Color
The Perspective of Colors
Make the perspective of the colours so that it is not at variance with the size of any object, that is, that the colours lose part of their nature in proportion as the bodies at different distances suffer loss of their natural quantity.
— Leonardo da Vinci
Overview
Leonardo's notes on color are intimately connected to his theories of perspective and atmosphere. For him, color is not a fixed property of objects — it changes with distance, light, surrounding colors, and the medium of air between the object and the eye. This is what he calls the "perspective of colors" — a concept that goes far beyond simple linear perspective.
Of Colors and Contrast
How surrounding colors change perception
Of colours of equal whiteness that will seem most dazzling which is on the darkest background, and black will seem most intense when it is against a background of greater whiteness.
Red also will seem most vivid when against a yellow background, and so in like manner with all the colours when set against those which present the sharpest contrasts.
C.A. 184 v. c
The more white a thing is the more it will be tinged with the colour of the illuminated or luminous object.
C.A. 262 r. c
Every opaque object that is devoid of colour partakes of the colour of that which is opposite to it. This may be seen by experience, for every object which serves as a mirror is tinged with the colour of the thing that is reflected in it.
MS. A 19 v.
Of Color and Distance
Aerial perspective — how the atmosphere transforms hue
But in the far distance that object will show itself most blue which is darkest in colour.
C.A. 305 r. a
A dark object will appear more blue when it has a larger amount of luminous atmosphere interposed between it and the eye, as may be seen in the colour of the sky.
MS. C 18 r.
Colours seen in shadow will reveal more or less of their natural beauty in proportion as they are in fainter or deeper shadow. But if the colours happen to be in a luminous space they will show themselves with greater beauty in proportion as the luminosity is more intense.
Why do distant mountains look blue? Leonardo explains it in one sentence: a dark object seen through a large volume of illuminated atmosphere turns blue. This is aerial perspective — and it's the reason his painted backgrounds have that characteristic hazy blue quality. He didn't just observe the effect; he understood the physics. -D
Of Color and Fragrance
An unexpected recipe
Note how spirit collects in itself all the colours and scents of the flowers; and if you wish to make azure, put cornflowers and then wild poppies.
MS. B 3 v.
This is the theoretical foundation of sfumato — Leonardo's signature painting technique. If color changes with distance, if boundaries dissolve in atmosphere, then the painter's job isn't to draw sharp outlines and fill them with flat color. It's to paint the air between things. -D