Philipp Otto Runge works. F

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Lecture topic: Color studies in 19th century Europe. Philipp Otto Runge and Michel Eugene Chevreul.

Sources are different, mostly Wikipedia and Spanish color encyclopedia. On the website Mikhalkevich This issue is covered minimally, so I do not quote it on this topic.

So, in the last lecture we looked at color ball Philippa Otto Runge. I'll add a little about him.

Philip Otto Runge (German Philipp Otto Runge, July 23, 1777, Wolgast - December 2, 1810, Hamburg)- German artist- romantic, largest - together with Caspar David Friedrich- representative romanticism in German fine arts.

Self-portrait of Philip Otto Runge, 1802-1803

Born into a large family of shipbuilders in Western Pomerania, which was under Swedish control at that time. His school teacher was Ludwig Kosegarten. From 1799, with the financial support of his brother (his works later published articles, letters and notes by the artist), he studied painting with Jens Juel at the Copenhagen Academy. In 1801 he became close in Dresden with K. D. Friedrich And Ludwig Tieck, delved into mystical treatises Boehme, which drew his attention Teak. In 1803 he met and became friends with Goethe, with whom he shared an interest in the problems of color - natural philosophical and natural scientific searches of both, feeding different sources, went in a similar direction: Goethe, always more than reserved towards romanticism, spoke with constant approval about creativity and theorizing Runge. In 1804 he married and moved to Hamburg. In 1810 he published a treatise on color separation and color classification. "Color Sphere" (Goethean "The Teaching of Color" appeared in the same year). Last years worked on a large mystical-philosophical painting plan "Four Times of the Day", the work remained unfinished. Died of tuberculosis.

Runge color ball.

Spanish Encyclopedia of Color (p.788, see the community profile for complete information about the encyclopedia) regarding mystical research Runge in the field of color (my translation, sorry for the clumsiness, the encyclopedic language is very specific):

"The symbolic spiritualistic flavor, empirical, of a Goethean rather than Newtonian character, which defines research Runge in the field of mixing moving disks, transparency and glazes, inherent in the relationship Runge to color, starting around 1803 (the time we met Runge With Goethe and its expression using mystical triangle relationships between primary subtractive colors And Holy Trinity in the shape of " blue - Father, red - son, And yellow - Holy Spirit).

By 1809 Runge also attributed green key ( life) To physical world And blue and purple("cold") To women's world, as well as red (Love) to an ideal world, and orange and yellow ("warm") to the male world, and presented these associations in the form six-pointed star, which forms the basis of his color system. IN next year he published his famous book"Farbenkugel" ( "Color Ball") , begun at the end of 1806, in which he finally described his system of color theory.

Michel Eugene Chevreul

(French Michel Eugène Chevreul; August 31, 1786 - April 9, 1889)- French organic chemist, foreign corresponding member Petersburg Academy of Sciences (1853).

Biography of Chevreul

Chevreul was born in Angers in a family of hereditary doctors. At the age of 17 Chevreul went to Paris and entered a chemical laboratory there L.N. Vokelana, later became his assistant in V Botanical Garden. In 1813 Chevreul was appointed professor of chemistry at Carolingian Lyceum, and subsequently became director Gobelin Manufactory, where he conducted his research on color contrast ("Principles of simultaneous color contrast, 1839) . In 1826 Chevreul became a member Academy of Sciences, and in the same year he was elected foreign members Royal Society in London, whose medal (Copley Medal) was awarded in 1857. In 1829 he was elected foreign member Royal Swedish Academy of Sciences.

Chevreul replaced his master, Vakelana, and as a professor of organic chemistry at National Museum Natural History in 1833, and 33 years later he became its director, and held this post until 1879, although after leaving office he retained his professorial title. On its centenary in 1886 Chevreul was awarded a gold medal, it became a national event. He received letters of thanks from many heads of state and monarchs, including Queen Victoria. He had a whole series of meetings recorded with Felix Nadar, during which the son Nadara Paul photographed him, so this was the first photo interview in history. It was certainly a fitting tribute to a man who had lived through everything French Revolution and lived to see the opening day Eiffel Tower.

Ironically, Chevreul began studying the effects of aging on the human body shortly before his death, which took place in Paris on April 9, 1889. He was honored with a public funeral. In 1901, a statue was unveiled in his memory in the museum to which he dedicated so many years of his life.

Chevreul's works

Scientific works Chevreul covered many areas, but most of all he is known for his classical studies carried out in the field of animal fats, published in 1823 ("Research on fatty particles of animal origin").

This allowed him to discover the true nature of the soap; and he was also able to open the composition stearin, a white substance found in the solid parts of most vegetable and animal fats, and olein, the liquid part of any fat, and separate stearic and oleic acids, the names of which he also came up with. This work led to important improvements in candle production.

