The middle-ground 'green' is muted, drawing it into the distance. To add to the harmony of this painting, we should see the color in the sky in the landscape terrain. (mixture with a grey) The red-tone is opposite the green shades and tones, which are also part of this painting. I see a muted red-violet in the distant mountains, even tending toward the red tone. Red-violet is part of the yellow, blue-violet, red-violet split complementaries. The remainder of the painting has colors analogous to the yellow/violet complements. However, there are many touches in these yellow/violet areas of tints, tones and shades that can actually be seen on the color wheel. The Violet/Blue-Violet also have high chroma (for blue). Higgins does say that he used a higher chroma yellow to bring the grasses forward. And I see that the colors opposite on the standard triadic color wheel are indeed yellow/yellow-orange.
"Ĭould we have determined this scheme using the color wheel? Higgins considers the middle distance colors to be purple/purple blue, or with our terms, Violet/blue-violet. This painting is a Yellow/Purple harmony. When not detached, complements may injure each other where they join. The Yellow was not as pronounced as I painted it and the complements are detached. I wanted Yellow in the near distance for two reasons, as a complement to the Purple and to bring the grasses forward. In the Buckman Road example, "The middle distance cliff is the center of interest and its shadow is mostly Purple/Purple Blue.
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