Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue
Blond Artists Paint Blue

Blond Artists Paint Blue

Birgir Snæbjörn Birgisson
21.06. 2010 – 20.12.2010

English below

Verkið byggir á fundnum texta sem birtist í New York Times árið 1908.

BLOND ARTISTS PAINT BLUE.

Doctor Brunettes Run to Reds and Yellows—
So a French Doctor Says.
Special Correspondence THE NEW YORK TIMES.

PARIS, May 6.—Dr. Fortin, a well-
known French scientist, has just been ex-
plaining to the Academy of Sciences why
blond painters make their pictures too
blue, while their brethren of the South
have a tendency to reds and yellows. The
learned doctor attempts to put the whole
realm of painting on a scientific basis.
His theories are being followed with great
interest, particularly this moment, when
the national salons are attracting public
attention.
In the first place, he has much which
is interesting to say about the color of
shadows. In this connection he has
evolved a complex theory of complemen-
tary colors. For example, if the shadow
of a glass tube is thrown on a wall by a
red and white light simultaneously, he
says, two shadows will result—one red and
the other green. Another interesting case
which he cites is that of an object looked
at through a thin white veil. If a knife,
for example, is placed against an orange
background and covered with a piece of
white tissue paper, it will appear blue.
This experiment, the doctor says, ex-
plains a number of ocular phenomena—
for example the blue tint of the veins.
The charming azure hue seen on a white
Shoulder should, in reality, be a dull gray.
But this gray is seen on the yellow and
red background of fatty and muscular
tissue through the transparent veil of the
skin. So the gray changes into the com-
plement of the yellow-red and becomes
blue. For the same reason, dark tree-
trunks, seen against a bright green back-
ground, when there is a slight mist be-
come red or even violet.
Another series of observations cited by
Dr. Fortin has even a wider application.
The eye, he says, is encased in a red
socket, so that when it is exposed to the
light it conveys an impression to the
brain as though one were looking through
an orange-tinted glass, adding to every-
thing observed the “ions” of blue-green.
The eyes of those painters who are blond
have membranes only slightly colored, the
doctor says, so that they do not easily
absorb the blue rays. Therefore, the
painters see blue or violet in everything
they look at. In this respect, differing
altogether from the painters of the Italian
schools whose choroide membrane is so
rich in pigment. As everybody knows, a
pervading violet hue is one of the char-
acteristics of the Scandinavian school of
painting.

The New York Times
Published: May 17, 1908
Copyright © The New York Times

The work is based on a found text that was originally published in New York Times in 1908

BLOND ARTISTS PAINT BLUE.

Doctor Brunettes Run to Reds and Yellows—
So a French Doctor Says.
Special Correspondence THE NEW YORK TIMES.

PARIS, May 6.—Dr. Fortin, a well-
known French scientist, has just been ex-
plaining to the Academy of Sciences why
blond painters make their pictures too
blue, while their brethren of the South
have a tendency to reds and yellows. The
learned doctor attempts to put the whole
realm of painting on a scientific basis.
His theories are being followed with great
interest, particularly this moment, when
the national salons are attracting public
attention.
In the first place, he has much which
is interesting to say about the color of
shadows. In this connection he has
evolved a complex theory of complemen-
tary colors. For example, if the shadow
of a glass tube is thrown on a wall by a
red and white light simultaneously, he
says, two shadows will result—one red and
the other green. Another interesting case
which he cites is that of an object looked
at through a thin white veil. If a knife,
for example, is placed against an orange
background and covered with a piece of
white tissue paper, it will appear blue.
This experiment, the doctor says, ex-
plains a number of ocular phenomena—
for example the blue tint of the veins.
The charming azure hue seen on a white
Shoulder should, in reality, be a dull gray.
But this gray is seen on the yellow and
red background of fatty and muscular
tissue through the transparent veil of the
skin. So the gray changes into the com-
plement of the yellow-red and becomes
blue. For the same reason, dark tree-
trunks, seen against a bright green back-
ground, when there is a slight mist be-
come red or even violet.
Another series of observations cited by
Dr. Fortin has even a wider application.
The eye, he says, is encased in a red
socket, so that when it is exposed to the
light it conveys an impression to the
brain as though one were looking through
an orange-tinted glass, adding to every-
thing observed the “ions” of blue-green.
The eyes of those painters who are blond
have membranes only slightly colored, the
doctor says, so that they do not easily
absorb the blue rays. Therefore, the
painters see blue or violet in everything
they look at. In this respect, differing
altogether from the painters of the Italian
schools whose choroide membrane is so
rich in pigment. As everybody knows, a
pervading violet hue is one of the char-
acteristics of the Scandinavian school of
painting.

The New York Times
Published: May 17, 1908
Copyright © The New York Times