Color: Conveying EmotionKatharine Roan

In order to understand color and its significance, first one must ask, “What is color?” While many metaphorical, philosophical answers may be given to that question, the strictly technical definition given by Merriam-Webster is as follows:

col·or noun, often attributive \ˈkə-lər\a : a phenomenon of light (as red, brown, pink, or gray) or visual perception that enables one to differentiate otherwise identical objects

b (1) : the aspect of the appearance of objects and light sources that may be described in terms of hue, lightness, and saturation for objects and hue, brightness, and saturation for light sources <the changing color of the sky>; also : a specific combination of hue, saturation, and lightness or brightness <comes in six colors> (2) : a color other than and as contrasted with black, white, or gray 1

Light, as we perceive it, is colorless, though all color originates from it. White light, which contains all colors, is how we see color. When a light shines down on an object, the colored light rays not absorbed by the object are reflected back into the eye. So an object seen as red is in actuality, an object containing every other color except red.2 The brain then interprets this image reflected into the human eye. The sensors in the retina of the eye, known as rods and cones, interpret color. Rods pick up low light, seeing blacks, whites, and greys, and the cones are sensitive to color. Different parts of the eye receive wavelengths unique to each color.3

When broken down, color is a highly scientific matter that might appear to have little to do with art if considered only at face value. But while this may explain what color is, scientific definitions can do little to define what color means.

1 Colour Therapy Healing, "Colour Perception- How we see Colour." http://www.colourtherapyhealing.com/colour/colour_perception.php.2 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 103-104.

3 Dale G. Cleaver. Art: An Introduction, Third Edition. New York, NY: Harcourt Brace Jovanovich, Inc., 1977), 145.

The effects color can have on mankind have been studied endlessly. Color can convey temperature and affect how we perceive space. Red, orange, and yellow, are perceived as warm colors, associated with fire and heat. Green, blue and violet and considered cool colors, associated with the cooling effects of water. Warm colors often appear to be coming toward the viewer whereas cool colors appear to be receding, this can be used to create the illusion of space in a two-dimensional plane.

Color can be used as a powerful tool by advertisers and artists alike. It can elicit a wide range of emotions and be perceived differently by different cultures. A study by color psychologist Faber Birren found that color is capable of altering an individual’s temperament. When subjects were exposed to the color red for extended periods of time they became loud, argumentative, and ate ravenously. In Western cultures, red is associated with love and in the Islamic world, green has positive associations connected to prayer. Artists often use color as a means to attach emotion to their work and to help the view better understand the purpose and mood of a piece. A color may have multiple meanings that conflict one another. For example, green may signify nature and growth as well as sickness and red may convey love and passion as well as anger and aggression.4 The following pieces will demonstrate how artists maneuver the difficult sea of color meaning with tact, relying on subject matter, medium, and other methods to communicate their unique message.

4 "Byzantine Art: Justinian and His Attendants." 400-1300 Medieval Era. Khan Academy. http://www.khanacademy.org/humanities/art-history/art-history-400-1300-medieval-era/v/justinian-and-his-attendants--6th-century--ravenna.

Byzantine

Justinian and His Attendants, 6th century, San Vitale

This intricate mosaic is located on the upper wall that flanks the altar of a Byzantine church in Ravenna, Italy. The piece depicts the Byzantine emperor Justinian, his attendants, and the fellow notable individuals; a mirror mosaic of his wife, Theodora, flanks the opposite side of the altar. Churchgoers would be able to look up at the apse and see the mosaics flanking either side of another mosaic of Christ.5

The individuals portrayed were important figures during their time and this mosaic reflects this high standing. The Figures are swathed in a glowing, gold colored background. This brilliant, glowing setting negates a worldly sense of depth.6 This creates a timeless, spiritual quality to the work and places the figures in a transcendent plane, seemingly between heaven and Earth.7 The color gold symbolizes the glowing light of Heaven enveloping the figures shows that they are eternal and conveys the importance of the individuals to the viewer below, who is quite literally, looking up at the piece.8

5 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 416.6 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 103.7 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 592.8 Wolfe, Justin. The Art Story Foundation, "Fauvism." http://www.theartstory.org/movement-fauvism.htm.

