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Madame Darras , innovations in science and , one could argue Impressionism en plein air image detail: Auguste Renoir, France, 1841–1919, c. 1868, oil on canvas, 48 x 40 cm; Gift of Baroness Eva Gebhard- Gourgaud, Musée 1965, d’Orsay, Paris, France, photo: © RMN-Grand Palais (Musée d’Orsay)/Hervé Lewandowski Colour: Part Impressionism one , 1897–98, Paris, colour lithograph on paper, 43.3 x 32.7 cm (image), Saint Tropez: the port colour? Colour is the range visible of . It can be seen when light strikes an object and then is is reflected into the humaneye. Colour can be broken down into threecomponents; whichcolour is in its purest form; intensity whichis the vividness a colour; of and tone or value which refers to the light or darkness a colour. of WHAT IS COLOUR?WHAT Colour has been central to art making throughout history due to its ability to meaning convey and provoke emotion. But what exactly image detail:1935, Paul Signac,– France, 1863 52.0 cm (sheet), x 39.9 South Australian Government Grant 1980, Art Gallery of South Australia, Adelaide shades , of in contrast to its complementary sunlight (), resulting in bright and vivid scenes. and were convinced that no shadow was actually . Instead, the Impressionists painted shadows in dark in realist paintings before Impressionism, and although the Impressionists did not banish black altogether, they were inspired the by theory complementary of colours the first black was‘carbon black’ made from charcoal, followed ‘bone by black’ which was made from burnt animal bones. Black pigments played a major role reflects somecolours and absorbs others. Black pigments absorb all the of colours light, of thus being perceived as black. Black is therefore the absence light. of One of colour itself is light and colour is not ‘in’ objects as previously thought. Instead, the surface an of object IS BLACK A COLOUR? Physicist Sir showed Isaac that Newton (1642–1726) subjects, chasing and focusing on the experience and sensation looking. of America and firework displays illuminated the night sky. Artists were seeingcolour everywhere, had it however, not been for the collapsible paint tube that in 1842, allowed artists to paint may never have happened. The Impressionists redefined the parametersof painting, movingaway from idealisationof The invention synthetic of pigments meant that a wide range colours of became availableto artists – new fabric transformed women’s clothing, gardens were being populated with new species plants of imported from Central confidence in design, industry and science. As mentioned in technology helped to shape the Impressionist movement. The invention and increased use photography of liberated artists to explore their own stylistic approach, which included explorations with colour theory and principles science. of collection, through the lens colour. of During the nineteenth century France was experiencing great change and positivity which included a belief and Part one this of resource delves into the exploringwhat science colour, of colour is, how we see colour and how colour ismade. This section will help youconsider works art of Frenchby Impressionists, aswell as other worksin the Gallery’s PART 2:PART THE SCIENCE OFCOLOUR PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 3 artgallery.sa.gov.au/learning Light , 1967–68, Banyon Wall Banyon , c.1966, Adelaide, gelatin photograph, x 60.2 49.6 cm Responding Investigate the work Stanislaus of Ostoja Kotkowski and his use light, of colur and movement. image detail: Sydney Ball, Australia 1933–2017, Collinswood, South Australia, synthetic polymer paint on canvas (combination of separate panels), 330.2 x 396.2 cm, Art Gallery of South Australia, Adelaide image: Stanislaus Ostoja Kotkowski, Australia, – 1994, 1922 composition (sight); Gift of Andrew S.R. Booth and Edward H.S. Booth Art 1995, Gallery of South Australia, Adelaide, Estate of J.S. Ostoja Kotkowski.

