And knowingly! However men of means are completely not silly. From pictures the certain charge of the energy directed on those and as other drive of a latent condition always proceeded. Internal condition influences your future affairs in your life. How to define, how truly to choose a picture? Many artists writing landscapes of the nature try to transfer all charm, realness of what they depict. But how to value, that painting which you have got is good or not? How to say “All true – it is simple!”.

The present value of a picture is permissible to estimate what a person has. “What is it?” – you will ask. Everything is very simple: Feelings. Yes, yes! Impressions, emotions which are betrayed by a picture it is permissible to learn what it actually represents. If the picture causes negative feeling from within and as in general that does not cause even if in a case if this picture of the most famous artist then it is a picture which costs nothing.

At one time it was fashionable to arrange exhibitions of erotic art. Even turns were built in regional showrooms: public aspired to be convinced that poet Hlebnikov did not say lies, having said: “Freedom comes nude”. In an erotic wave of that time any intellectual maintenance was not looked through. And those exhibitions were, frankly speaking, extremely poor.

There was at least without a deceit and without claims for a high art.

A new spectator generation cannot be got by erotic baits. What is the use from an exhibition in a nu genre, if there is only an elastic body and no drop of imagination? It is not that from a loin the philosophy necessarily should be born, but the spectator all the same would like to catch certain “surplus value”… In this sense the exposition of “nude” looks almost exemplary. On the one hand, the promised naked men and women are really present, and even at fair quantity, with another – there is a possibility to occupy not only libido, but also other feelings.

The era was one for everybody, and here heads and hands are arranged in own way. The general denominator is deduced hardly that it is necessary to enlist pluses to organizers, instead minuses. To make a similar exhibition harmonious and conceptual would mean to go against a reality, obviously to simplify a motley picture. The human anatomy does not vary already for thousands of years; however at the sight it is subject to essential vibrations.

Well, to choose a picture is not an easy process. And the buyer should come to it with all the proper considerations and willing.

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Many of known today collectors began with zero: visited art interiors, consulted to experts, choosing their interesting style. Among the people who are putting up money in art, there are the most different: from mathematicians to financial analysts. They have managed to consider advantages of the given business allowing not only to put up money profitably, but also to have possibility to be among the fine.

It is considered that the most profitable is an investment of money in antiques because the given market is enough developed and has the already certain game rules. Thus the buyer has a confidence that the got picture will not go down in price unlike modern products, therefore they perfectly approach for investments of a long period. Naturally at the moment it is almost impossible to buy a picture of a brush of the great artist for a low cost. It is connected with the fact that the most part of works is already stored in private collections or museums. Even if masterpieces also appear in the market, their will cost considerable. Though thus experts do not give a guarantee about authenticity of product, therefore it is more preferable for a beginner to buy something less valuable.

According to the opinions of owners of galleries and dealers, recently not only sellers differ in high literacy, but also buyers who prefer to refuse purchase if authenticity of a picture is not confirmed. The best protection against fakes for today is the special certificate and consultation of experts. The greatest percent of experts is made by museum workers – were or operating, each of which, as a rule, has a narrow specialization.

Modern art cost in times less than antiques though it increases quickly enough. However to the beginner it is uneasy to understand variety of the modern art which is presented by various styles: a drawing, a photo or products of abstract artists. Without a professional advice it is not possible to manage.

It can seem to any uninitiated that pricing in the market of modern works of art develops chaotically. Actually, according to experts, cost is defined by the established criteria. To begin with cost is influenced by not so much quality of a picture, but by the biography of the author: participation in exhibitions, galleries. If the part of products of the artist is already stored in known museums it already specifies in popularity of the master and accordingly does an investment of money more profitable.

According to experts, it is not necessary to search for ingenious artists in the street, not recognized geniuses do not exist presently. All of them were found already by galleries, presently not only art salons search for talents, artists constantly offer the products. Undoubtedly, at the moment the picture of the modern artist is much heavier for selling, however in due course investments into modern painting become more favorable, than in antiques.

In recent times the modern photo was appreciated, today more fashionable is figurative painting. Private persons most often purchase decorative art though Russia was considered the native land of abstract art. The photo basically is got by fans, trying to put up money in the most known names. And except the biography the product price is influenced by the level of the artist and its special thinking developing in a context of world directions.

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Small points, strokes or the strips of various colors put on a surface, from certain distance seem monophonic, and various colors merge in one color.

