|The meanings of green.|
Copyright, Jim LaneBuddha, 1970, Jim Lane. One of my own excursions into the world of greens
relying heavily on chrome oxide.
Explore green color meaning
|Some of the more popular shades of green.|
Phthalocyanine green is derived from phtha-locyanine blue by chlorination in the presence of aluminum trichloride. Due to the presence of strongly electronegative chlorine substituents, the absorption spectrum is shifted from that of the parent copper phthalocyanine. Phthalo green is highly stable and resistant to alkali, acids, solvents, heat, and ultraviolet radiation.
Chromium oxide (or chromia) is an inorganic compound which occurs naturally as the mineral eskolaite, and is found in chromium-rich tremolite skarns, metaquartzites, and chlorite veins. Eskolaite is also a rare component of chondrite meteorites. The mineral is named after Finnish geologist Pentti Eskola.
Tavush Green Earth is a greenish mineral of hydrated iron potassium silicate containing small amounts of aluminum, calcium, magnesium, sodium, and numerous trace elements. It is a bright green mineral that looks like tiny flakes of the mineral mica, or small lumps of clay. The color of glauconite varies considerably from pale green, bright green, bluish-green, olive-green, and black-green, depending upon its constituent elements. Tavush Green Earth is from the Tavush deposits of Armenia.
Virtually all artist have worked with various green tones. And like every other color, some love the color green and its broad versatility in rendering summer foliage and other plant life. By the same token, there are others who detest all greens for various visual and psychological reasons. Few artists, however have excelled in the mastery of greens as the Impressionists, who insisted upon the purity of their own formula for green (often variations of cobalt blue and cadmium yellow light).
|Wheatfields and Cyprus. September 1889, Vincent van Gogh|
|The Green Line (Portrait of Madame |
Matisse) 1905. Henri Matisse
Certainly colors are being used for emotional effect, but 'the green for jealousy' is an argument for naivety. Painters had developed a much more effective vocabulary by traditional means of representation. There is some balance in the work but there is no 'purity' or 'serenity'. The drawing is crude, and the colors are brash. The muddle in the center right has not been resolved: some heavy use of black was needed to continue the strong outline, but the muddy green of the background is most charitably called an improvisation, as are the other four panels when examined in detail, the purple, red and green of the background and the red dress. They are not attractive in themselves, and do not interact with any subtlety. 'Fauves', or 'wild beasts' was an apt term for work that intended painting to start on new foundations.
|Woman Walking in an Exotic Forest,|
1905, Henri Rousseau