waves . . These different wavelengths Opticks wavelengths Research other advancements in science and technology that occured during the nineteenth and twentieth centuries. Consider how new technologies and materials have transformed the way artists work today. Responding VIOLET YELLOW colours. Most objects that we see in everyday life reflect a range wavelengths of light of to the back your of at eye different intensities. Isaac Newton, author of Wavelengths are perceived our by brain as different are perceived our by brain as different colours. The part that we can see is the (familiar to us as the colours the of ), which was discovered Sir by the properties matter of and energy, such as heat, sound and light. Light is all around us and is made up of with varying WHAT IS LIGHT? WHAT Physics is a strand science of that helps us to understand different in colour and strength. light, and chemist Chevreul analyzed the visual effects of colour juxtapositions. Chevreul determined that when the sees eye two colours side side, by they appear vastly (1642–1726) and Michel Eugéne Chevreul(1642–1726) (1786–1889) were instrumental in helping us understand the way we see and perceive Newton colour. analyzed the nature of Colour and light are inseparable. scientists Two working in the fieldof chemistry and physics, Sir Isaac Newton SEEING & PERCEIVINGCOLOUR PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 4 artgallery.sa.gov.au/learning

, 1966, Polachromatic image image: iStock.com/ttsz. image detail: Stanislaus Ostoja Kotkowski, Australia, 1922–1994, Adelaide, cellulose, glass, 35.5 x 35.5 cm; x 13.7 South Australian GovernmentArt Grant Gallery 1973, of South Australia, Adelaide, © Art Gallery of South Australia, Adelaide. yellow light. stimulates the red and green cones and this information is decoded by the brain to give the of (which has a wavelength between that red of and green light) shades of is due to varying combinations red of and blue cone beingcells stimulated. light Yellow enables us to perceive millions of different colours. For example, the perception different of colours (not only red, blue and green). Stimulation different of combinations the of pigments towards the stimulate eye different combinations these of pigments, enabling us to see a variety of The wavelengths light of reflected WAVELENGTHS are pigments sensitive to either a red, blue or green wavelength light. of light conditions such as night time. Cones allow us to Insee humans, colour. each cone can contain one of three types photopsins of (photoreceptors), which types cell, of rods or cones. Rods help us see in scale, particularly in low but not limited to, the cornea, pupil, , lens and retina. The retina contains approximately million 126 light-sensitive cells, which can becategorised into two The human plays eye a very important rolein how we Itsee consists colour. many of components including, THE HUMAN EYE PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 5 artgallery.sa.gov.au/learning

, Saint Tropez: the port reate an intense colour effect c , 1897–98, , 1897–98, 98, Paris, colour lithograph on paper, 43.3 x 32.7 cm (image), ‑ Paul Signac’s use this of technique, combined with . collage. Experiment with placing different colours next to each How do other. different combinations colour of change the way these colours appear? Is one colour brighter when placed next to another colour? Making Using bright coloured paper create your own geometric image detail: Paul Signac, France, 1863 –1935, 1897 52.0 cm (sheet), x 39.9 South Australian Government Grant 1980, Art Gallery of South Australia, Adelaide Saint Tropez: the port , and Laws Simultaneous of Colour. La bouée rouge (The red Red 1895 Buoy, , 1886, Camille by Pissarro. Neo-Impressionist artists were interested in colour division, that is, in Prairie à Éragny , 1895, oil, 1895, on canvas, x 65 cm; 81.2 Gift of Pierre Hébert, 1957, EARLY YEARS EARLY and vote on which coloured frame looks best and explain why. Place a variety coloured of frames around reproductions differentof French Impressionist works. As a class discuss Responding buoy) Musée d’Orsay, Paris, France, photo: © RMN-Grand Palais (Musée d’Orsay)/Hervé Lewandowski. image detail: Paul Signac, France, 1863 –1935, complementary colours used in making his works art of luminous and bright. is based on Michel Eugéne Chevreul’s pure colour and rhythmic lines, enabled him to also create the illusion movement. of The boundaries between the paint placed next to each giving other, the work a shimmering, luminous quality and thus dazzling the retina. This can be seen in placing bothcontrasting and complementary colours (colours opposite on the colour wheel) side side. by This approach The mosaic-like