the R-YG line segment can be used.
In my new book, The Color Investigations of Robert Henri, I not only discuss Henri’s development of each palette design, but I also include a practical lesson at the end of each chapter. This is important because each artist must find their own way, transforming the palette to suit their individual needs and the needs of their image-making. The practicals form the foundation upon which each artist can begin their own investigations to further their practice. They can also incorporate pigments from their personal palette. Henri was strongly opposed to imitation and urged his students to discover and develop, through experimentation, the means and techniques necessary to assist their work.
In Volume 1, Chapter 8, I discuss Maratta’s various methods for setting limitations on the Full Spectrum Palette. His use of analogies and chords are two of these set limitations. Henri used chords throughout his life, and they constitute the primary design that spans his work from 1910 to 1929. There is something spectacularly beautiful and straightforward about this design that optically heightens color interaction and focuses the emotional tenor of one’s image, which Henri found most intriguing.
The practical I give in Chapter 8 is the major chord R-YG-B. This chord contains two primaries and one tertiary, indicating that it is a major chord. The illustrations, Volume 2, Image 8-10 and 8-11 display this chord using these pigments:
- R: Permanent Madder Deep [PR 264] + English Red [synthetic iron oxide]
- Y: Cadmium Yellow (W&N) + Viridian
- YG= Y + B
- B: Ultramarine Blue + Ivory Black
The combination of these pigments produces three root notes that are balanced in intensity across the chord and have less value contrast between the root notes. In this blog, I would like to demonstrate how this changes if the pigments vary in intensity and value across the root notes. If instead, I used:
- R: Cadmium Red Vermilion + Permanent Madder Deep
- Y: Azo Yellow Lemon (Old Holland) + Viridian
- YG= Y + B
- B: Ultramarine Blue French
Note that the YG is highly intense and of a much lighter value than the R and B. The R is also intense, but I have reduced its value and lowered its chroma by adding Permanent Madder Deep to the mix. The B is the weakest pigment and has the darkest value. By varying the choice of pigments, I can manipulate the value and intensity of the root notes to suit each image. This allows for an infinite variety within the same chord structure. As the root notes change, the character of the chord changes.
Chord R-YG-B, Partial Expansion, 3-9 mixes, including the Bi Colors and the Hues:
Note that the root notes, when mixed, impart intensity to the Bi Colors. Note also how the intensity of the root notes extends into the Hues, maintaining a redness, greenness, and blue-grayness, and not becoming entirely neutralized. Note how this triad differs from the one in Volume 2, 8-10, where the Hues are neutralized to a greater extent (but still maintain their color character). The bottom neutral is derived from the root notes R-YG-B. This root note, YG, which at first appears impractical, is a color that Henri used quite often for flesh tones. This color appears again and again in the Paint Notebooks. When this YG is mixed with R, it creates a beautiful, warm flesh tone. I have used this mix consistently in my figurative work. The R here is the one I use frequently for both flesh tones and landscapes. Note the beautiful, more neutral tones in this chord. These tend to occupy transitional passages and those indescribable tones that are hard to identify. These tones harmonize well with the intense notes. They can also be used to reduce the intensity of any mix within the palette. Note the possible interplay between such colors as the R Hue and the G Bi color or the O Bi color and the B root note ( simultaneous contrast). These 9 mixes could be expanded to include 30 mixtures [See Volume 2, Image 8-11].
When you begin your experiments with the chords, try several pigments of different values and intensities and see where this leads you. Each artist has a specific key that they tend to work in. Setting the root notes to align with your personal key is one of the many advantages of this type of limited set palette. Henri expresses his thoughts with his students [who are studying a set palette derived from the Full Spectrum Palette],
I offer this one process, without prejudice, because I think that it will fit the ends I see you working for. You will find that by its use you will be able to acclaim the notes which give life to your subject, to make your canvas more rich and full, with harmony and contrast of color. It will help you in the simple net statements of value, whether they be values of color or values of black and white.
[The Art Spirit, p.36]
