Sensations from Nature

Sensations from Nature

M.J. Fryer 

3, The Thrift, Bean, Dartford, Kent DA2 8BL, UK

Page: 
219-227
|
DOI: 
https://doi.org/10.2495/DNE-V4-N3-219-227
Received: 
N/A
|
Accepted: 
N/A
|
Published: 
30 September 2009
| Citation

OPEN ACCESS

Abstract: 

Sensations from nature provoke an emotional response from a particular motif around which a painting is constructed. Nature is not slavishly copied but the sensations are submitted to the necessity of making a picture in which the compositional elements are brought into unity over the whole surface to achieve stability. Within the stability there are local areas of dissonance to add a dynamic structure to the composition and to attract the gaze as the painting is examined by very rapid eye movements (saccades). Examples are given of a number of paintings by the author comprising two abstracts and four landscapes. Colours are heightened and usually highly saturated, so that they have an intense purity to express the emotions with greatest clarity and may not be imitative. Each colour is put down in relation to all other colours with consideration for their interrelationships and expressiveness. Painting is instinctive but has an underlying theoretical basis relying on the juxtaposition and displacement of complementary colours and of dissonant colour. In order to demonstrate the methodology of painting, two series of ‘progressive’ images are given that show the completion of two additional landscapes in six stages.

Keywords: 

complementary, harmony, heightened colour, landscape paintings, Mike Fryer, saccades, stability

  References

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[4] Ferrier, J.-L., The Fauves, the Reign of Colour, Finest S.A./Éditions Pierre Terrail: Paris, 1995.

[5] Bruce, V., Green, P.R. & Georgeson, M.A., Visual Perception, Physiology, Psychology, & Ecology, 4th edn, Psychology Press: Hove and New York, 2003.

[6] Yarbus, A.L., Eye Movement and Vision, Plenum Press: New York, 1967.

[7] Lipps, M. & Pelz, J.B., Yarbus revisited: task-dependent oculomotor behavior. Journal of Vision, 4(8), Abstract 115, 2004.

[8] Livingstone, M., Vision and Art: The Biology of Seeing, Harry N Abrams, Inc.: New York, 2002.

[9] Fryer, M.J., Complementarity. Optics and Laser Technology, 38, pp. 417–430, 2006. doi:10.1016/j.optlastec.2005.06.003

[10] Itten, J., The Elements of Colour (translated by E. Van Hagen), Chapman and Hall: London, 1970.