Rococo

Jean-Honoré Fragonard, The Swing, oil on canvas, 1767 (Wallace Collection, London)This ornate oil painting by French artist Jean-Honoré Fragonard depicts a mischievous young lady being pushed on a swing in the center of the work. Her lover lounges clandestinely in the shrubs and looks up at her, reaching out with longing, from the lower left corner. The light, fanciful colors are typical Rococo, as shown by the lady’s lacy white and pink gown. This complementary color contrasts against the lush, green garden surroundings.

The lush surrounding garden, which makes up the setting of the painting, is green, out of control, and overgrown. This is a sexual innuendo and a reference to the lovers’ unbridled romantic relationship, which like the garden, goes unmonitored and grows wild. Pink, which embodies femininity swathes the young woman in the form of a flowing, alluring gown. The scenario is an expression of pleasure and frivolity, as shown by the frivolous nature of the pink gown and white lace. As well as a depiction of shameless self-indulgence, which is symbolized by the sensuous foliage that surrounds the young lovers. It exemplifies the exuberant, over indulgent lifestyle of the French aristocracy of the 18th century.9

9 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 423.

Post-Impressionism

Vincent van Gogh, Starry Night, oil on canvas, 29 x 36 1/4" (73.7 x 92.1 cm), June 1889 (MoMA)

Starry Night is quite arguably one of Vincent van Gogh’s most famous works as well as one of the most famous paintings in the world. The piece depicts an exaggerated nighttime landscape looking out onto the turbulent heavens above a small, peaceful town. It is well documented that van Gogh suffered from mental illness throughout his life, which caused him great emotional distress. Starry Night was painted as a view from an asylum window when the artist was institutionalized.10

Van Gogh’s works were notable for their imaginative use of powerful, broken color and clashing complements.11 The exaggerated colors in this piece are a reflection of emotional suffering. In Western culture, Christians associate the color blue with God.12 The celestial blue color of the sky illuminated by heavily exaggerated glowing orbs of light, embodying stars, in addition to the church in the foreground (reminiscent of van Gogh’s Dutch homeland) create a spiritual atmosphere to the piece and reflects the artist’s religious struggles.13

10 "Warhol's Gold Marilyn Monroe." 1960- Age of Post-Colonialism. Khan Academy. Web, http://www.khanacademy.org/humanities/art-history/art-history-1960---age-of-post-colonialism/v/warhol--gold-marilyn-monroe--1962.

11 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 103-104.

12 Dale G. Cleaver. Art: An Introduction, Third Edition. New York, NY: Harcourt Brace Jovanovich, Inc., 1977), 145.13 "Byzantine Art: Justinian and His Attendants." 400-1300 Medieval Era. Khan Academy. http://www.khanacademy.org/humanities/art-history/art-history-400-1300-medieval-era/v/justinian-and-his-attendants--6th-century--ravenna.

Fauvism

Henri Matisse, Joy of Life, oil on canvas, 5’9 1/8” x 7’10 7/8”, 1905-6 (Barnes Foundation, Merion, Pennsylvania)

Henri Matisse is known as one of the founding Fathers of Fauvism. Fauvism (coming from the French word fauve, meaning “wild beast”) was a movement of 20th century French artists who relied upon the expressive use of vivid colors.14 The Fauves often used pure, unmixed colors intensified with a heavy application. They chose to ignore standard color theory and realism in favor of using color as an independent characteristic.15

Joy of Life depicts a colorful Arcadian landscape filled with nude bodies and creates a mythic paradise for the viewer, using the background as a stage-like setting.16 His piece transports the viewer with its unnatural yellow grass, pink trees, and orange and green bodies. Clearly, it is not meant to convey the natural world we know and live in, but instead, exaggerate colors in a distinctive style to convey emotion as opposed to realism. The bold, intense, bright colors create an energetic scene or merriment. Matisse used colors experimentally to create the illusion of a different world through his paintings.17

14 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 416.15 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 103.16 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 592.17 Wolfe, Justin. The Art Story Foundation, "Fauvism." http://www.theartstory.org/movement-fauvism.htm.