surfacespaintings of the by Neo-Impressionists play on the function the of retina’s cone cells. The brain attempts to make sense the of pixelated fieldwhichcolour, consistsof of small strokes or markscontrastingof coloured THE HUMAN EYE AND IMPRESSIONISM AND EYE HUMAN THE PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 6 artgallery.sa.gov.au/learning Laser light See The Tinkering , c.1982 84,, c.1982 Adelaide, direct TIP: image detail: Stanislaus Ostoja Kotkowski, Australia, – 1994, 1922 composition positive colour photograph, 25.4 x 30.4 cm (image & sheet); Gift of Edward and Jane Booth 2003, Art Gallery of South Australia, Adelaide, Estate of J.S. Ostoja Kotkowski. MAKING watercolour paints. Setup the prism experiment in your classroom. Shine a light (i.e. torch) at the prism on an angle and view the effect on a screen (a piece paper).of Investigate what happens as you move the prism. Studio video in resource list. If you have access to a convex lens, try positioning the lens to bring the separated colours back together. Where would you lens? the position Photograph your observations during the prism experiment. as references, images these Using create an impression what of or witnessed collage you using image: iStock.com/ktsimage. RESPONDING colour juxtaposition. What do you notice about the relationship between the colours that sit side side? by As a class discuss the qualities the of works that suggest to you what time of the day it is. Look for works art of that where artists have used Chevreul’s theory of appear in nature. Locate works art of in the collection that capture different times the of day. When do we see rainbows in nature? Draw a diagram that shows how PRIMARY into a glass prism at an angle to see the same effect. A good explanation can be found on ABC Education, ‘How do Prisms create rainbows? (see resource list). occurs in moisture inthe atmosphere, we see rainbows in the sky! can also We manipulate light passing by it slow down and bend. The different colour wavelengths slow down to different extents which makes them bend differently, separating the colours. When this colours can be viewed if the white light moves from the air into a different medium, such as water or glass, at an angle. In both these of cases,the wavelengths light of The light we see, both natural and artificial, is made up all of the colours the of rainbow. These separate RAINBOWS, COLOURS, PRISMS WAVELENGTHS & PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 7 artgallery.sa.gov.au/learning 1953, , 1969, Dark Tryptic Subway escalator, Subway , 1953, in the Gallery’s, 1953, collection Subway escalatorSubway image: Frank Hinder, Australia, 1906 –1992, Sydney, tempera, oil on canvas laid on composition board, 92.8 x 72.5 cm; Elder Bequest Fund 1972, Art Gallery of South Australia, Adelaide, © Art Gallery of South Australia , 1969, Sydney, Luminal, 1969, kinetic: wood, aluminium, electric motors, coloured , tinted . Use your Dark Triptych Look at the work Daniel by Crooks, Works art of provide us with pivots for a Tip: RESPONDING & MAKING & RESPONDING a response to: greater understanding about the world we live in work art of to support your argument. and consider how the artist has relied on, or responded to, science, history, technology and mathematics. Write work art of that captures the essence this of place. Hinder was fascinated science by and how everything in our daily lives is interconnected. Select a work art of like a supermarket or sporting arena. What was the atmosphere like and how did it make you feel? Create a can see, and what is imagined. Think about a place you have visited that was busy. It might have been a special event like a concert or somewhere you visit regularly James Turrell. James Hinder explored ideas about the real world, what we and art has changed since Hinder’s creation his of luminal kinetic works. Lindy Kusama, Lee, Yayoi Jonathan Jones, Sandra Selig and Investigate artists who use light and movement. Compare their work to that Consider Hinder. of how technology visible, which included the structural effect colour of and the dynamic illusion movement. of captures the speed, movement and energy the of wooden escalators in Wynyard station In the inSydney. Hinder 1960s, began creating luminal kinetics, works art of that reflected light and moved within a boxed frame, such as which creates an everchanging painting light. of He was interested in mathematical patterns, geometry and making science Modern Australian artist Frank Hinder (1906 –1992) had a strong interest in cubism, abstraction and futurism. Futurist artistswere inspired speed, by qualities machinery of and new technology. Hinder’s image: Frank Hinder, Australia, 1906 – 1992, plastics (or