Form and Color In the section on theory of color expression, | shall attempt to describe the expressive potentialities of colors. However, shapes also have their “ethico- esthetic’, expressive values. in @ pictorial work, these expressive quaties of form and color shauld be synchronized: that 1s. form and color expressions should support each other. AS 1s true of the three primary colors, red, yellow and blue, the three fundamental shapes — square. triangle, and circle — may be assigned distinct expressive values. The square, whose essence is two harizontal and wo entical intersecting lines of equal length, symbolizes Matter, gravity, and sharp limitation. The Egyptian Neigalyph for “field” is a square A ered, tension Square are drawn rapt epefonesd as tr shapes charactenzed by horizontals and verncals may 57 Association of colors with corresponding shapes be assimilated to square form. including the cross, the rectangle, the Greek key, and their derivatives. The square corresponds to red, the color of matter. The weight and opacity of red agree with the static and grave shape of the square The triangle owes its nature to three intersecting dia- gonals Its acute angles produce an effect of puanacity and agaression. The wiangle assimilates af! shapes of diagonal character, such as the rhombus, trapezoid, 2ig-2ag, and their derivatives. It is the symbol of thought, ‘and among colors its weightless character is matched by hucid yellow. A circle 1s the locus of a point moving at constant dis- tance from a given point in a plane, In contradistinc- tion to the sharp, tense sensation of mation produced by the square, the circle generates a feeling of relaxauon ‘and smooth motion. itis the symbol of the spirit, moving 75“undivided within itself. The ancient Chinese used cir- cular elements to build their temples, while the palace of the temporal sovereign was constructed in quadran- gular manner. The astrological symbol for the sun is a circle with a dot in the center. The circle comprehends all shapes of flexuous, oyolic character, a8 the ellipse, oval, wave, parabola, and their derivatives. The incessantly moving circle corre- sponds among colors to transparent blue. To summarize, the square is resting matter; the diating triangle is thought, and the circle is spin “eieinal motion. If wwe look for shapes to match the sec- “ondary colors, We find the trapezoid for orange, a spher- ical triangle for green, and an ellipse for violet; Fig.57 Coordination of given colors with corresponding shapes involves parallelism. Where colors and shapes agree in their expression, their effects are additive. A picture whose expression is determined chiefly by color should develop its forms from color, while a nicture stressing form should have a coloration derivea from its form The Cubists were most particularly interested in form and reduced their colors in number accordingly. Ex: pressionisis and Futurists used both fo-m and color a8 expressive media: Impressionists dissolved form in favor of color. What has been said of subjective color holds also of form. Each individual's constitution endows him with certain traits, Graphology inquires into the relationship between subjective form in handwriting and the per sonality of the writer, but only certain subjectwe forms can manifest themselves in lineal script The Chinese calligraphers admired works of subjective originality, but a scroll was most esteemed if at once original and harmoniously balanced. Brush-and.nk painting was similarly regarded. Liang K’ai and other masters went a step further. They placed no value on originality and personal style; they sought the absclute 76 in art, and attempted to give each subject a formal expression of general validity. Liang Kai's works differ 80 in line and tone that it is not easy to identify the artist. Subjectivity of form is submerge¢ in his paintings in the interest of a higher, objective fideliry In European painting, Matthias Griinewald aspired to the same objectivity, in form and color. Konrad Witz and El Greco were largely objective as to color, but subjective as to form. De La Tour's work is subjective in form and color alike. Van Gogh's pairtings, also, are subjective in both drafts manship and colcration Painting is rich in objective categories. They lie in spatial direction, distribution of mass, free selection of forms and areas with their tonalities and textures.