Research point: Expressive landscape

Updated on 22 March 2017 (Harvard referencing and some content).

13 November 2016. Closest probably to transposing human states of mind into real world phenomena visible in landscapes were the German Expressionists.Their observations of the ever-changing mood found in landscapes relate directly to human emotion. Emil Nolde (1867-1956, Germany/Denmark) is famous for his wonderful elevated watercolour observations of the stormy sea of his home. In real life the intensity of these colours would be exceedingly rare to see, their presence in a work of art thus causes a raised awareness in the viewer (see e.g. a selection of related works (Pinterest, n.d.). He often uses a generally subdued background together with very carefully and cleverly selected areas of high intensity colour with enviable knowledge and ease, so that despite the deceptive casualness the result is always both a believable and highly emotional setting. Ernst Ludwig Kircher (1880-1938, Germany) was another founding member and outstanding representative of German Expressionism around the turn of the 19th/20th century. His style was much more graphic and harder than Nolde’s (probably owing to his being a printmaker, too). The painting “Graubünden Landscape with Sunrays” (Fig. 1) below, although very much in the Expressionist tradition, reminds me somehow of the votive tablets found in the Alpine region – especially the sunrays, which on rare occasions do appear in reality and which in religious paintings are interpreted as emerging from celestial beings resting on the clouds. Also Kirchner’s choice of viewpoint makes both for a noble real-life representation of the high mountains, helping to raise religious feelings in viewers familiar with this tradition  – see example of a votive tablet underneath (Fig. 2, photo unfortunately out of focus, but ideal for purposes of comparison):

Figure 1. Ernst Ludwig Kirchner: “Graubünden Landscape with Sunrays”, media n.k., n.d.. Source: Ernst Ludwig Kirchner (1880-1938) [Public domain] via Wikimedia Commons

Figure 2. Votive tablet by unknown artist: “Dank für Genesung nach einem Holzunfall”, painting on wood, 1740. Source: [Anon] [Public domain] via Wkimedia Commons

In Symbolism, on the other hand, a movement starting in the late 19th century with Gustave Moreau (1826-1898, France), landscapes were filled with mythological creatures to stand for the universal human emotions such as anger, fear, love or hate (Myers, 2007). It was thus not the landscape, which was the primary transporting medium of an emotion, but the entities populating it. Moreau seems to have been exemplary for the movement with a great interest in ancient mythology. His “Death of Sappho” (Fig. 3) below is typical of his approach:

Figure 3. Gustave Moreau: “Death of Sappho”, oil on canvas, c. 1870. Source: Gustave Moreau (1826-1898) [Public domain] via Wikimedia Commons

Painter and designer Léon Bakst (1866-1924, Russia) was in line with Moreau’s approach, see for example his painting “Terror Antiquus” (Fig. 4) below. Being on the cautious side (caused by six years of Latin at school) regarding the title of the painting and its uncommented translation “ancient horror”, I tried to find out more about its meaning and it is explained as “the Dionysian force which fuels true art” (Davidson, 2000), hence the quiet despite the seemingly ferocious title.

Figure 4. Léon Bakst: “Terror Antiquus”, oil on canvas, 1908. Source: Léon Bakst (1866-1924) [Public domain] via Wikimedia Commons

Gustav Klimt (1862-1918, Austria) was an outstanding representative of Symbolism. I was unable, however, to find a landscape painted by him, which in my opinion would have qualified as symbolist. All his landscapes appear close to reality (my husband is from the Attersee region, where Klimt used to paint many of his landscapes and I have been to many of the locations). They do not seem to include symbols in the expected way, for example in “Beech Grove I” below (Fig. 5). Regarding composition: The incredibly beautiful light appearing in specks on the stems and foliage at the back of the young forest, and on some of the trunks in the middle ground, appears essential to me here by producing a horizontal counterbalance for the vertical stems. Of course the overall square format (which I tend to prefer myself) helps to quieten down any stress contained in a scene and reminds me of the necessity to think carefully about my own choices of support:

Figure 5. Gustav Klimt: “Beech Grove I”, oil on canvas, 1902. Source: Gustav Klimt (1862-1918) [Public domain] via Wikimedia Commons

Frida Kahlo (1907-1954, Mexico) was a later representative of the Symbolist movement, who to me seems to take her symbols away from ancient to modern sources and somewhere near Surrealism. To my great joy I found her painting “Suicide of Dorothy Hale” (Fig. 6), since (by coincidence?) it ties in with the votive tablets I mentioned above in the section about Ernst Ludwig Kirchner and has been haunting its viewers ever since it was painted, telling the story of the never-solved mystery of the unlikely suicide committed by actress Dorothy Hale in 1938.

Figure 6. Frida Kahlo: “Suicide of Dorothy Hale”, oil on masonite, 1938. Source: Frida Kahlo (1907-1954) [Fair use] via Wikimedia Commons

A single landscape by her, painted in 1946, however seems to be in a category by itself. The landscape itself is interpreted as representing her broken body (Frida Kahlo Paintings, Biography, Quotes, n.d.).

16 November 2016. While both Expressionists and Symbolists remained with the real landscape without deviating too much from to the outward physical appearance, the Surrealist movement used – among many other approaches – imaginary landscapes with the aim to find ways of “unleash the subconscious imagination“. This goal for me immediately connects with the work of Sigmund Freud, whose discoveries rose to immense interest and popularity with intellectuals of the time (Tate, n.d.(a)). In the approach of historical painter and precursor to Surrealism Giorgio de Chirico (1888-1978, Italy) landscapes do not appear to be at the centre of interest, but are rather used in a stage-like manner. They are mainly barren, desert-like, flat or rocky backgrounds, which by being inert allow a wealth of impossible things to emerge, happen, develop and transform, in the shape of “disordered collections of symbols” (The Art Story, n.d.(a)) so that there is an entry point into a dream-like world for every human mind. Which may be the main reason for the immense and ongoing popularity of surrealistic painting. De Chirico’s interest appears to have circled around the mythological elements of Ancient Rome and Greece, as e.g. in “The Disquieting Muses” (Fig. 7):

Figure 7. Giorgio de Chirico: “The Disquieting Muses”, oil on canvas, 1916-18. Source: Giorgio de Chirico (1888-1978) [Fair use] via Wikiart

To me, the basic composition of landscapes used by Salvador Dali (1904-1989, Spain) (The Museum of Modern Art, n.d.) seems to have been greatly and very faithfully inspried by de Chirico, although his stages were populated by very different elements. In some of his works, though, the real coastline near his home in Catalonia (Cadaqués) served as the stage (Jones, 2007) as e.g. in his arguably most famous work, painted in 1931, “The Persistence of Memory” (The Museum of Modern Art, n.d.). In the glossary entry on “Surrealism” found on the Tate website (n.d.(a)) above there is an interesting documentary about a cooperation between Salvador Dali and the Disney Corporation (scroll down a bit) in making a surrealist film, which was discarded due to financial constraints after the war and rediscovered in 2008. This made me realise that one very weird and disturbing animated (childrens’!) film we have – “Le Roi et l’Oiseau” (“The King and the Mockingbird”) from 1980 (IMDb, n.d.) is exactly that, a surrealist painting come to life. The possibilities offerend by film appear to enhance the effects sought by the surrealists and no doubt their poineering approach is an immensely rich source to all types of visual art. Painter and sculptor Max Ernst (1891-1976, Germany) was very close to de Chirico and Dali in style and choice of subject, see e.g. “Ubu Imperator” (The Art Story, n.d.(b)), but also very recognizable his own, e.g. in the wonderfully agitated “L’Ange du Foyeur” from 1938 (Bunyan, 2013). Graham Sutherland (1903-1980, UK) again was inspired by religious motives and to a large extent by the landscape of Pembrokeshire, as e.g. in “Welsh Landscape with Roads” from 1936 (Tate, n.d.(b)). Painter and designer Paul Nash (1889-1946, UK) I already wrote about in a previous post (Lacher-Bryk, 2016). To me he feels the most authentic of the surrealist painters. There seems to be no artificiality in the choice of his objects, but rather an immediate connection with his concerns. For example see the haunting “Totes Meer (Dead Sea)” (Tate, n.d.(c)) painted in 1940/41.