gels), glass, 76.2 x 22.0 x 195.0 cm; South Australian Governmentof South Grant Art Australia, 1974, Gallery photo: of South Stephen Australia, Jones Adelaide, © Art Gallery FRANK HINDER PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 8 artgallery.sa.gov.au/learning by Sydneyby Ball and Banyon Wall by Bridget by Riley. Look at TIP: brain must process the information and make a decision as to what information it wishes to prioritise. This results in people perceiving colours and images differently. The brain interprets colours using contrast, hence colours look different to us depending on the surrounding colours. has an impact on howshades colours of are perceived. The brain tries to interpret what it is seeing, using previous experiences. Light entering the is eye the first stageof seeing. The Seris orange 33, and added to green and violet in two colour twist image: image including the narrow band (in colour) that humans can see. iStock.com/ttsz. t, 1979, Seris 33, SEEING COLOUR: HUMAN SPECIES OTHER VS In many psychological experiments, it has been shown that people perceive colours differently. A person’s mood some people can see beyond the visible spectrum into the UV and infrared wavelengths. different characteristics, Some like colour. people eye have genetic differences that effect the cones in their eyes, and hence some people see very little colour and occur during reproduction, which result in different characteristics. Within the human species there is genetic diversity, which results in some people having Ultraviolet range. range. Ultraviolet In any species random variations in genetic makeup re-emitted visible wavelengths. Some animals can see in the other spectrums. For example, spiders and a lot insects,of including giant centipedes, can see in the itemscontain chemicals that absorb UV light, and re- emit the energy as visible light. Most humans cannot see the UV light emitted the by light, but can see the for bedroom ceilings or special effects makeup and body paint, that only shows up under UV light. These 400nm to 700nm) is highlighted on the Electromagnetic Spectrum diagram. UV radiation is outside this of spectrum, but you can get UV decorations such as stars are colours that run through the Ultraviolet (UV) and Infrared spectrum, above and below the colours humans can see. The section that humans can see (from Humans can only see very a narrow band colours of – red, orange, green, yellow, blue and purple. There James Ramsay 1999, AO Art Gallery of South Australia, Adelaide. London?, gouache, pencil on paper, 64.0x 91.5 cm; Gift of Diana Ramsay and AO the late born 1931, born 1931, orange and magenta added to green and violet in two colour twis Bridget Riley, Britain, PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 9 artgallery.sa.gov.au/learning , 1967, Adelaide,, 1967, collage on , c.1897 99, Paris, 99, , c.1897 oil on canvas, Vibra Zinnias image detail: Henri Fantin Latour, France, – 1904, 1836 62.0 x 49.5 cm; Elder Bequest Fund Art 1899, Gallery of South Australia, Adelaide. image: Stanislaus Ostoja Kotkowski, Australia, – 1994, 1922 board, 173.5 x 173.5 cm; A.R. Ragless Bequest Art Fund Gallery 1967, of South Australia,Adelaide, Art © Gallery of South Australia, Adelaide. Consider what what Consider TIP: MAKING RESPONDING investigate contemporary 4D practices. work art of that responds to the might like You science colour. of to consider optical illusions or After investigating other moments in art history where artists have explored make your colour, own they eat, and what colours those things are. Perhaps look at scorpions as a starting point. Why do some animals or insects have the ability to seein different spectrums? evolve and adapt to seeing in other spectrums. most humans haven’t adapted to this (yet!). Why do you think this is? Suggest how in the future we may Although some people can see slightly into seeing other spectrums, Imagine if people could see into UV and infrared wavelengths and suggest evolutionary any advantages. and cons for introducing foreign plants and flowers. many inspirations for the French Impressionists. Investigate one of these species and discuss the pros Introduced species plants of and flowers were oneof the the scientific principlesof we how explainsee colour, how Riley has created an optical illusion. mixed messages that our brain receives. What colours do you see in Bridget Riley’s work? Using Sometimes our brains are ‘tricked’ different seeing into colours, these are optical illusions caused the by SECONDARY PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 10 artgallery.sa.gov.au/learning , 1875, , 1875, Claude Monet Claude was favoured the by en plein air image detail: Auguste Renoir, France, 1841-1919, oil on canvas, 84 x 60.5 cm; Bequest of Mr and Mrs Raymond Koechlin, Musée d’Orsay,1931, Paris, France, photo: RMN-Grand © Palais (Musée d’Orsay)/Jean-Gilles Berizzi