The first law of optical mixing consists in the following: to any chromatic color it is possible to choose another chromatic color, which at optical mixture with the first in the certain quantitative relation gives an achromatic color.

Colors, which in optical mixes can give an achromatic color, name mutually complementary colors. It can be only strictly certain colors. To ultramarine additional is lemon-yellow color, to carmine-red is bluish-green (color of emerald greens), to lemon-yellow is ultramarine and to bluish-green – carmine-red color.

The second law of optical mixture consists that at optical mixture of not complementary colors you will get the color tone intermediate between mixed colors. At mixture of yellow with red, you will get orange color, at mixture of yellow with green it will be dark blue color, etc.

The third law of optical mixture consists that colors, which look equally, in optical mixes give the same results irrespective of what physical structure of the light streams causing sensation of these colors. For example, identical on color monochromatic orange, which has length of wave 610 microns and the same tone the orange, got from waves of 590 and 630 microns, in optical mixes with other colors give absolutely identical results, though in one case color monochromatic, and in the other difficult. However results of an optical color mixture differ from results of mixture of paints, which use artists in painting practice.

Artists often apply in painting laws of optical color mixtures. It is known that at the heart of creativity of post-impressionists lie laws of optical summation of colors and contrast laws. Referring to laws of optical color mixtures stated in the book of Shevrel, Pol Sinyak insisted on advantages of an optical color mixture in painting in comparison with usual mixture of paints. In the program book of post-impressionism of Pol Sinyak, it was written: “Any material mix leads not only to blackout, but also to the decolouration, any optical mix, on the contrary, leads to clearness and shine”.

At optical mixture of complementary colors and close to them also there is a color decolouration.

Laws of optical mixture in art practice knew not only a post-impressionists, but also masters of ancient painting, founders of Pompeii painting, masters of the Venetian school of painting of the High Renaissance, Diego Velasquez and many other artists.

In painting were used and will be used methods of an optical color mixture, but to consider them it is possible only as one of possible method of construction of a color system or color of a picture.

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All achromatic and chromatic colors are advanced by one characteristic – lightness, or relative brightness.

Lightness is a relation of a stream of light reflected or dropped by the object, to a falling stream; it is expressed in relative units. From here follows that than more close the color characteristic to unit, that it will be lighter: the darkest places have lightness, close to zero.

The color saturation is a degree of difference of chromatic color from achromatic of the same lightness.

In a chromatics often measure not a saturation perceived visually, and so-called cleanliness, or colorimetric saturation of color, which is advanced by the relation of brightness of a spectral component to the general brightness of color. Color purity – relative size also is usually expressed in percentage. Cleanliness of spectral colors is accepted for unit, or for 100 percent, and cleanliness of achromatic colors is equal to zero.

Knowing color tone, lightness and color saturation, it is possible to measure any color quantitatively. The slightest change of one of three sizes advancing color involves color change.

The method of definition of color under these three characteristics, convenient because it is possible to advance color quantitatively, is successfully applied in various areas of a science and engineering, including in printing industry, textile production, color television, etc. where to color measurement apply special devices – spectrophotometers and colorimeters of various systems. All methods of definition of color in colorimetry are based on comparison of colors, which lie in one plane and are in identical conditions of illumination.

In painting at work from location the artist should analyze and compare the colors inherent difficult under the form in volume objects or subjects, which, as a rule, are in an environment of the color environment or subjects of other color and which are possessed on several, sometimes rather removed from each other, plans and, hence, various conditions of illumination.

Coloring in painting.

Coloring in painting – the major element of the art form serving to disclosing of the figurative contents of works of art. The term “coloring” occurs from a Latin word “color” that means color or paint. Coloring in painting is a character of interrelation of all color elements of product, its color system as one of means of the truthful and expressive image of the validity. Throughout centuries, since XVI century, among artists there was a dispute on a primacy of the form or color, drawing (line) or color and painting, which was decided basically idealistically in search of the absolute, in a separation of one concept from other. Artists of Renaissance evaluated drawing as a painting fundamental principle, but during the same epoch along with linear school of Florentines, there was a pictorially-color school of Venetians – Titian, Veronese and some others.

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Color problems under various points of view are learned at the present in variety of sciences and scientific disciplines. The physics studies the power nature of color, the physiology – perception process by human eye of waves of certain length and their transformation into color, psychology – problems of perception of color and its influence on mentality, the biology – value and color role in ability to live of lively and vegetative organisms, the mathematician develops techniques of measurement of color.

