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That sometimes a painting only uses two
shades of blue — say a magenta alongside a deeper, royal blue — shows that Reinhardt had not yet in the early 1950s created a system out
of color, as he would later when the
black paintings were fully underway, but nonetheless he had the idea that red, blue, and green mixed with a
single color enabled him to achieve a high degree
of coloristic complexity within a
single hue, which he also employed for the contemporaneous red paintings, working with different red tones, but also mixing red with green and blue to juxtapose yellow and magenta passages with the red ones.
These
Black Paintings - see, for instance, Abstract Painting, Black (1966; Tate, London)- are completely empty of «content», and yet on closer inspection, their single - colour surface is riven with differing shades of b
Black Paintings - see, for instance, Abstract Painting,
Black (1966; Tate, London)- are completely empty of «content», and yet on closer inspection, their single - colour surface is riven with differing shades of b
Black (1966; Tate, London)- are completely empty
of «content», and yet on closer inspection, their
single - colour surface is riven with differing
shades of blackblack.