PUSH-PULL: Space through Colour. (Hans Hofmann)
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- čas přidán 1. 07. 2024
- Samuel L. Herbert explains the spatial properties of colour, the importance of the picture plane, the figure-ground relationship and how this plays out in the practice of Hans Hofmann.
Samuel L. Herbert is a painter and programme leader for Fine Art with the University of Kent.
absolutely brilliant lecture, so clear, interesting and inspiring. Thank you
Thank you @womenwotreads ! It’s great to hear you found this lecture useful & I appreciate you taking the time to post positive feedback! 🙏
Really appreciate this very comprehensive lecture, both on colours and Hans Hofmann. Thank you so much for sharing.
I’m delighted to hear you found this useful! Thanks so much for the positive feedback!
This is a fantastic description of Hoffmann's push and pull. I read a good part of a book on Hoffmann and still didn't know what he was talking about. Now I do. Thank you!
Glad it helped. Thank you.
You still don't know what he was talking about. I was like you, what did all that rhetoric actually say? That so called push and pull has been a part of painting since it arrived. Was it all that important that it took someone in the 1940's to theorize it? And for all those otherwise intelligent American painters to make an incessantly quoted hero of him? Talk about a sale of goods!
I think you were ahead of the game when you didn't understand. Good for you. You didn't buy the emperor's clothes.
(And by the way, I brought my questions about Hofmann and "push and pull' from some of his original students.)
Thank you very much for the valuable information
Thanks for the feedback. I’m very pleased to hear you found this useful!
Push and pull concept demonstrated here is excellent
Thank you for the positive feedback! I’m very glad to hear you found this useful.
Thank you. Very interesting information.
Thank you! I’m very pleased to hear you found it useful.
This lecture is brilliantly explained. I am reading a wonderful book called Ninth Street Women and it mentions Hans Hofmann a lot. This lecture helped me connect the dots. Thank you.
Thanks for the positive feedback! I’m really glad you found this to be useful.
Thank you so so
much
You’re very welcome. I’m pleased it was of interest to you.
wow! Thank you!!! Your timing is impeccable. Looking forward to viewing this.
Thank you for your feedback. Glad you found it to be useful.
A great lecture Sam. Very useful. Thank you.
Glad to hear it was useful Phil. Thanks for the feedback!
Thoroughly enjoyed this thank you so much.
Glad you enjoyed it! Many thanks for the feedback!
Super lecture. Really fantastic. Kudos for bringing up Stanley Whitney as well.
Thank you Jordan. I’m pleased you found it interesting. Really like how Hofmann’s ideas play out in your own practice too! Thanks for the feedback!
Great video, very hard to find discussion of “push pull” by Hofman. When you say a warm color will push ahead of a cool one (similar brightness). By brightness you are referring to full color saturation? . Thanks,
Any other online sources or books you recommend to learn more about this topic will be greatly appreciated.
Thanks, I’m glad you found this interesting. With regards to your question, the ‘warm-cool’ spatial effect is most pronounced when there is a similar level of brightness. At full saturation the ‘push-pull’ depends on the property of the individual colours in question. As with all colour relationships, different combinations of colours will yield radically different results. If you’ve not read it yet, try and get a copy of Joseph Albers’s ‘Interaction of Colour’, it’s extremely good at getting this across. Thanks again for your feedback!
Already Tintoretto painted on white grounds.
Thanks. Yes, this is true, he did; as was also the case in early Flemish oil painting. However, It’s worth noting Tintoretto was an early adopter of the dark ground popular in the 17thC, a notable example of which being ‘Christ Washing His Disciples Feet’ in the National Gallery in London. To clarify my point, I don’t mean to claim the white ground was ‘invented’ in 19thC, but rather it became important to how artists after Cezanne used colour to define space, particularly in 20thC abstract painting.
thank you for this lecture. Very well explained. Is it just me seeing Orange as closest to the background? perhaps due to it being slightly smaller than the squares next to it? Would that even impact this exercise? great lecture. Thanks!
Thank you, I’m pleased you like it. I’m interested to read your observation regarding the orange- Something I’ve learned from doing this exercise over the years, is that there is often a quite a varied response as to which colours students perceive as ‘pushing’ and which colours they see as ‘pulling’ back. Colour is always relative, so whatever it’s next to will influence it (Hofmann’s paintings are a great example of this). According to the science of perception, Orange is a bright colour, so it should seem ‘close’ to a light background, on darker grounds it should appear to be further ‘forward’. However, many factors can alter this, such as it’s size (like you mention) but also it’s saturation, relative to the other colours.
On a final point, I’ve noticed that the colour relationships in the slide show can look surprisingly different depending on what monitor I’ve viewed it on. In a class room setting, I normally do this exercise using coloured paper (as did Albers), so it could also be down to the difference between subtractive and additive colour mixing.
@@thebridgeartschool2727 That's really interesting. I could see how any of these factors could influence how the objects are spatially perceived. I always forget about how much the monitors can impact colors. The in-person use of paper definitely would control most of these variables. Thanks for your thoughtful reply.
Best video on colour ive ever seen. Well done. Great supplement to my Albers book.
Thanks so much for your positive feedback! I’m really pleased to hear you found it useful.