In retrospect the term “expressive landscape” remains difficult to pin down. To me all landscapes are expressive by nature and no matter how reduced the visible content, it seems impossible to escape it. Enhanced expressiveness, however, that sort sought for and put to good use for a particular purpose, uses carefully chosen and/or altered landscape to stand for and enter into communication with a human condition and there are probably few other subjects in art, which lend themselves with similar ease to the transporting of universally understood messages.

References:

[Anon] (1749) Dank für Genesung nach einem Holzunfall [painting on wood] [online]. Österreichisches Museum für Volkskunde, Vienna. Available at: https://commons.wikimedia.org/wiki/File:Votivtafel_Maria_Kirchental_1740_%C3%96MV.jpg [Accessed 13 November 2016]

Bakst, L. (1908) Terror Antiquus [oil on canvas] [online]. State Russian Museum, St Petersburg. Available at: https://commons.wikimedia.org/wiki/File:Terror_Antiquus_by_L.Bakst_(1908).jpg [Accessed 13 November 2016]

Bunyan, M. (2013) Exhibition: ‘Max Ernst’ at Fondation Beyeler, Riehen, Switzerland [blog] [online]. Art Blart. Available at: https://artblart.com/2013/09/02/exhibition-max-ernst-at-fondation-beyeler-riehen-switzerland/ [Accessed 22 March 2017]

Davidson, P. (2000) “The Muse and The Demon in the Poetry of Pushkin, Lermontov, and Blok” in Russian Literature and its Demons [online]. Berghahn Books, New York, Oxford. Available at: https://books.google.at/books?id=yhoyRH7NIosC&pg=PA197&lpg=PA197&dq=the+Dionysian+force+which+fuels+true+art&source=bl&ots=5A2SZQaSum&sig=8E3E-8JAhBPSuEDg9ICm9as9HSg&hl=en&sa=X&ved=0ahUKEwj-u6nT0OnSAhXjIJoKHa1ZDAwQ6AEIHDAA#v=onepage&q=the%20Dionysian%20force%20which%20fuels%20true%20art&f=false [Accessed 13 November 2016]

de Chirico, G. (1916-18) The Disquieting Muses [oil on canvas] [online]. Private Collection. Available at: https://www.wikiart.org/en/giorgio-de-chirico/the-disquieting-muses-1918-1 [Accessed 22 March 2017]

Frida Kahlo Paintings, Biography, Quotes (n.d.) Landscape, 1946 – By Frida Kahlo [online]. Frida Kahlo Paintings, Biography, Quotes. Available at: http://www.fridakahlo.org/landscape.jsp#prettyPhoto [Accessed 13 November 2016]

IMDb (n.d.) Le Roi et l’Oiseau [online]. IMDb. Available at: http://www.imdb.com/title/tt0079820/ [Accessed 13 November 2016]

Jones, J. (2007) The Riddle of the Rocks [online]. The Guardian, London, 5 March. Available at: https://www.theguardian.com/world/2007/mar/05/spain.art [Accessed 13 November 2016]

Kahlo, F. (1938) Suicide of Dorothy Hale [oil on masonite] [online]. Phoenix Art Museum. Available at: https://en.wikipedia.org/wiki/File:Suicide_of_Dorothy_Hale.jpg [Accessed 13 November 2016]

Kirchner, E.L. (n.d.) Bündner Landschaft mit Sonnenstrahlen [n.k.] [online]. Available: https://en.wikipedia.org/wiki/Ernst_Ludwig_Kirchner#/media/File:Kirchner_-_B%C3%BCndner_Landschaft_mit_Sonnenstrahlen.jpg [Accessed 13 November 2016]

