Perhaps a moonlit night in the West actually produces such colors, but more likely, Remington is performing perceptual sleight of hand with his colors. In both of the examples below, Remington shifts the lights toward green. These color families are particularly effective as suggesting the colors of night. I observed a common color thread in his paintings: he not only relied heavily on blues and rich black-like colors, as one might expect, but he also used a great deal of blue-greens and greens. When I first tried painting nocturnes over a decade ago, I found inspiration in Frederick Remington’s nocturnes of the American West.
Make the values lighter than they would actually be at night,.To paint a nocturne, therefore, the painter must be willing to modify colors and values in three ways: Once light enters the scene (even partial light, as shown in the right photo), we are able to make out the individual hues in each painting.
This is because our eyes do not perceive color in very low-light conditions. In the left photo, above, taken at night, colors are barely discernible.
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