From Eliel Saarinen’s The Search for Form in Art and Architecture, NY Reinhold publishing Corp. 1948
Form and Color:
p. 231
“Form is mainly constituted by its proportions, rhythm, volume, and scale. The colors used, therefore, should support and emphasize these form-properties, rather than bring disarray to them. Thus, the more neutral the general color scheme, the more form is apt to appear to its full value, as form. And the more color is regarded as the supporting, refining, and enlivening element, the more color is apt to bring variety and freshness to form.”
P. 232
“Suppose now that we have the following situation. Suppose that the room has been properly arranged according to the above description. Then, that in some part of this room there has been hung a picture; lets say, a rather conspicuous one as to its size, scale, treatment, and subject-matter — and above all, radiant in color. Obviously this picture constitutes the paramount color-accent of its environment, and the environment must be rearranged accordingly. Also, if other paintings or objects of whatever kind are brought within the sphere of influence of this painting, their fitness must be decided according to the nature of this influence. Hardly any other procedure is possible if one’s ambition is to build up a consistent color-harmony”
P. 236
“However, we are not able to give advice as what should be done and what not. This could only mean that we would put down theoretical systems of our own for the use of others-which would be against our thinking. The only thing we can stress-and with emphasis-is that color is not a mere matter of decorative enjoyment. It has a deeper meaning, and this deeper meaning everyone must individually learn to sense. Sound and movement- music and dance- are not for the sake of dinner-entertainment, as many seem to think. They are essential means for inner cultural growth.
So is color.
And so must the art of color be.”
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