Yet I rarely see that intensity in past plein studies except perhaps in the later Impressionists. So why do many painters recoil in horror from certain pigments, like permanent green light or pthalo yellow green? Why do many artists banish green from the palette?Ī friend of mine who is a landscape painter said, “One thing I've been noticing in doing studies outdoors recently is that the greens are very intense, often a pale acid yellow green in the grass when sunlight is on it. The human eye is more sensitive to green wavelengths than to any other that’s one reason why flourescent lights are designed to give a peak output in the green range. The word “green” is occurs more than twice as frequently as “yellow” in modern written English. Many modern psychologists and color theorists regard it as a primary, not a secondary, color: indeed green is a primary color of light. There is no doubt that green is a fundamentally important color. Here is a plein-air study where I tried to match the colors that I saw without modifying them. Durand commented on “the common prejudice against green.” “I can well understand why it has been denounced by the Artist,” he wrote, “for no other color is attended with equal embarrassments.” Gallery directors have reported that clients aren’t attracted to paintings with a strong greenish cast, especially if the color tends toward a bright yellow-green.Įvidently this was an issue even 150 years ago, when Asher B. In the paperback book field, there’s an old saying that “green covers don’t sell.” Costume designers have told me that green often looks ghastly in stage lighting.
The Creative Habitats of John Burroughs.
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