Chevreul was an implacable enemy quackery and an absolute skeptic of physical research spiritualism that started at that time (see his work "On the Magic Wand and Revolving Tables", 1864). His research on the subject of the magic pendulum (“magic pendulum”, I just want to translate it as “magic pendel”, note from the translator, i.e. me), dowsing and rotating tables are revolutionary. In his work "About the Magic Wand" Chevreul explains how human muscle reactions, completely involuntary and subconscious, are responsible for magical-like movements. At the end Chevreul discovers that as soon as the person holding the rod or the magic pendulum becomes aware of the reaction of his brain, the movements immediately ceased and could no longer be reproduced at will.

Chevreul was also influential in the art world. After he was appointed director of the dyeing workshops at Tapestry Manufactory in Paris, he received many complaints about the paint used there. In particular, black the colors looked different next to blue. He determined that the perceived color of the yarn (thread) was influenced by the surrounding threads. This led him to the concept simultaneous contrast.

WITH Chevrolet also related concept "The Chevreul Illusion"- when a bright stripe appears along the edges of flowers of the same color, but of different saturation, located next to each other.

Leonardo da Vinci, may have been the first to notice that colors observed side by side influence each other. Goethe, however, was the first to draw Special attention to these related contrasts, but continued to insist that they originate in the brain. The observer who simultaneously looks at the same red, but first on a yellow background, and then on purple, will have two different impressions: in the first case darker red, in the second - more orange red. Chevreul managed to establish the difference between these two ways of occurrence simultaneous contrast, and he talked about both changes in saturation and differences in "optical component". Now we know for certain about three factors, which can replace each other under the influence of an environment of a different color. These three factors relate to the spatial color system and are called lightness, hue and saturation. The same color will have a more vibrant effect on dark background, and a darker effect on a light background; pure red will have a redder effect on a yellow background and a more yellow effect on a redder background; grey-red will have a more colored effect (less grey) on gray background than in color.

Let's go back to Chevreul, who in his 1839 work shows that a color will impart an additional tint to an adjacent color. As a result, the opposite complementary color will appear brighter, and non-complementary colors will appear "dirty", for example, yellow next to green takes on a purple tint.

The laws of color contrast occupied Chevreul during his search for adequate color organization, as required for textile production. For this purpose he developed circle of 72 color segments which is specified.
The circle determines color shades based on the various changes that colors undergo towards white (higher intensity) or black (lower intensity). By Chevreul, a gradation of 10 transitions is possible.

It is worth noting that in its color wheel, Chevreul each of rich colors in different radii within its segment. Pure yellow lies closer to the center than pure blue. Pure red lies at point 15 on the scale. The lightness values ​​of the color tone for the various pigments are thus placed in a more suitable position than in previous systems.

IN color wheel Chevreul we find 3 secondary colors (primary mixtures - orange, green and violet) along with three subtractive primary colors (red, yellow, blue), as well as six secondary mixtures. The segments thus arising are thus divided into six zones and each radius is divided into 20 staircase sections to indicate different levels of brightness.

In his hemisphere Chevreul tried to spatially represent colors as bidirectional color wheel(2D). The black axis of the hemisphere becomes a pointer, directing to a certain level of the scale. The numbering will provide for the proportions of the color, for example, 9B/1C will mean that 9/10 of black and 1/10 of the corresponding color is a given shade.

Chevreul was convinced that many different shades of color and them harmony can be defined by relationships between numbers, and he wanted his color system to be a suitable tool available to all artists working with colored material. Although his systems of harmonies, which he characterized as "Harmony of analogues" And "Harmony of contrasts", had great influence, he was unable to discover the law of color harmony. He simply doesn't exist.

IN next lecture I’ll tell you about 2-3 more researchers in the field of color of the 19th century. There is still a lot of material and personalities.

RUNGE, PHILIP OTTO(Runge, Philipp Otto) (1777–1810), German artist and theorist, one of the leaders of romanticism in German fine art.

Born in Wolgast (Mecklenburg) on ​​July 23, 1777 in the family of a merchant-shipowner. As a young man he came to Hamburg to study commerce, but soon (in 1897) he began drawing. He studied at the Copenhagen (1799–1801) and Dresden (1801–1803) art academies; During these years, the Dane N. Abilgaard with his clear classicist style of drawing had a special influence on him. He also experienced a noticeable influence from J. Flaxman. From 1804 he lived mainly in Hamburg.

Already in early period Runge's outstanding talent as a portrait painter was revealed (painting The three of us, or Self-portrait with wife and brother, 1805, not preserved; portraits of his wife, 1804 and 1809; children of Huelsenbeck, 1805; son, 1805, and parents, 1806, artist; self-portraits, 1805 and 1806; all works – Kunsthalle, Hamburg). The somewhat archaic, “naive” rigidity of poses and gestures and the diversity of color do not extinguish at all, but, on the contrary, enhance the poetic, sometimes slightly mysterious charm of these things. The traditions of Northern Renaissance art reflected here also manifested themselves in Runge’s religious compositions - with their surreal color and light effects ( Rest on the way to Egypt, 1805–1806; Christ walking on the waters, 1806–1807; both works – in the same place).

