What's more, even though painters learn how to mix colours -- blue and yellow to give a green, say --
9 they quickly learn that the results can be disappointingly muddy compared to a 'pure' pigment with the
10 intended colour: it's especially hard to get a rich purple from red and blue. As a result, artists often
11 think of colour not so much as an abstract property but in terms of the substance that makes it: madder
12 red, ultramarine blue, cadmium yellow. To truly understand what colour means to the artist, we need
13 to think of its materiality. Or to put it another way, what the artist's palette is capable of producing has
14 always depended on the materials at his or her disposal, and the ingenuity that went into procuring
15 them.
What can be concluded from the last paragraph (lines 8 - 15)?
We have different primary colors.
The artists' palettes can produce beautiful colors.
Artists think of colours in terms of the substance they are made from.
Pure pigments are better than mixed colours.
1 answer
1 answer