Glossary entry (derived from question below)
French term or phrase:
les effets de valeur
English translation:
the effects of color and tonal values
Added to glossary by
Mark Nathan
Nov 6, 2004 23:08
19 yrs ago
2 viewers *
French term
France
les effets de valeur
French to English
Art/Literary
Art, Arts & Crafts, Painting
Vuillard
Peintre "intimiste" par excellence, portraitiste des instants du rituel domestique, Vuillard, crée un art voluptueux qui s'appuie sur une palette originale et raffinée ; son évolution sera dirigée par un travail sur la lumière et les effets de valeur.
Proposed translations
(English)
Proposed translations
18 hrs
Christopher Crockett
Native in English
Specializes in field
M.A., Ph.D. Historian/Art Historian
Native in: English 
Works in: French to English, English
Related KudoZ points
:
46
Selected
the effects of color and tonal values
I'd combine the sense of Jane and Dusty's answers.
Yes, Vuillard is certainly playing around with the subtlties of the color values, but this means articulating the effects of the kind of "tonal" juxtapositions which Dusty talks about, as well.
Here's the part of the text on the site which Jane mentions dealing specifically with Vuillard:
"Bonnard and Vuillard, who were of a younger generation than that of the Impressionists, and whose attitudes toward Impressionism were conditioned by the opinions of two older artists, Odilon Redon and Gauguin [each in his own way a Symbolist], proved themselves as colorists of outstanding talent, before 1900, particularly in their use of resonant combinations of impacted colors. Vuillard continued in a more and more refined vein [intimate interiors with rich overtones of grays and broken colors, deceptive spaces, patterns, and screens], apparently ignoring or avoiding the challenge of Fauvism."
The Fauves were most notable for the very opposite of what Vuillard was all about, it seems to me: their trip was to explore the sensibilities of garish juxtapostions of colors, not the subtlties of color and tonal values.
Have a look at some Vuillards in detail and this becomes clear enough, I think.
This one is almost monochromatic (except that it isn't) :
http://www.artic.edu/artaccess/AA_Impressionist/images/Vuill...
Which is what most of his paintings are all about:
http://www.metmuseum.org/special/Levin/1.L.htm
Yes, Vuillard is certainly playing around with the subtlties of the color values, but this means articulating the effects of the kind of "tonal" juxtapositions which Dusty talks about, as well.
Here's the part of the text on the site which Jane mentions dealing specifically with Vuillard:
"Bonnard and Vuillard, who were of a younger generation than that of the Impressionists, and whose attitudes toward Impressionism were conditioned by the opinions of two older artists, Odilon Redon and Gauguin [each in his own way a Symbolist], proved themselves as colorists of outstanding talent, before 1900, particularly in their use of resonant combinations of impacted colors. Vuillard continued in a more and more refined vein [intimate interiors with rich overtones of grays and broken colors, deceptive spaces, patterns, and screens], apparently ignoring or avoiding the challenge of Fauvism."
The Fauves were most notable for the very opposite of what Vuillard was all about, it seems to me: their trip was to explore the sensibilities of garish juxtapostions of colors, not the subtlties of color and tonal values.
Have a look at some Vuillards in detail and this becomes clear enough, I think.
This one is almost monochromatic (except that it isn't) :
http://www.artic.edu/artaccess/AA_Impressionist/images/Vuill...
Which is what most of his paintings are all about:
http://www.metmuseum.org/special/Levin/1.L.htm
4 KudoZ points awarded for this answer.
Comment: "Thanks Jane and Dusty - all helpful."
+1
21 mins
see comment below...
Well, I'm not enough of an expert to be sure, but I presume they are talking about 'TONE value' effects --- i.e., the interactive effect of the juxtaposition of 2 tones; in its simplest form, merely 'contrast', but also encompassing more complex effects, where (for example) an identical tone value can appear different according to the colours surrounding it (so a mid-grey can appear black when near a white, or conversely, white, when adjacent to a black)
But I'm afraid I don't have the specialist knowledge to know what to CALL this in art; I only DO it! :-))
But I'm afraid I don't have the specialist knowledge to know what to CALL this in art; I only DO it! :-))
Peer comment(s):
| agree |
Christopher Crockett
: I think that you are far enough on the right track here, Dusty, to steal your thought and combine it with some equal larceny from Jane's and float my own answer. Couldn't have done it without you both. Many Thanks.
