The Power of Intensity in Painting: Brightness, Darkness, and Everything In Between

The Power of Intensity in Painting 🎨

When we think of intensity, most of us imagine something strong, passionate, or overwhelming. According to Merriam-Webster, intensity is defined as:

“The quality or state of being intense, especially the degree of strength, force, or feeling.”

It’s a broad definition that applies to many aspects of life. But in painting, intensity takes on a more specific — and more powerful — meaning.

Intensity of Hue: The Color’s Voice

For a collector or a casual observer, the first thing that often captures attention in a painting is color. Sometimes it’s not the subject itself, but the intensity of the hue — the way a red blazes or a blue calms — that pulls someone in.

My mentor and teacher, Jane Jones, puts it beautifully in her Color Confidence class:

“Intensity, also referred to as saturation, refers to the relative brightness or dullness of a color. A pure color has high intensity. A dull color has low intensity. To dull a color, black, white, gray, or even a color’s complement can be added. Whether a color is bright or dull depends on what colors it’s in a relationship with. Bright, intense colors advance, while dull, low intensity colors recede.”

That last line is key. Intensity doesn’t exist in isolation — it’s always about relationships. A bright red next to a soft green will look fiery, while the same red against a deep purple may feel muted.

Take Marion Dutton’s Golden Meadow as an example. The yellows blaze with high intensity in the field, giving the painting a feeling of sunlight and warmth. Contrast that with the darker trees on the horizon — dulled greens and grays — which quietly recede into the background. The push and pull of hue intensity is what gives the meadow its glowing life.

Intensity vs. Value: Clearing Up the Confusion

One of the most common challenges — especially for new painters — is the confusion between intensity and value.

• Intensity deals with how bright or dull a color is — its saturation.

• Value deals with how light or dark a color is.

At first glance, those sound like the same thing, and it’s easy to mix them up. Many people will say “light” when they mean “bright,” or “bright” when they mean “light.” But in painting, those are two very different ideas.

Imagine a vivid, bright orange. You can dull that orange by adding gray — lowering its intensity — but it may still be the same value. Or take a pale blue: it may be very light in value but still quite dull in intensity.

For students, this is a key distinction. When someone says, “That color looks too light,” a teacher might think they mean value, when the student really means the color feels too dull or not intense enough. Misusing the terms can lead to confusion — for both the learner and the instructor.

That’s why learning the correct terminology early matters. Understanding the difference between brightness (intensity) and lightness (value) is one of those small but powerful steps that helps a painter grow with clarity and confidence.

A Word About Bob Ross 🌲

This discussion about terminology also reminds me of Bob Ross. For years, many people underestimated him — they assumed that in 27 minutes, how much could he really teach? And yet, those who have truly watched his work know differently.

Bob’s goal was never to overwhelm viewers with technical jargon or rigid lessons. He wanted to invite people in, to show that painting could be joyful, calming, and accessible. He focused less on naming every concept and more on building confidence.

But if you look closely at the 403 episodes he recorded, you’ll find that he really does teach these lessons — about intensity, value, and so much more. They’re woven in through demonstration and practice. He might not say “saturation” or “value contrast,” but he shows them, brushstroke after brushstroke.

That’s part of Bob’s genius: he opened the door for anyone to try, while still leaving a trail of technical wisdom for those willing to look deeper and spend more time with the paint.

Intensity of Temperature: Warmth vs. Coolness

Color intensity isn’t just about brightness — it’s also about temperature. Every painting carries its own sense of warmth or coolness.

• A cool, icy blue mountain scene may carry a sense of peace or distance.

• A warm, golden meadow practically glows with life and closeness.

Hope Blakely’s The Enchanted Thaw is a perfect illustration of this balance. The cool intensity of icy blues and silvery whites dominates the snowy landscape, but a subtle hint of warm light at the horizon creates tension. The warmth pulls you closer, while the cool tones hold you at a distance — an intensity born from temperature alone.

Intensity of Value: Light and Dark

Finally, intensity shows up in value — the lightness or darkness of a painting. High-contrast works with sharp lights and deep shadows can feel dramatic and commanding. Softer, low-contrast pieces create a quieter, more contemplative mood.

In Softly the Light Fades, the strong glow of gold and silver paints against deep shadows makes for a bold statement. The high intensity of value there gives it drama and presence. Compare that with Winter Creek by Marion Dutton, where softer transitions and lower contrasts create a gentler, more subdued intensity. The creek doesn’t shout; it whispers.

Why Intensity Matters for Collectors

For collectors, understanding intensity isn’t just an art lesson — it’s a way of knowing why a painting speaks to you. Maybe it’s the vibrancy of a sunset that draws you in. Maybe it’s the subdued coolness of a foggy forest that makes you stop and breathe.

Intensity is one of those invisible threads that connect artist, painting, and viewer. It’s not always the subject matter that matters most — it’s the feeling carried through color, temperature, and value.

That’s why one painting may fill a room with energy, while another offers peace and calm. Intensity, in all its forms, is part of the secret language of art.

Happy Painting! Hope Blakely