at the further edge of the canvas: straight away a rapport is established between them. Colour acts in the way that music does.

Color is like cooking. The cook puts in more or less salt, that's the difference!

The art of the colorist has in some ways elements of mathematics and music.

Why do two colors, put one next to the other, sing?

Color is a big part of what I do. It's like music. There are only so many notes in the scale, but there are endless permutations; there's no limit to the number. Color on the walls or furniture can reflect back and distort the reality of the true colors of lipsticks and eye shadow.

There are people who don't respond to color. That's what painting is. It's color.

Simultaneous contrast is not just a curious optical phenomenon - it is the very heart of painting.

I'm thinking about color all the time. Sometimes even as far back as the plotting sequence.

In painting, the most brilliant colors, spread at random and without design, will give far less pleasure than the simplest outline of a figure.

Think colour! Know how to imagine it!

Based on mixtures of the three primary colours, along with black and white, I come up with a certain number of possible colours and, by multiplying these by two or four, I obtain a definite number of colour fields that I multiply yet again by two, etc. But the complete realization of this project demands a great deal of time and work.

Color must be thought, imagined, dreamed.

Color which, like music, is a matter of vibrations, reaches what is most general and therefore most indefinable in nature: its inner power.

The distinct blue, red, and yellow colors... though they have not the kind of harmony which is produced by a variety of broken and transparent colors, have the effect of grandeur.

Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.

My goal is to formulate a new color theory based on the full spectrum of visible light.

Why do two colors, put one next to the other, sing? Can one really explain this? no. Just as one can never learn how to paint.