Pop Art

Andy Warhol, Gold Marilyn Monroe, Silkscreen ink, Silkscreen ink on synthetic polymer paint on canvas, 71.25 x 57 in. (211.4 x 144.7 cm), 1962 (MoMA)

Andy Warhol’s Gold Marilyn Monroe depicts the screen-printed head of Marilyn Monroe, in exaggerated colors, hovering on a gold background. At the time of its creation in 1962, Monroe had quite recently passed away that same year, thus solidifying her status as a Hollywood icon in the minds of Americans forever.

Warhol’s gold background is clearly an homage to early Byzantine art, such as Justinian and Attendants. Like the emperor Justinian, Monroe is shown floating in an otherworldly gold plane. This glowing surrounding creates a sense of ethereal transcendence. This golden aura suggests her timelessness, elevating her to an almost goddess-like status and providing a sharp contrast to her gaudily screen-printed face. This celebrity glorification follows the ideals of pop art, creating a modern, commercialized production of art in method of creation (mass produced and screen-printed) and in subject matter. The colors of Monroe herself are vastly exaggerated, synthetic, “comic book” colors. This not only serves to make her stand out against the gold background but to show her, not as an individual, but as a pop culture icon.18

18 Debra J. Wewitte, Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. (New York, NY: Thames & Hudson, 2012), 423.

Selected Bibliography

"Byzantine Art: Justinian and His Attendants." 400-1300 Medieval Era. Posted Oct 01, 2011. Khan Academy. Web, http://www.khanacademy.org/humanities/art-history/art-history-400-1300-medieval-era/v/justinian-and-his-attendants--6th-century--ravenna.

Cleaver, Dale G. Art: An Introduction, Third Edition. New York, NY: Harcourt Brace Jovanovich, Inc., 1977.

Colour Therapy Healing, "Colour Perception- How we see Colour." Last modified 2012. Accessed November 16, 2012. http://www.colourtherapyhealing.com/colour/colour_perception.php.

Dewitte , Debra J., Ralph M. Larmann, and M. Kathryn Shields. Gateways to Art: Understanding the Visual Arts. New York, NY: Thames & Hudson, 2012.

Harris, Dr. Beth, & Zucker, Dr. Steven. "Fragonard's The Swing." 1700-1800 Age of Enlightenment. Posted Oct 01, 2011. Khan Academy. Web, http://www.khanacademy.org/humanities/art-history/art-history-1700-1800-age-of-enlightenment/v/fragonard--the-swing--1767.

Color Matters, "How the Eye Sees Color." Last modified 2004. Accessed November 16, 2012. http://www.colormatters.com/color-and-vision/how-the-eye-sees-color.

Merriam-Webster. Encyclopaedia Brittanica, 2012. s.v. "Color." http://www.merriam-webster.com/dictionary/color (accessed November 16, 2012).

SmartHistory: Presented by Khan Academy, "Matisse's Bonheur de vivre." Accessed November 16, 2012. http://smarthistory.khanacademy.org/fauvism-matisse.html.

"Warhol's Gold Marilyn Monroe." 1960- Age of Post-Colonialism. Posted Feb 18 20011. Khan Academy. Web, http://www.khanacademy.org/humanities/art-history/art-history-1960---age-of-post-colonialism/v/warhol--gold-marilyn-monroe--1962.

Wolfe, Justin. The Art Story Foundation, "Fauvism." Last modified 2012. Accessed November 16, 2012. http://www.theartstory.org/movement-fauvism.htm.