Impressionists, emerald green was a much-loved hue dueto its vivid appearance. as coal tar used to make , the French Impressionists could experiment extensively with colour contrasts by using synthetic paints. Pre-mixed synthetic colours, such as magenta and arsenic-based emerald green, replaced prior methods mixing of primary colours. As painting landscapes outdoors or Chemistry is the study the of composition, structure, properties and behavior a substance, of such as pigments powdered(a substance) found in paint. Thanks to the discovery new of chemicals in the nineteenth century, such CHEMISTRY OF COLOUR: PIGMENTS WHAT IS PAINT? IS WHAT an oil based solvent such as Flow Medium, odourless solvent, Oxide Patina or Turpentine. a solvent or medium to thin the paint. The solvent for water-based paint used is water, in acrylic paints or watercolours. In oil-based paints the thinners are However, to makeHowever, paint easier to work with on a surface and extendits volume, some artists use based paint a popular binder is poly vinyl acetate (PVA). The binding process gives the paint the texture we are all familiar with. Binding mediums (or binders) come in different types. For modern oil paints a binder may consist of a drying oil, most commonly linseed oil. In water- with as they don’t dry as quickly so you can work them more easily, and they last longer. Historically artists used paint created with only a and a medium (such as oil). since the However, invention solvents, of modern paints are easier to work solvent dissolves the binding medium tomake the paint more fluid. Modern paint is a mixture pigment, of binding medium and solvent. The binder is a liquid polymer that hardens to form a continuous layer when paint dries, while the either chemically identical to the original pigment, or a new chemical all together. medium, such as animal fat or plant extract, which then makes the paint wet and holds the pigment together. A synthetic pigment ismade artificially and may be grounding materials such as and clay minerals. These pigments are usually mixed with a binder and/or a A natural pigment is a powder which has been used by PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 11 artgallery.sa.gov.au/learning SYNTHETIC SYNTHETIC Today, oil paint is made mixing by Today, a synthetic pigment with oil and consequently this can take a long time to dry. Artists such as Ben Quilty use large quantities oil of paint mixed with gel medium to make the paint thick and textural.lusciously

image: iStock.com/Andreas Kermann , 2011, Robertson,, 2011, New South Wales, oil on linen, eight panels, continued Evening shadows, Rorschach after Johnstone DID YOU KNOW? DID YOU Emerald green was highly toxic and was used as a pesticide to kill rats in the sewers Paris, of as well as pigment for paint! CHEMISTRY OF COLOUR: PIGMENTS NATURAL NATURAL 115.0 x 175.0 cm (each panel),115.0 230.0 x 702.0 cm (overall); Gift of Ben Quilty through the Art Galleryto celebrate of South the Australia 10th anniversary Contemporary of Contemporary Collectors Collectors Donated 2013. throughGallery the Australian of South Australia, Government’s Adelaide, Cultural © Ben Quilty. Gifts Program, Art image: Ben Quilty, Australia, born 1973, tourism industry. yolk, kangaroo blood, bush honey or tree resin. The survival ancient of rock and bark paintings are dependent on the conditions in which they exist today and can be affected climate, by location and exposure to the impacts the of between Uluru and the South Australian border are unique for their metallic red pigment. These pigments are then mixed with natural binders such as egg paintings consisted red, of white, yellow and black. Thesecolours are found to naturally occur in the Australian environment. For example, Kaolinite is a soft white and clay can be found in most parts Australia, of while areas For thousands years of Aboriginal people have been blending science with art creating by paint and developing techniques, combining these to tell their stories. Historically, the most common colours to be found on rock and bark PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 12 artgallery.sa.gov.au/learning The mouth of Kendall Kendall The mouth of Uwanh people, Queensland, Queensland, people, Uwanh ‑ 2015, Aurukun, 2015, Queensland, image: Mavis Ngallametta, Kugu born 1944, River, syntheticnatural ochres, polymer paint and charcoal on linen, x 200.0267.0 cm; Acquisition of Festival TARNANTHI: through Contemporary Torres Aboriginal & Strait Islander Art supported by BHP Art 2015, Gallery of South Australia, Adelaide.