17 hrs
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Thanks, Chris! I'm flattered to think that I might have had the slightest input into your well-reasoned and superbly expressed suggestion.
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38 mins
Jonathan MacKerron
Native in English
Retired as of Jan 2019!
Native in: English
Works in: German to English, French to English
Related KudoZ points
:
17
(brush) effects of considerable merit
a guess
Peer comment(s):
| neutral |
Christopher Crockett
: And a good one, Jonathan, but actually *looking* at a Vuillard suggests that he was less interested in Van Goghean impasto brush effects and more concerned with exploring color and tonal values. An AlGore: Close, but no Cigar.
17 hrs
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2 hrs
une piste
à la première lecture j'ai pensé qu'il s'agissait d'étoffes de vêtements de valeur
puis à la deuxième lecture je penche pour les effets de mise en valeur de tel ou tel objet du tableau
puis à la deuxième lecture je penche pour les effets de mise en valeur de tel ou tel objet du tableau
+1
15 hrs
color value effects
valeur= color values....
Here is an enlightening essay - pun intended - on Vuillard and the notion of color values and their effects.
www.noteaccess.com/Texts/Harlan/HaDiscord.htm
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Note added at 15 hrs 28 mins (2004-11-07 14:37:52 GMT)
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From another part of the essay on color at that same site:
Another way of describing this stepwise movement up and down both sides of the color wheel--the warm side [the yellows and reds] or the cool blue-green and blue side--would be to say that color manifests itself according to a set of values ranging from light [almost, but not quite, on a par with pure white] to dark [close to the condition of black]. Certain hues, such as violet and ultramarine blue, pertain to what we shall refer to as the dark register, to the bottom sector of the value scale; red and green, for instance, pertain to the middle register; yellow and orange-yellow pertain to the light register, to the upper end of the scale. Yellow assumes the position of the lightest hue, and violet that of the darkest, in their natural order. That pure yellow and pure violet are very close to being what are called complementaries, or natural opposites, is another factor accounted for in the wheel--the spokes running from one side through the center of the wheel to another side indicate these contrasting pairs, based on their afterimages. ***This circular scale of colors parallels the achromatic scale or value scale that forms the trunk of MunsellÍs color tree.****
Cheers
Here is an enlightening essay - pun intended - on Vuillard and the notion of color values and their effects.
www.noteaccess.com/Texts/Harlan/HaDiscord.htm
--------------------------------------------------
Note added at 15 hrs 28 mins (2004-11-07 14:37:52 GMT)
--------------------------------------------------
From another part of the essay on color at that same site:
Another way of describing this stepwise movement up and down both sides of the color wheel--the warm side [the yellows and reds] or the cool blue-green and blue side--would be to say that color manifests itself according to a set of values ranging from light [almost, but not quite, on a par with pure white] to dark [close to the condition of black]. Certain hues, such as violet and ultramarine blue, pertain to what we shall refer to as the dark register, to the bottom sector of the value scale; red and green, for instance, pertain to the middle register; yellow and orange-yellow pertain to the light register, to the upper end of the scale. Yellow assumes the position of the lightest hue, and violet that of the darkest, in their natural order. That pure yellow and pure violet are very close to being what are called complementaries, or natural opposites, is another factor accounted for in the wheel--the spokes running from one side through the center of the wheel to another side indicate these contrasting pairs, based on their afterimages. ***This circular scale of colors parallels the achromatic scale or value scale that forms the trunk of MunsellÍs color tree.****
Cheers
Peer comment(s):
| agree |
Christopher Crockett
: From my memory of what a Vuillard looks like, you are on the right track here, Jane.
2 hrs
|
15 hrs
painting enhancing effects
<Perhaps <"brush effects enhancing the whole<" / <" painting techniques enhancing the whole<"? "
Peer comment(s):
| neutral |
Christopher Crockett
: Respondo, the same as to Jonathan: Actually *looking* at a Vuillard suggests that he was less interested in Van Goghean impasto brush effects and more concerned with exploring color and tonal values.
2 hrs
|
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