The regular beat of a composition in well-marked time can easily be felt in colour, and time plays a far more important part than one would have supposed likely or possible in colour composition. To some extent it seems to take the place of form, that is, form in the sense in which the artist uses the word, though form as understood by the musician iş certainly also felt in mobile colour.
The author has made many experiments with regard to the introduction of form, as the painter understands it, in the colour projected upon the screen, and has come to the conclusion that if used at all it should be indefinite or merely decorative and not in any sense realistic. The kind of form, for instance, which we see in cirrus clouds, while very beautiful in itself, has no definite meaning and is not calculated to distract the mind from the beauty of the cloud colour and yet is sufficiently interesting in itself. This kind of form introduced into the colour perhaps gives an added interest to it in slow compositions, but in rapid ones the eye and the mind have quite enough to do to
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