When one thinks about the paintings of Robert Henri, one thinks of the vibrancy of his color palette. But Henri’s method was multi-layered. What Henri sought in his images was a balance between high-intensity colors and what he called “grave” colors. Henri felt that the grave colors actually gave the feeling of mystery and “aliveness” to the painting, not the more intense colors which appear relatively flat in their brightness. Henri consistently experimented with these semi-neutrals in the form of Bi colors and Hues. These semi-neutrals act as a foil to the more intense colors revealing their inherent richness through juxtaposition.
When I paint from life, which is my typical way of working, I sometimes wish to find a specific semi-neutral color that is not made by combining a pair of complements. These semi-neutrals can be arranged to mirror the full-intensity colors along the spectrum. What I am looking for, in this case, is a semi-neutral, what Henri called the Bi color, that would fall within the area of a tertiary. The tertiaries along the spectrum are OY-YG-GB-BV-VR-RO. So, I am looking for a tertiary color that is semi-neutralized.
Painting from life, the artist uses many combinations of tertiary mixes. What I have found is that tertiaries that are semi-neutralized are inevitable in my paintings. But instead of feeling my way to these neutralized tertiaries, I have mapped out my understanding of these combinations so I can call them up when I need them without a flurry of indecision or hesitation. Since I am not mixing the high-intensity color first and then lowering its intensity with a neutral or complement, I need to know what combinations of colors along the 12 intervals of the full spectrum will immediately give me my semi-neutralized tertiary.
Arthur Pope, who studied with Denman Ross at Harvard University, studied semi-neutrals and their spectrum relationship. Pope arranges a series of spectrum colors placed against their complement. Each color follows its place along the full spectrum. In this example, Pope begins with V set against its complement, Y . When mixed, V and Y form a neutral(N). Pope then indicates an alternative to this type of mixing by shifting to the near-complement to mix a semi-neutral (center column in small script). This type of diagonal mixing to produce a semi-neutral was Denman Ross’ basic mixing method for most of his set-palettes.
Arthur Pope, Type B Palette, warm version.
Mixing the near-complement, in this case, is mixing 2 colors at an interval of the 5th. An example: VR is mixed with Y to create a RO semi-neutral color. Mixing the complements to create a total neutral is mixing at an interval of the 6th. Observe how the semi-neutral mixes follow the spectrum by looking at the center column (in small script). Each mixture of a near-complement produces a semi-neutral (primary, secondary or tertiary mix). In the left arrangement, the semi-neutrals descend from a G-YG-Y-OY-O-RO to black. In the right arrangement, the semi-neutrals descend from a R-VR-V-BV-B-GB to black. This is Pope’s Type B Palette (with warm colors at full intensity). The 2 columns, right, and left, display the mix for one near-complement and then the other, available for each color. An example: OY + B (left); OY + V (right). Both B and V are near-complements to OY.
Both Robert Henri and H.G. Maratta understood this principle. Henri applied it in some of his Late Palettes based on the chromatic circle B-O which follows Pope’s diagonal mixing. One thing unique to Maratta, though, was his understanding of intervals between colors. Ross often used regular intervals for each of his numbered palettes (especially before meeting with H.G. Maratta). But Maratta often chose unequal intervals such as his Chord palette designs based on the interval combinations of 3-4-5. It is this 4th interval that I wish to examine here.
An interval of the 4th will produce a series of semi-neutrals if I begin with a tertiary as my root note. If I mix two tertiaries at 4 intervals apart, I will mix a semi-neutral. Here is a chart I have designed to organize my thoughts about mixing the semi-neutrals. Note that the tertiaries appear in a sequence that mirrors their progression along the spectrum. I have repeated the tertiaries in 3 columns to cover all combinations. You will see that each triad is repeated in a different order, but I have kept both as a way to understand the color movement along the spectrum.
Semi-Neutrals at the 4th Interval using tertiary mixes.
I have also grouped them into three’s horizontally. If I mix each horizontal triad of tertiaries, I can produce a complete neutral. An example: The top line is made up of VR-OY-GB. If I examine these colors, I have the three primaries and the three secondaries contained within these colors. This means that when all three colors are mixed, I will produce a complete neutral. This is not a chord but a different kind of color arrangement.
Note also that to create these semi-neutral tertiaries mixes, I am mixing at the 4th interval. If I look at each line in this chart, I find that the semi-neutral obtained from the mixed combinations is the missing tertiary between the two tertiary notes. An Example: VR + OY= RO semi-neutral. The RO naturally appears between the VR tertiary and the OY tertiary. The color skipped is the semi-neutral produced by mixing the VR and the OY. This makes this chart easy to remember.
Robert Henri understood that semi-neutrals could be produced using multiple color combinations. Even within the Chord palettes, sometimes Henri would get a semi-neutral of a RO Bi one way and on the next painting produce a RO Bi with a different set of mixes. A semi-neutral tertiary occurs in some of the chords if the 4th interval begins on a tertiary color. If it begins on a secondary, you will produce one of the Hues. For example, if I take O as my root note and count 4 intervals, I will come to G. O + G = Y Hue.
This chart is my invention, but Henri and Maratta understood its structure. I use this chart, especially when landscape painting, to help me identify which tertiary combinations will give me the semi-neutral that I observe in front of me. These color combinations are optically more interesting than a semi-neutral created from a pair of complements, especially if you allow the tertiaries to be only partially mixed.
On October 16, 2021, I presented at the Robert Henri Museum in Cozad, Nebraska. The conference included the Robert Henri family presenting on managing Henri’s legacy and estate and Valerie Ann Leeds, the foremost art historian on Robert Henri, who presented on Henri’s public persona and the artistic choices that led to his fame. I invite you to watch a video of my presentation The Color Investigations of Robert Henri.
Hi Judith,
As usual a very interesting paper and two questions occurred to me.
One, would you initially start with warm or cool colours, or would you use both. I find that the colours produced from cool colours are cleaner.
Two, before mixing the semi-neutrals, are your 6 tertiaries mixed only from your 3 secondaries? And are the 3 secondaries only mixed from your 3 primaries? In this case, all colours are based on the 3 primaries selected at the outset.
Best, Paul Holman
Hi Paul,
Warm or cool colors? The tertiaries follow the spectrum band therefore half are relatively cool and half are relatively warm. I think one should have a balance between the cools and the warms. Many paintings are just too one-sided as to color temperature. My tertiaries are mixed by combining a primary and a secondary or mixing all the intervals between the primaries first to create the secondaries and tertiaries. Do I always use the three primaries to mix all of my colors? yes and no. Both ways will work- all mixes derived from the 3 primaries or from a combination of primaries and secondaries. Right now, I am using a palette in which I have suppressed the BV-V-VR portion of the palette. So in this case, I am using a V that begins at a low intensity before I mix the tertiary mixes. These palettes are not rigid but flexible to your needs at this moment and can be adapted to other needs that may arise in the future.
Best,
Judith
Hi Judith,
Thank you for your thoughtful response. A follow-on point if I may. My reference to warm and cool colour choices was with respect to using a palette of i.e. cool yellows, cool reds and cool blues, versus using warm yellows, reds and blues. If I understand your response, there would be no set preference as per Henri, but rather selections would made based on the subject matter.
Best, Paul
Yes, that is correct. The choice in the three primaries is up to the individual and Henri would often change his choices depending on the series of images or the specific palette design that he was working on.