In 'Across Land and Across Land Abstract' among others, the use of an abstract colour grid likewise 'Clear Water/ Broken Surface' re-enters as part of a diptych, referring to a juxtaposed, figurative and sinister depiction of a horizon. This abstract framework filters the tonality of the painted landscape on the left- having to read the two paintings from left to right, in order of analyses- and appears as a schematic pallet of hues, emphasizing the colourfulness of a shimmering landscape.
This colour analyses taps into Paul Klee's notes on colours for his teachings at Bauhaus in 1922, entitled 'Order in the realm of colours'. In this text Klee clarifies the relationship between hue (colour), tonality (value) and colourfulness (chroma) by using a three dimensional disc-shaped form wherein white is located at the top of the figure (and approached by increasingly lighter variations of each hue) and black is at the base (approached by increasingly darker variations) emphasizing the subtle colour nuances which construct the image.
Janine Hofland, The Painters Window ("Across Land, Figurative / Abstract" work N° 6 page 11)
In 'Across Land and Across Land Abstract' among others, the use of an abstract colour grid likewise 'Clear Water/ Broken Surface' re-enters as part of a diptych, referring to a juxtaposed, figurative and sinister depiction of a horizon. This abstract framework filters the tonality of the painted landscape on the left- having to read the two paintings from left to right, in order of analyses- and appears as a schematic pallet of hues, emphasizing the colourfulness of a shimmering landscape.
This colour analyses taps into Paul Klee's notes on colours for his teachings at Bauhaus in 1922, entitled 'Order in the realm of colours'. In this text Klee clarifies the relationship between hue (colour), tonality (value) and colourfulness (chroma) by using a three dimensional disc-shaped form wherein white is located at the top of the figure (and approached by increasingly lighter variations of each hue) and black is at the base (approached by increasingly darker variations) emphasizing the subtle colour nuances which construct the image.
Janine Hofland, The Painters Window ("Across Land, Figurative / Abstract" work N° 6 page 11)