Klimt, G. (1902) Beech Grove I [oil on canvas] [online]. New Masters Gallery, Dresden. Available at: https://commons.wikimedia.org/wiki/File:Gustav_Klimt_-_Beech_Grove_I_-_Google_Art_Project.jpg [Accessed 13 November 2016]

Lacher-Bryk, A. (2016) Artist Research: Paul Nash [blog] [online]. Andrea Lacher-Bryk, Hallein. Available at: https://andreabrykocapainting1.wordpress.com/2016/10/17/artist-research-paul-nash/ [Accessed 13 November 2016]

Myers, N. (2007) “Symbolism” in Heilbrunn Timeline of Art History. The Metropolitan Museum of Art, New York, August 2007. Available at: http://www.metmuseum.org/toah/hd/symb/hd_symb.htm [Accessed 13 November 2016]

Moreau, G. (c.1870) Death of Sappho [oil on canvas] [online]. Private collection. Available at: https://commons.wikimedia.org/wiki/File:Gustave_Moreau_-_Mort_de_Sapho.jpg [Accessed 13 November 2016]

Pinterest (n.d.) Art: Emil Nolde [image collection] [online]. Pinterest. Available at: https://www.pinterest.com/pin/439734351093056325/ [Accessed 13 November 2016]

Tate (n.d.(a)) Surrealism [glossary] [online]. Tate, London. Available at: http://www.tate.org.uk/learn/online-resources/glossary/s/surrealism [Accessed 13 November 2016]

Tate (n.d.(b)) Graham Sutherland OM [online]. Tate, London. Available at: http://www.tate.org.uk/art/artists/graham-sutherland-om-2014 [Accessed 13 November 2016]

Tate (n.d.(c)) Totes Meer (Dead Sea). Paul Nash

[online]. Tate, London. Available at: http://www.tate.org.uk/art/artworks/nash-totes-meer-dead-sea-n05717 [Accessed 13 November 2016]

The Art Story (n.d.(a)) Giorgio de Chirico [online]. The Art Story, New York. Available at: http://www.theartstory.org/artist-de-chirico-giorgio.htm [Accessed 13 November 2016]

The Art Story (n.d.(b)) Max Ernst. Ubu Imperator [online]. The Art Story, New York. Available at: http://www.theartstory.org/artist-ernst-max-artworks.htm [Accessed 13 November 2016]

The Museum of Modern Art (n.d.) Salvador Dali. Introduction [online]. The Museum of Modern Art, Now York. Available at: https://www.moma.org/artists/1364 [Accessed 13 November 2016]

The Museum of Modern Art (n.d.) Salvador Dali. The Persistence of Memory [online]. The Museum of Modern Art, New York. Available at: https://www.moma.org/collection/works/79018 [Accessed 22 March 2017]

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Artist research: Dexter Dalwood

Updated on 17 March 2017 (Harvard referencing).

19 October 2016. When comparing my own research to the refined, meticulously presented equivalents written by other Painting 1 students, I find myself in doubt where to place the emphasis in my own learning. As far as I interpret the instructions, we are not expected to produce research proper until later, and probably for a reason. As a biologist and weathered science communicator I am well aware of the requirements of scientific research, and therefore of its limitations. More importantly, I want to enjoy and learn from my beginner’s freedom to react spontaneously and emotionally to the works of art I am presented with and not deprive myself of the joy in moving as playfully as possible (which I find difficult enough in the first place) through a period of unchecked experimentation. This is why I decided to allow myself the risk to put a personal emphasis in my level 1 reports and this is where I am going to stay.

