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Page 27
The two last mentioned colours (orange and violet) are the fourth
and last pair of antitheses of the primitive colours. They stand
to each other in the same relation as the third antitheses--green
and red--i.e., as complementary colours (see Fig. 2).
FIGURE II
Second Pair of antitheses (physical appeal of complementary
C and D colours)
C. Red Green = Third antithesis
Movement of the spiritually extinguished
First antithesis
Motion within itself [CIRCLE] = Potentiality of motion
= Motionlessness
Red
Ex-and concentric movements are absent
In optical blend = Gray
In mechanical blend of white and black = Gray
D. Orange Violet = Fourth antithesis
Arise out of the first antithesis from:
1. Active element of the yellow in red = Orange
2. Passive element of the blue in red = Violet
<---Orange---Yellow<--<--<--Red-->-->-->Blue---Violet--->
In excentric Motion within In Concentric
direction itself direction
As in a great circle, a serpent biting its own tail (the symbol
of eternity, of something without end) the six colours appear
that make up the three main antitheses. And to right and left
stand the two great possibilities of silence--death and birth
(see Fig. 3).
FIGURE III.
A
Yellow
/ \
/ \
/ \
D C
B Orange Green B
White | | Black
| |
| |
C D
Red Violet
\ /
\ /
\ A /
Blue
The antitheses as a circle between two poles, i.e., the life of
colours between birth and death.
(The capital letters designate the pairs of antitheses.)
It is clear that all I have said of these simple colours is very
provisional and general, and so also are those feelings (joy,
grief, etc.) which have been quoted as parallels of the colours.
For these feelings are only the material expressions of the soul.
Shades of colour, like those of sound, are of a much finer
texture and awake in the soul emotions too fine to be expressed
in words. Certainly each tone will find some probable expression
in words, but it will always be incomplete, and that part which
the word fails to express will not be unimportant but rather the
very kernel of its existence. For this reason words are, and will
always remain, only hints, mere suggestions of colours. In this
impossibility of expressing colour in words with the consequent
need for some other mode of expression lies the opportunity of
the art of the future. In this art among innumerable rich and
varied combinations there is one which is founded on firm fact,
and that is as follows. The actual expression of colour can be
achieved simultaneously by several forms of art, each art playing
its separate part, and producing a whole which exceeds in
richness and force any expression attainable by one art alone.
The immense possibilities of depth and strength to be gained by
combination or by discord between the various arts can be easily
realized.
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