bands contrasting of white The artist clay. combines multiple perspectives, weaving together macro and micro views the of coastal wetlands developed from her intimate knowledge the of area. Among the dense scattering rivers, of swamps and flora, the artist has included herself in the painting as a record her of visit to Kendall River in 2013. depicts pristine the region EXPLORING PIGMENTS – MAVIS NGALLAMETTA NGALLAMETTA MAVIS – PIGMENTS EXPLORING THE MOUTH OF KENDALL RIVER THE MOUTH OF KENDALL RIVER KENDALL OF MOUTH THE (sandy rock with a high aluminium content) and the very site. Ngallametta captures the region’s distinctive cliff formations, and the geological points intersection of between the deep red hues the of bauxite-rich soil around the mouth the of Kendall River south of Aurukun, which of the artist is the traditional owner. It has been created using materials sourced from this The Mouth Kendall of River works that depict the complex maze river of systems, wetlands and coastlines her of Country.She has developed her own innovative style, using traditional clays, ochres and charcoal to create images based on community life and Country. Mavis Ngallametta is an Aurukun elder living in the region Western of Cape York, Northern Queensland. Practicing first as an accomplished she turned weaver, to painting in 2008 and rapidly established a local and national reputation for her PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 13 artgallery.sa.gov.au/learning

Look at the work Yvonne by TIP: The Mouth the River. Kendall of Some historical rock paintings created Aboriginal by people thousands years of ago have faded andare possibly not as vivid as they once were. Suggest reasons why they are fragile and what can be doneto preserve historicalthese records from further deterioration. Conduct a class investigation into other natural materials used Aboriginal by artists throughout Australia. Use a map Australia of toplot where different environmental the are What located. are materials enable that natural these conditions minerals, ochres and fibres to flourish in these regions? Research another artist who uses natural fibres. How are these materials sourced and utilised? Koolmatrie the Gallery’s in collection BY MAVIS NGALLAMETTA NGALLAMETTA MAVIS BY Identify the

and photographs the of Kendall River region, identify the rock cycle (the

The Mouth Kendall of River. The Mouth the of Kendall River Research thermochromatic materials that change colours with different temperatures – used in mood rings, colour-changing mugs and hyper-colourt-shirts (If you were born after you may need to research 1995 what a hyper-colour t-shirt is!!). If they change colour when exposed to water or a change in pH this is normally because they have actually chemically changed to a new substance. In fact a change in colour is usually one the of indications that a chemical reaction has occurred. Some chemicals can change colour if their surrounding environment alters. One example this of would be cobalt chloride, turning from blue when introduced Experiment to water. with a range (safe!) of chemicals to create a colour abstract work art. of Research what chemicals change colour when introduced a change to water, pH, of different temperatures on. so and characteristics this of rockformation has Ngallametta captured in her painting Using stages in the formation igneous, of, sedimentary and metamorphic rocks). Include indications the of timescales involved in these changes in the rock formations. Investigate the Kendall River south Aurukun. of Identify the rock types (sedimentary, metamorphic or igneous) located in this area. What forces or energy are required in the formation these of types rocks of or minerals? What CHEMICAL SCIENCES: YEAR 10 EARTHSCIENCES: YEAR 8 THE MOUTH OF KENDALL RIVER RESPONDING areas which have been painted with synthetic paint and the areas painted with natural ochres. What qualities do each these of materials have? Look closely at PRIMARY RESPONDING when conserving a work art of made from natural fibres or pigments? about the life your of favourite colour. What are some things a Gallery may need to consider synthetic versus natural materials? Investigate the