Monday, November 2, 2009


Joseph Berges,
Cliffs at Etretat,

Stanley Cursiter, Blue Day, Yesnaby, 50 x 60 cms

The cliffs in the distance are lighter in tone because the intervening atmosphere desaturates the tones of objects as they recede into the distance. Warm colours (lower frequency wavelengths of light) are lost first, therefore high frequency blue light is all that remains from the most distant objects. The area taken up by flat seawater is relatively small in these compositions. The cliffs have much more visual and psychological weight that a flat plane of water; if they occupy only one half of the composition, it can look unbalanced.

1 comment:

Michael Messinger said...

The second painting is of the cliffs near Stromness on Orkney, facing south toward Hoy; the small sea stack sticking out of the distant cliffs is the Old Man of Hoy