In the theory of painting art and picturesque practice are studied mainly aesthetic properties of color, law of creation of color system, color of picture, various receptions of use of contrasts, parity of color with other components of the art form, such, as line, plastic arts, treatment of light and shade, color role in composition picturesque work.

The main criteria of estimation of color and color combinations in art practice of the fine arts are their beauty, conformity as to natural color and the color combinations existing actually, and creative plan of the artist.

Laws of coloristic combinations in painting are processed by creative consciousness of the artist of certain laws of the objective validity.

Color harmony, color, the contrasts existing actually, the artist in own way perceives, generalizes, interprets according to creative plan, and sometimes and considerably transforms, reconsiders.

The knowledge of scientific representations of color can’t replace, of course, necessity of studying by the artist of the nature in all its variety and complexity of displays of forms and colors, but can essentially enrich art practice as it was repeatedly observed in the history of arts.

Scientific knowledge of color is necessary for the artist and for development of technology of painting. The picture paint layer is perceived by the spectator thanks to variety of physical processes – to reflection, refraction, absorption, dispersion, radiation, etc.

Conditions of exposition of products of painting also demand the accounting of many optical laws.

In the fine arts, and particulars and in painting, in each specific case – the phenomenon unique, and it is impossible to reduce art creativity to the scheme. The artist creates not under recipes, almost each artist has creative technique, creative principles, the secrets of skill quite often based on intuition. In creative process rather important role belongs to intuition. In materialistic understanding of intuition, to sudden “inspiration” of the artist precedes the job of consciousness hidden from the author, organizing and subordinating certain laws external, apparently, chaotic impressions.

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All variety of world around we see thanks to the light and sight. Various heated objects – the sun, lamp filament, the heated metal, gases, oil lamp flame, fire etc., which are named light primary sources, radiate the light. The structure of light shining various subjects, appreciably influences on visible by the person color of these subjects.

Under the influence of light waves, with fluctuations of different frequency, the person has various light and color sensations. Light extends waves of certain length. The length of wave is distance on which extends fluctuation for one period, i.e. for time necessary for one full wave. The length of light wave is designated by the Greek letter λ, and measured in micrometers. (Micron).

The visible spectrum, i.e. the waveband perceived by the person, is limited by waves in length approximately 396-760 microns. Some researchers consider that the eye of the person is capable to feel light beams in limits of 802-950 microns, however sensitivity of eye to extreme visible beams in hundreds times are less, than to light beams with length of wave 396-760 microns.

Direct light of primary sources (the Sun, etc.) falls on surrounding subjects and the objects, thus opaque subjects absorb part of beams, and reflect part of them. Color of opaque subject is defined by light, which from it is reflected. At transparent subjects or having in the structure gleams or micropores (for example, fabrics) part of beams is reflected, part is absorbed also the part is passed. As a result, all subjects and objects become source of reflected light, and enough considerable, as for example, the Moon, the Earth, heavenly bodies, etc.

Thus, all subjects and objects in the nature are illuminated by both direct, and reflected light.

Newton has formulated for the first time thought on difficult structure of white sunlight. If to put glass of trihedral prism on way of solar beam, instead of white light beam there will be color strip from the various colors, named spectrum. Colors in spectrum settle down in certain order: red, orange, yellow, green, blue, and dark blue, violet. Each color gradually, without sharp borders, by means of set of intermediate colors passes in other color. The same pure, bright, spectral colors can be seen in rainbow.

The colors that differ by different chromaticity (red, orange, yellow, green, blue, dark blue, violet) are named chromatic (color).

In spectrum there are no white, grey colors, and also black color. These colors, which are absent in spectrum, it is possible to distinguish only on lightness. Group of white, grey and black colors are named achromatic (colorless).

Chromatic colors differ from each other to three signs: to color tone, saturation and lightness.

Learn more about colors and your paintings will become better! Good luck!

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The history of addition and development of various genres of painting is the live certificate of indefatigable job of the human consciousness, aspiring to capture infinite variety of activity, aesthetically to comprehend it.

Still life is rather young genre. In Europe it has received independent value only in the seventeenth century. The history of development of still life is interesting and instructive.

Especially full and brightly the still life has blossomed in Flanders and the Netherlands. Its occurrence is connected with those revolutionary historical events in which result these countries, having received independence, in the beginning of seventeen century have taken way of bourgeois development. For Europe of that time it was the important and progressive phenomenon. Before art have opened new horizons. The historical conditions, new public relations directed and defined creative inquiries, changes in the decision of problems facing to the painter. Directly without representing of historical events, artists have in a new fashion looked at the world, have found new values in the person. Life has appeared before them from new relevancy and completeness. They were involved with features of national life, the native nature, prophetic, storing on them mark of works and days of simple people. From here, from conscious, deepened, system of the prompted interest to people’s life was born the isolated and independent genres of household picture, landscape; there was also still life.

The art of the still life, which has developed in the seventeenth century, has defined the basic qualities of this genre. The picture devoted to the world of things, told about the basic properties inherent in subjects, surrounding the person, opened the relation of the artist and the contemporary to that is represented, expressed character and completeness of knowledge of the validity. The painter passed material life of things, their volume, weight, the invoice, color, functional value of subjects of use, and their live communication with activity of the person.

The beauty and perfection of house utensils were defined not only their necessity, but also skill of their founder. In still life of revolutionary epoch of winning bourgeoisie was reflected the respect of the artist for new forms of national life of compatriots, respect for work.

Formulated in the seventeenth century, genre tasks in general existed at the European school up to the middle of the nineteenth century. However it doesn’t mean that artists didn’t put before themselves new tasks, mechanically repeating ready decisions.

Throughout epoch, varied not only methods and ways of the picturesque decision of still life, but art experience collected, in the course of formation developed more difficult and constantly enriched sight at the world. Not one subject as that, but its various properties became object of transformation, and through disclosing of again understood qualities of things was expressed the own, modern relation to the validity, revaluation of values, measure of understanding of reality.

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In still life is expressed the relation of the person to world around. In it is that understanding of perfect, which is inherent in the artist as to the person of his time.

Art of object for a long time, even long before transformation into independent area of art creativity, was integral part of any considerable product. The still life role in picture was never settled by the simple information, casual addition to the basic maintenance. Depending on historical conditions and public inquiries, subjects more or less participated in creation of image, shading this or that side of plan. Before the still life has developed in independent genre, the things surrounding the person in ordinary life, only to some extent entered as attribute into antiquity pictures. Sometimes such detail got unexpectedly deep relevancy, received own sense.

As the certain kind or genre of painting, still life knows its raising and falling in the history of art.

Severe, intense-ascetic art of Byzantium, creating the immortal, is monumental-generalized, loftily heroic images, with unusual expressiveness used images of separate subjects.

In Old Russian iconography also played big role those not numerous subjects, which the artist entered into the strictly initial products. They brought spontaneity, vitality, and at times it seemed open expression of feeling in the product devoted to in abstracto mythological plot.

Also the still life played the big role into pictures of artists of XV – XVI centuries in Renaissance. The painter, who has paid steadfast attention to the world surrounding him for the first time, aspired to specify place, to define value of each thing serving to the person. Household articles got nobleness and pride relevancy of their owner, the one to whom they served. On the big cloths the still life took usually very modest place: glass vessel with water, graceful silver vase or gentle white lilies on thin stalks huddled in picture corner more often. However in the image of these things there was so much poetic love to the nature, their sense is so highly spiritualized that here it is already possible to see all lines, which have defined further independent development of the whole genre.

Subjects, material element has received in pictures new value in seventeenth century – during the epoch of developed still life genre. In complex compositions with literary plot they have taken the place along with other heroes of product. Analyzing products of this time, it began possible to see what important role still life played in picture. Things began to act in these products as the main characters, showing that the artist can reach, having devoted to this kind of art the own skill.

The subjects made skilful, hardworking, wise hands, bear the impress of thoughts, desires, inclinations of the person. They serve to him, please him, and inspire real pride.

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Many experts and theorists of art were interested in questions of emotional influence of color on the person – Leonardo da Vinci, I. W. Goethe, E. Delacrua, M. Deribere, M. Alpatov, I. Grabar, N. Volkov, etc.

About influence of color on mentality of the person and its use in medical practice writes M. Deribere: “Green color influences nervous system. It is soothing, hypnotizing color. It is effective at nervous irritability, sleeplessness and weariness, it lowers blood pressure, improves tone: it creates sensation of heat, expanding capillaries. Facilitates neuralgia and the migraines connected with the raised blood pressure. Green color calms, and its use don’t give any harmful consequences.

Blue color is antiseptic color. It reduces suppuration, can be effective at some rheumatic pains, at inflammations and even at cancer treatment. The sensitive person facilitates the blue more than the green. However, from too long irradiation by blue light occurs some weariness or depression.

Orange color stimulates feelings and slightly accelerates blood pulsation. Doesn’t influence blood pressure: creates feeling of well-being and fun. Has strong stimulating action, but can tire you.

Yellow color stimulates brain. It can be effective in case of intellectual insufficiency. The long irradiation interferes with fluctuations in clinical course.

Red color is warm and irritating. It stimulates brain, is effective for melancholy.

The violet color influences on heart, lungs and blood vessels, it increases endurance of tissues. Amethystine color has stimulating action of red color and tonic action of blue”.

For a long time of historical development in consciousness of people were fixed certain associative connections of various colors or color combinations to the different vital phenomena.

During the separate periods of history of the fine arts the color symbolics possessed the important role, for example in the Middle Ages art.

In religious West European art were applied white, red, green, black and blue colors. White color personified cleanliness and purity, red – blood sacred, green – hope of immortality of soul, blue color symbolized grief.

It is known symbolical value of each color in Russian iconography, caused by various art currents, both local, and introduced of Byzantium and from southern Slavs.

Various colors and their combinations in art of the different people symbolized pleasure and grief, life and death. However, the same colors at the different people personified often various emotional and reality situations. For example, if at the Slavic people color of mourning is black, at some east people color of mourning is white, etc.

In art works separate colors were allocated with certain symbolical semantic loading during the various periods, but it appeared unstable even during the same historical epoch.

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Artists used the contrast phenomenon from painting occurrence. But the first it was described by Leonardo da Vinci: “From colors of equal whiteness and equally removed from eyes that will be the purest by sight, which is rounded by the greatest darkness, and on the contrary, that darkness will seem to the most gloomy which will be visible at the purest “whiteness”, each color is distinguished better on the contrast”. At studying of the phenomena of contrast from the scientific point of view allocate two aspects of problem – psychophysiological and aesthetic. The conclusions received at studying of the phenomena of contrast by psychologists and physiologists, can form objective scientific basis for studying of the theory of contrast in art practice as one of means of art expressiveness in painting.

The artist in creative practice studies laws of displays of contrast: he observes and studies, first, contrasts in constantly changing nature and, secondly, on image plane (paper, cardboard, canvas) contrast influence of two or several color tones, or dabs. Subject of studying for artists is also dependence of contrast on the areas of color calling this phenomenon. Contrasts are divided on two groups – achromatic (light) and chromatic (color). In each of groups distinguish three kinds of contrast: synchronous, consecutive and boundary (or regional).

Synchronous light contrast.

Artists often are faced the phenomena of achromatic, or light, contrast, which essence consists also that the light stain seems lighter against a dark background, and dark on light is more dark, than it is actually. In the first case contrast name positive, in the second, case – negative. Conditionally clearly, surrounded with more light or dark tone, name “reacting field”, and background – inducing field.

Researches of simultaneous light contrast have revealed that the reacting field always changes lightness more considerably, than inducing that at excessively big brightness the contrast phenomenon weakens that the effect of simultaneous light contrast depends both on absolute brightness, and from difference of brightness reacting and inducing field. At very low or high distinctions in brightness contrast is absent or is rather insignificant. Simultaneous light contrast depends on the size of the areas of reacting and inducing field. The less reacting field, the more strongly owing to contrast it lightens. At equal brightness the big area of reacting field always seems more darkly of the smaller area of inducing field.

Simultaneous light contrast depends also on configuration of reacting field (the circle, ring, square or the letter on the same background on an equal illumination are accompanied by contrast of various force) and from distance between reacting and inducing fields. Force of contrast usually decreases at distance increase between contrasting fields. Simultaneous light contrast is shown not only in dimness or lightening of reacting fields, but also in seeming change of their sizes. The light stain against a dark background seems more than it is actually and on the contrary, the dark stain on light background seems less. Seeming change of the linear sizes at simultaneous light contrast is called irradiation. Leonardo da Vinci, who also paid attention to the irradiation phenomenon, said: “From the subjects equal on darkness, size, figure and distance from eyes, that will seem smaller, which will be visible on the brighter or white field”.

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