history pigments. of What surprising or unusual stories can you discover? Write a narrative poem What are the advantages and disadvantages using of SECONDARY PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 14 artgallery.sa.gov.au/learning The beach at Traditional paint that uses egg as a binder. Paint in which the binder is made from a plastic polymer Acrylic: emulsion. Tempera: , 2010, Arukun,, 2010, Queensland, synthetic polymer paint and ochre on linen, 203.0 cm; x 134.0 • • What things did you notice that were similar and different? Speculate as to why they are similar and different. Consider how you might separate the pigments from a range paints of (modern and natural). How would you plan this experiment – what equipment would you need? How would you set it up? How would you stay safe? image detail: Mavis Ngallametta, Kugu Uwanh people, Queensland, bornIklet 1944, South Australian Government Grant Art 2010, Gallery of South Australia, Adelaide. mixed with (also known with water Pigments are are Pigments painted onto a which isa plant chipped away from logs. Pigments are dispersed in Stil de Grain soluble chemical. Oil: an oil-based (organic) chemical such as linseed oil. Watercolor: dispersed in water or a water- the ink becomes. Willow charcoal egg to create vine black. create sepia drawing effects shells Walnut to create walnut ink. Soak the shellsfor two months, the longer they soak, the darker as based pigment made from berries) Bark This process was often used in the nineteenth century to White chalk dark surface Frozen berries PRIMARY& SECONDARY MAKING MAKING • • Binders: Continue your experiment with different binders and watch paint dry! Document your observations. • • • • • grinding some the of materials listed below as a starting point. materials that you could crush or grind to make a pigment to create your own selection paints. of Try and synthetic materials Collect variety a natural of reference, create a textural painting that captures the essence your of discovery using a mixture natural of colours or textures, such as geological formations, bark, trees as images these Using leaves. or Take a seriesTake macroof photographs theof natural environment that illustrate bands contrasting of PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 15 artgallery.sa.gov.au/learning

nce Channel: Artists on Science black

The 6,000-Year History Blue of Pigments inArt Coming out the of dark – why black is such a positive colour https://bit.ly/2dJsw7I Conversation: inside the colourful world animal of vision http://bit.ly/1zSZfw4 Conversations from the past: Pigments and palettes from the past science Indigenous of art http://bit.ly/2FA0C9c Australia’s Science Channel Curating the third space – the value art of science collaborations http://bit.ly/2Dlcmuh Australia’s Science Channel - changing the colour of penguins of thousands netssave could fishing http://bit.ly/2zPunzV Australia’s Science Channel - a blue blood supermoon is coming http://bit.ly/2p9FQGn Australia’s Science Channel - the blackest bird feathers rival vanta http://bit.ly/2p7jwx7Business Insider – No one could see the colour blue until moderntimes http://bit.ly/2o3bym3 Chromatopia http://bit.ly/2p60RSo Colour Phrases http://bit.ly/2DkRIKL The Colourful Science https://bit.ly/2IMcJRO Artsy – What art history tells us about Ultra Violet, ’s the of year http://bit.ly/2B0lhEu Artsy – How Monet and the Impressionist pave the way artists Modern for http://bit.ly/2BkaiWw Artsy – Inside the Library that holds the world’s rarest http://bit.ly/2Gi1mkq Artsy: http://bit.ly/2m9nQKV The Advertiser: First Impressions: Why South Australians will get to see the great works the of Impressionists in a new light http://bit.ly/2Il8woK Australia’s Scie http://bit.ly/2Ilc1vt Australia’s Science Channel: Scientists on Artists http://bit.ly/2Diybux