Dexter Dalwood (*1960, UK) appears to share some of his ideas with those I identified for Henny Acloque’s work (Lacher-Bryk, 2016a). In “Sunny Von Bulow”, for example, an oil painting made in 2003 and presented by the Saatchi Gallery like her he “weaves art-historical reference into contemporary popular conscience, adding gravitas and reverence of legacy to the transient limelight of today’s media culture” (Saatchi Gallery, n.d.(a)). Instinctively, I am very much drawn to Dalwood’s poignant use of symbolism (see especially “Bay of Pigs” from 2004 (Saatchi Gallery, n.d.(b)). Other than with e.g. Freya Douglas-Morris, whose symbolic language appeared arbitrary to me (Lacher-Bryk, 2016b), the position of each element, its colour and shape with reference to the rest, helps me connect with Dalwood’s works at both the emotional and rational levels. This may sound preoccupied, but I cannot help preferring art with a message written in a language I have in common with the artist. If I cannot decode a symbol, it becomes a purely decorative element, which is where it starts to exert an annoying influence (“It must be there for a purpose, so why don’t I understand?”). And this is how Dalwood explains his approach on the David Risley Gallery website: “The viewer must use their imagination to complete my images, so I create images that trigger memories, or play upon images they may already have in mind about certain events. I like the idea of painting something that you may know a little about – the date, the place, the person – but that you don’t necessarily have a specific image for.“ (David Risley Gallery, n.d.).
Exactly.

References:

David Risley Gallery (n.d.) Dexter Dalwood [online]. David Risley Gallery, Copenhagen. Available at: http://www.davidrisleygallery.com/artists/dexter-dalwood [Accessed 19 October 2016]

Lacher-Bryk, A. (2016a) Artist Research: Henny Acloque [blog] [online]. Andrea Lacher-Bryk, Hallein. Available at: https://andreabrykocapainting1.wordpress.com/2016/10/18/artist-research-henny-acloque/ [Accessed 19 October 2016]

Lacher-Bryk, A. (2016b) Artist Research: Freya Douglas-Morris [blog] [online]. Andrea Lacher-Bryk, Hallein. Available at: https://andreabrykocapainting1.wordpress.com/2016/10/17/artist-research-freya-douglas-morris/ [Accessed 19 October 2016]

Saatchi Gallery (n.d.(a)) Dexter Dalwood. Sunny von Bulow [online]. Saatchi Gallery, London. Available at: https://www.saatchigallery.com/artists/artpages/dalwood_Sunny_Von_Bulow.htm [Accessed 19 October 2016]

Saatchi Gallery (n.d.(b)) Dexter Dalwood. Bay of Pigs [online]. Saatchi Gallery, London. Available at: http://www.saatchigallery.com/artists/artpages/dalwood_Bay_of_Pigs.htm [Accessed 19 October 2016]

Artist research: Henny Acloque

Updated on 17 March 2017 (Harvard referencing).

18 October 2016. What a contrast to the work by Freya Douglas, which I looked at in my previous post. Henny Acloque (*1979, UK) works mainly on small scale formats and with her own symbolism superimposed on carefully altered background paintings taken from the old masters. To me the foreground added by her, the choice of colours and shapes, appear to mirror in a way, and enter into communication with, the layers of the background painting underneath. The Ceri Hand Gallery (n.d.) describes this as follows: “Eliminating all figurative elements from the original source material, Acloque enforces her own codes and systems to re-introduce ‘characters’ to the frozen worlds she paints.” In her recent paintings (Acloque, 2010-2016) this approach gained a new intensity by her dividing up the now larger-sized canvas into parallel strips and jigsaw-like round elements, all of which cause a tumultous chaos in my head. To explain this effect, I have to refer again to the workings of my own brain. I am bad at filtering information at the best of times (hence my partly “photographic” memory). On many occasions the sheer mass of everyday visual and auditory input feels overwhelming and I have always been trying to avoid such overload. This is probably why I tend to choose a more quiet style of telling my complex stories. Since regrettably I was unable to find background information on Acloque’s reasons for choosing this particular approach, I thought it would be interesting to speak to artists who work in such ways in order to get a firsthand account on why they do what they do, especially how they go about processing such a large volume of information in one painting and also to viewers to find out how they feel about looking at such works of art.

Again I am happy for my tutor to have suggested to have a look at a particular artist who at first glance has little to do with what I (want to) do. I appreciate now that what I learn by doing research of this kind is much more about myself than anything else.

