Blog Assignment 5

Colour theory has been a long and strenuous experiment over many centuries of art. In the 19th century the theory of "colour vision" was created as a way of directly linking colours to their emotional, physiological and natural ties to the world. It was said that colours have unique wave lengths that could be felt in the body as the colours 'true essence'.It was said that the colour red had the strongest wave length and violet had the weakest.

Through the experimentation of artists such as Matisse and Kandinsky colour has now become more then just a means of making art, it has becoming art in itself. Through the many colour theories equated to describing the impact of colour in art we can understand at a much higher level of perception what the artists intentions were when he/she painted the colour on the canvas.

 Colour was used by Van Gogh as an out let for his deeply complex emotional ties with art. His expression of emotion was shown through his use of colour. He said that colour could be used to represent all human nature and emotion, pain and suffering. The idea that colours could speak louder then the subject of his works is a testiment to the colour theory.

Blog Assignment 4

Adolf Loos argued in 1908 that, “The evolution of
culture is synonymous with the removal of ornament
from objects of daily use.” Do you agree or disagree?
Why?

Adolf Loos argued in 1908 that, "The evolution of culture is synonymous with the removal of ornament from objects of daily use." and from a philosophical mind set I believe that this notion can be considered correct. Adolf says "Every period hase its style: why was it that our period was the only one to be denied a style?" By style he is talking about ornament, and by ornament he is loosely tying in the idea that ornament and intricate design goes hand in hand when defining a style of art. To look at [our] period it is clear to see a regression in ornament. Simplification of ornament was the evolution of our current design aesthetic. Adolf comments on the idea that this evolution of ornament was influenced by economics, the idea that time spent on 'ornamation' should reflect the price and value of an item. He describes that ornamenting an item is it not the purpose for creating anymore, that ornamation is retundant in a way because of the way our economy changes aesthetic values. Simplified design is common place in this period because they are faster and easier to make and over-worked embellishments are pointless if the item is be sold. This includes all common place everyday item such as tables, chairs, beds and literally all furniture found inside ones house.

 As you can see by this item Adolf's theory on the progression of ornament is clear to see. This evolution is most definately present in our society and can be viewed in a multiple of ways. Many people find this progression a forward movement in designing the future, others (such as Adolf) see the change as an unstoppable loss of creation and humanity for ornamenting.