e d’Orsay, Paul Perrin, Marine Kisiel, Colours of ICLES e C News – Why some chickens lay eggs some Artsy – A Brief History Color of in Art http://bit.ly/1WdegV6 science and phenomenology colour of http://bit.ly/2GSfely Night, how a pigment changed the world http://ab.co/2DJCteJ Art Guide Australia – Nike Savvas talks about the lay blue,lay the chemistry eggshell of colour explained http://ab.co/2Fu0eNF ABC Art – : From the Great to Starry Wave WEBSITES AB history pigments’, of Optics and Laser 2006, Technology, p 445 - 453 World History’, Journal World of History, No. 4 18, Vol. (Dec 2007) - 431 p. 383 Barnett, A, S, Miller, Pearce, E, ‘Colour and art: A brief ART R,Finlay. ‘Weaving the Rainbow: Visions Colour of in Strosberg, E, ‘Painting and cognition’ Art and Science, Abbeville Press Publishers, - 168 p. 134 New York, 1999, Nicholson, E (editor), ‘Period Pigments’, Art and Science: fromA curriculum the J Paul Getty for K-12 Museum, Getty Publications, Los Angeles, – 109 p 102 CHILDREN & EDUCATION S, National Colour, May, Gallery Victoria, of Melbourne Impressionism, Australian Edition, Art Gallery South of Australia, 2018 Colours Impressionism: of Masterpieces from the Mus St Clair, K, Clair, St The Secret Lives Hodder Colour, of and Stoughton General Division, London, 2016 CATALOGUES Schwartz, H, Colour for the Artist, Watson-Guptill Publications, NewYork, 1869 Gage, J, Colour inArt, Thames & Hudson, London 2006 Paul, S, Chromaphilia The Story Colour of in Art, Phaidon, London, 2017 Random House, New York, 2002 Itten, J, The Art Nostrand Van Color, of Reinhold Company, New York, 1973 Finlay, F, Colour: F, throughFinlay, Travels the Paintbox, Hodder and Soughton,London, 2002 Colour: F, Finlay, A Natural History the of Palette, BOOKS RESOURCES PART 2: THE SCIENCE OF COLOUR | Learning at the Gallery | Art Gallery of South Australia 16 artgallery.sa.gov.au/learning

History’s deadliest colors Maranto – J. V. http://bit.ly/2HsccUp Institute physics: of Light Fantastic – the science colour of http://bit.ly/2DltQ9Y Refraction Light of Experiment: http://bit.ly/2GSfdy0 TED-Ed: http://bit.ly/2DkPNpt TED-Ed: how we see colour http://bit.ly/1AHRdCY TED-Ed: What is colour? http://bit.ly/2wxTEzM Vasaricolors http://bit.ly/2Ij7mdq Why is blue so rare in nature? http://bit.ly/2rqXcmxWhy don’t country flag use thecolour purple? http://bit.ly/2nWq017 What is colour? http://bit.ly/2IIkJnt Reggio Children Ray Light of Atelier http://bit.ly/2opOxKc Science Learning Hub: Colours Light of http://bit.ly/2ofBCOA Smithsonian Libraries – Colour in a New Light http://s.si.edu/2Dm1BYt Smithsonian – Never Underestimate the power a Paint of Tube http://bit.ly/2tDTuad The Story Art: of Impressionism http://bit.ly/2p3uGDR VIDEOS ABC Education – How do prisms create rainbows http://ab.co/2puGNdj Colour White Light, Reflection and Absorption http://bit.ly/2p6i3Hx Edmund Scientific: Understanding Absorptionof Light - Why do we see different colors?

This resource has been developed in collaboration with Hilary Jones from Australia’s ScienceChemistry Channel, Susan teacher Keylock, at Trinity College Senior, Aaron Whenan Head of Science at Trinity College, Kylie(Art Neagle Education Gallery Officer of South Australia) and the Learning team at the Art Gallery of South Australia. http://bit.ly/2DobrcI The Phenomena Light of http://bit.ly/2GGj1CD Prussian Blue – The Art and Science Color of National History Museum: How do other animals see the world http://bit.ly/2m5pegp National Gallery Victoria of – Australian Impressionism http://bit.ly/2iy4SyZ http://bit.ly/2IkpZO1 National Gallery Victoria of – Hokusai http://bit.ly/2pe2Owj A Master Design of Explores the Murky, Mutabke Science Color of http://bit.ly/2pkf6E7 Khan Academy – A beginners guide to Impressionism http://bit.ly/1zdl3gP Inside the world a modern of alchemist http://bit.ly/2Hr1LQQ Light Play – The Tinkering Studio How to build a lightbox http://bit.ly/2pnBs7N Google Arts and Culture: The Magpie https://www.google.com/culturalinstitute/beta/asset/ the-magpie/rQGnadHwK8lSmg Google Arts and Culture: Musée d’Orsay, Paris https://www.google.com/culturalinstitute/beta/ partner/musee-dorsay-paris The J Paul Getty Museum – About Impressionism http://bit.ly/2FwFOPN Frieze - Experiments in the Field: Why are Artists and Scientists Collaborating? http://bit.ly/2osH27w Exploratorium – Science snacks – pigments http://bit.ly/2IlVqHG http://bit.ly/2FtEEsp Crayola – Colour Experiments http://bit.ly/2Gh2UNU Cosmos: The Science everything, of The incredible – and bizarre – spectrum animal of colour vision RESOURCES