The sum of the master’s mystical moods, on the one hand, inspired by the teachings of J. Boehme, and on the other, associated with the search for the aesthetic absolute, characteristic of romanticism as a whole, was intended to become a four-part cycle Times of day, symbolizing the fusion of man with nature, was supposed to be demonstrated in the form of wall panels accompanied by music and poetry reading, under special lighting. Preparatory drawings for the cycle, with their ornamental and rhythmic emblems, as well as enchanting and fairy-tale colors Morning(the only pictorial sketch made in 1808–1809; ibid.) belong to the number of original anticipations of symbolism and modernity.

Considering the optics of flowers to be the key to the art of the future, Runge corresponded with Goethe about this. Having identified three primary colors (yellow, red, blue) and three derivatives (orange, violet and green), he summarized his thoughts and experiments in the book The ball of colors, or the construction of connections between all mutual mixtures of colors and their complete affinities (Farbenkugel oder Construction des Verhältnisses aller Mischungen der Farben zu einander und ihrer vollstandigen Affinität, 1810), which was a remarkable stage in the development of post-Newtonian optics, still retaining artistic and practical interest.

Runge died in Hamburg on December 2, 1810. In 1840–1841, two volumes of his works were published (along with Ball of flowers- two tales composed by Runge in Plattdeutsch, a Low German dialect, and included in Fairy tales Brothers Grimm: About a fisherman and his wife And Juniper, both 1806, coupled with epistolary heritage).

- (Runge) (1777 1810), German painter, graphic artist and art theorist. One of the founders of romanticism in German painting. He studied at the Academy of Arts in Copenhagen (1799-1801) and Dresden (1801-03). In symbolic and allegorical compositions, Times of Day... ... Art encyclopedia

Runge Philipp Otto- (Runge) (1777 1810), German painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, which are characterized by close attention to nature combined with latent emotionality (“The Three of Us,” 1805); V… … encyclopedic Dictionary

Runge, Philip Otto- Philipp Otto Runge. Portrait of the Huelsenbeck children. RUNGE (Runge) Philipp Otto (1777 1810), German painter and graphic artist, art theorist. Representative of early romanticism. Poignant portraits (“The three of us”, 1805), allegorical compositions... ... Illustrated Encyclopedic Dictionary

Runge Philipp Otto- Runge Philipp Otto (23.7.1777, Wolgast, Mecklenburg, ‒ 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799‒1801) and Dresden (1801‒1803) Academy of Arts. One of the founders of romanticism in German... ...

RUNGE (Runge) Philipp Otto- (1777 1810) German painter and graphic artist, art theorist. Representative of early romanticism. True, poignant portraits (The three of us, 1805), allegorical composition Morning (1808) ... Big Encyclopedic Dictionary

Runge- Last name Runge, Karl (1856 1927) German mathematician and physicist Runge, Boris Vasilyevich (1925 1990) actor of the Moscow Runge Satire Theater, Vladimir Fedorovich (born 1937) Soviet and Russian designer. Runge, Friedlieb Ferdinand (1794 ... Wikipedia

Runge- Philipp Otto (Runge, Philipp Otto) 1777, Waolgast, Pomerania 1810, Hamburg. German painter, draftsman. He studied in 1799-1801 at the Copenhagen Academy of Arts with N. Albigor, then in Dresden (1801-1803). From 1804 he worked in Hamburg. In the early... ... European art: Painting. Sculpture. Graphics: Encyclopedia

Runge- (runge) Philipp Otto (1777, Wolgast, Mecklenburg - 1810, Hamburg), German painter, graphic artist, poet and art theorist; representative of romanticism. He received a commercial education, then studied at the Copenhagen (1799–1801) and Dresden academies... Art encyclopedia

Runge- (Runge) Philipp Otto (23.7.1777, Wolgast, Mecklenburg, 2.12.1810, Hamburg), German painter, graphic artist and art theorist. He studied at the Copenhagen (1799-1801) and Dresden (1801-1803) Academy of Arts. One of the founders of Romanticism in German... ... Great Soviet Encyclopedia

Runge F. O.- RUNGE (Runge) Philipp Otto (17771810), German. painter and graphic artist, art theorist. One of the founders of romanticism. He painted portraits, in which close attention to nature was combined with latent emotionality (The three of us, 1805); V… … Biographical Dictionary

Books

• Classicism and romanticism. Architecture. Sculpture. Painting. Drawing 1750 - 1848, This book is dedicated to the fine arts and architecture of the era of classicism and romanticism. Richness and diversity artistic creativity in the period between Rococo and realism, of course... Category: Cultural studies. Art history Publisher: