Analyzing Itten’s Color Theory in Painting

This paper focuses on the theme about the seven shading contrast which is drawn by an extraordinary Swiss expressionist painter named Johannes Itten. Accordingly, this paper would likewise render unequivocal consideration in investigating and evaluating the utilization of shading in two unique artworks which are made by two particular specialists, using the said seven shading contrast done by Johannes Itten. The paper clutches the motivation behind looking into the specific utilization of shading in the works of art of Leonardo Da Vinci (Virgin of the Rocks) and Jan van Eyck (The Arnolfini Portrait) by methods for using the shading hypothesis of Itten. The accompanying would be talked about: †¢ Understanding Leonardo Da Vinci’s Virgin of the Rocks †¢ Discussion on Jan van Eyk’s The Arnolfini Portrait †¢ The Virgin Rock and The Arnolfini Portrait At the finish of the paper, this would render positive data that would appropriately separate Leonardo Da Vinci’s (Virgin of the Rocks) and Jan van Eyck’s (The Arnolfini Portrait) as far as using hues in their compositions. Understanding Da Vinci’s The Virgin of the Rocks. Leonardo Da Vinci, as one of the incredible painters in the old history of painting, utilizes a methodology and system in utilizing shading for the â€Å"Virgin of the Rocks† or potentially some of the time alluded to as â€Å"Madonna of the Rocks† which portrays similar attributes of differentiation between the light and dim.. Thus, as recognizable and clear in his canvas, Leonardo Da Vinci’s essential utilization of shading is set to give an image of aesthetic blend between the light and dim hues. Much the same as numerous extraordinary painters in his time, Da Vinci’s utilization of shading in his artistic creation is respected to be monochromatic, wherein he generally used different darker shades, grayer tones, and paler tints that render incredible detail recognizing the light and dark. In the said painting, Da Vinci’s utilization of light shading is explicitly arranged in giving clear subtleties of the face and position of the articles and the environmental factors that unmistakably uncovers the shade of light and dull hues in the stones. As such, Leonardo Da Vinci’s fundamental use of light and dull hues in the work of art is his own methodology in delineating the best possible introduction of the impacts of lighting in giving clearness and feeling to the visual. Subsequently, through this far reaching perception, it very well may be said that Da Vinci’s utilization of shading in â€Å"Virgin of the Rocks† falls under the classification of â€Å"contrast of light and dark† and â€Å"contrast of saturation† in Itten’s seven shading contrasts as his work of art is fundamentally made out of light and dim hues which are in like manner and inconspicuously used to mean single delineation. Conversation on Jan van Eyk’s The Arnolfini Portrait according to the artwork and work of Jan van Eyck’s entitled â€Å"The Arnolfini Portrait,† which is likewise alluded to as â€Å"The Arnolfini Wedding† and â€Å"The Arnolfini Marriage,† the essential position and utilization of shading depicts a relative criticalness and incentive in sythesis of the canvas. Not at all like Leonardo Da Vinci’s â€Å"Virgin on the Rocks,† where he for the most part used light and dim hues, which came about to a monochromatic canvas, Jan van Eyck’s organization â€Å"The Arnolfini Portrait† is in a general sense loaded up with splendid and shining hues, which convey a solitary objective of portraying the well off way of life of â€Å"Giovanni di Nicolao Arnolfini,† the man who is with his significant other in the work of art. Jan van Eyck’s essential utilization of shading in the said painting is set to portray life and draw an image of authenticity. In this way, van Eyck’s has utilized distinctive brilliant hues to introduce and improve the exactness of life and real picture and fine subtleties of the lounge room where Giovanni Arnolfini and his better half are standing. Likewise this, using brilliant and vivacious hues, Jan van Eyck can render unmistakable subtleties in the work of art, for example, the shadow of Giovanni Arnolfini and his better half and the shade of light that originates from the window. The utilization of brilliant hues additionally gives subtleties on the lighting and the beam of light originating all things considered, which goes through the window that thinks about the half piece of the ceiling fixture and through the substance of Giovanni Arnolfini and his better half. Therefore, Jan van Eyck’s utilization of shading for this canvas is arranged as the difference of supplements. Virgin of the Rocks and The Arnolfini Portrait Through an intensive investigation and appraisal of the two works of art, it is said that there are apparent and recognizable similitudes and contrasts as far as the utilization of shading. According to the likenesses of the two works of art, it is apparent that both of the painters, Leonardo Da Vinci and Jan van Eyck, have used hues so that it bolsters their objective of delineating authenticity and nearness of life in their articles in the artistic creation. Hence, the two craftsman and their artworks are additionally furnished with the most reasonable hues in setting up the nearness of lighting as well as the wellspring of glow so as to additionally feature authenticity and life. One might say, it very well may be said that the works of art and magnum opuses of the two craftsmen contrast from one another as far as their particular utilization of specific sorts of hues. In constrast to the canvas of Leonardo Da Vinci’s â€Å"Virgin of the Rocks,† Jan van Eyck has used generally brilliant and shining kind of hues to have the option to feature authenticity and upgrade the veritable image of life in Arnolfini’s well off life and the magnificence of their lounge room along with his better half. Leonardo Da Vinci, then again, has mostly used a mix of light and dull hues to introduce life and give subtleties of lighting in his artistic creation, which render and draw the fitting feelings of the picture. At long last, it very well may be said that the old style compositions of Leonardo Da Vinci and Jan van Eyck, which are entitled â€Å"Virgin of the Rock† and â€Å"The Arnolfini Portrait† are indistinguishable so that these two craftsman have utilized hues to have the option to accomplish their principle creative objectives, which is that of delineating authenticity and placing more life into their works. Subsequently, the two artistic creations just contrast from one another as far as the specific hues that they use in its organization. As Leonarod Da Vinci has used a greater amount of the light and dim kinds of hues, Jan van Eyck has utilized for the most part brilliant and glossy blends of tints to upgrade the nature of his work of art and accommodate the energetic highlights of his portrayal on the life Giovanni Arnolfini. Work Cited Itten's Color Contrasts. Inventive Commons License. Seen 12 March 2009 ;http://www.worqx.com/shading/itten.htm;