Another important influence on painting in the 19th century was the theory of complementary colours, developed by the French chemist Michel Eugene Chevreul in 1828 and published in 1839 . He demonstrated that placing complementary colours, such as blue and yellow-orange or ultramarine and yellow, next to each other heightened the intensity of each colour " to the apogee of their tonality . " In 1879 an American physicist, Ogden Rood, published a book charting the complementary colours of each colour in the spectrum.
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Another important influence on painting in the 19th century was the theory of complementary colours, developed by the French chemist Michel Eugene Chevreul in 1828 and published in 1839 . He demonstrated that placing complementary colours, such as blue and yellow-orange or ultramarine and yellow, next to each other heightened the intensity of each colour " to the apogee of their tonality . " In 1879 an American physicist, Ogden Rood, published a book charting the complementary colours of each colour in the spectrum.
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Likewise my theory alone gives the true sense in which the notion of complementary colours is to be taken, viz : as having no reference to light, but to the Retina, and not being a redintegration [ restoration ] of white light, but of the full action of the Retina, which by every colour undergoes a bipartition either in "'yellow ( 3 / 4 ) and violet ( 1 / 4 ) "'or in "'orange ( 2 / 3 ) and blue ( 1 / 3 ) "'or in "'red ( 1 / 2 ) and green ( 1 / 2 ) " '.
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