Landscape painting would not exist without an exorbitant use of a large variety of greens; either in glazes or as pastose and innovative dabbing’s of paint. Will our eye compensate for the flaws in the green hues when viewing a 400 years old aged painting and will current spectators create an intellectual compensation for its lack of intensity or presence? In twentieth century art some greens may stay hardly unaltered against other modern pigments of red, yellow and blue which may fade partly or completely. How do we then perceive deliberately colourful modernistic scenery when some of the originally vibrant opposing colours have completely disappeared?
|Udgivet - 29 mar. 2019