References:

Ceri Hand Gallery (n.d.) Henny Acloque [online]. Ceri Hand Gallery, London. Available at: http://www.cerihand.co.uk/artists/19/henny-acloque/ [Accessed 18 October 2016]

Acloque, H. (2010-2016) Paintings [image collection] [online]. Henny Acloque, London. Available at: http://www.hennyacloque.com/paintings/ [Accessed 18 October 2016]

 

Assignment 2: Stage 1 -Preliminary research (colour symbolism)

Updated on 26 February 2017 (Harvard referencing).

14 May 2016. Assignment 2 is still more than six weeks away for me, but there is an idea I would like to pursue in preparation for this assignment. To this end I would like to start now in order to be able to dedicate the exercises to come as preliminary steps towards the final painting.

The story of our fight for our son has been added to by another unbelievable chapter, this time concerning the role, which the public prosecutor assigned to our case appears to play in further hushing up the commited offences. We have turned somewhat numb at the incredible sequence of acts of wilful negligence we have been exposed to in the last nine years, but are determined not to give up. Assignment 2 will be my channel for expressing what I feel and because it is a poisonous cocktail mixed from extreme emotions, this is a wonderful opportunity to indulge in experimenting with the various effects colours have in communication with the human eye. Since we are required to paint another still life, here is some preliminary research regarding the meanings attributed to different colours in the Western world. And talking of cocktails – this could be the first step towards the setup of my still life.

I found an endless number of resources, but there is a limited number of emotions and conditions, and thus colours, I need to deal with in the context of this assignment and decided that staying with one source of information would provide me with reliable cross-connections. The source chosen also deals with colours in painting (Olesen, 2016):

• red: warm, positive, strong colour, signals “Stop!”, strong emotions, energizing, promotes determination, steals attention, symbol also of war, too much red makes angry, especially dark red (5). This should be my background colour including a black void as in Mark Rothko’s (1903-1970, USA) painting “Four Darks in Red” (Rothko, 1958) and own research).
• black: symbolizes evil, depressing, hidden, unknown, mysterious things, power and control also over information hidden from the outside world, but also elegance and wealth, protection against emotional stress (maybe use this colour to limit the effect of turquoise and red by painting round them), adds contrast and allows other colours to stick out more (4), use on the black void and where needed in the painting, maybe position the mixing tools and glasses on a black shiny surface or cloth, black should not stand alone. I will need to buy a darker type of black, my ivory black is more like a very dark grey.
• brown: colour of stability for the family, protects from the outside world, I will need to put this in between the red outside frame and the black void as a protective shield, stays in the background, emphasizes other colours (13), use a brown not too dark, only if I want it to communicate depression, if dark it should also help to enhance the cocktail colours
• silver: colour of truth of old, sophisticated, visible in the dark, which for my purpose is also true in a figurative sense, however “silver-tongued devil” is someone who deceives and cheats, the colour can also bring emotional, mental and physical harmony, distinuguish between bright silver, which suggests openness and dark silver, which is associated with negative emotions (1)
  Cocktail mixing equipment is silvery and I could make a mirror image of the silver-tongued devil in my cocktail mixer, while the different sorts of brightly coloured cocktails mixed have various meanings associated. The experience gained, by concidence, with the two different types of silver sheen in my still life with man-made objects may not have been a coincidence.
• turquoise: creates harmony, but must not be overused, because of a roller-coaster effect, which may represent our own attempt to initiate positive communication with the injuring parties, combines blue with a little yellow, “radiates peace, calmness and tranquility through the blue colour, balance and growth through the green colour, with an uplifting energy from the colour yellow. Turquoise recharges our spirits during periods of mental stress and fatigue”, improves empathy, but in the extreme narcissistic, weighs pros and cons, I will need the shade of blue-green, since it promotes engagement and symbolizes credibility and reliability (3) – it is also probably no coincidence that I have always liked this colour, it is one of my favourites. Type of cocktail: Caribbean mist, opaque.
• pink: unconditional love, understanding, sign of hope and success, relieves anger (6) Type of cocktail: Pink Lady, opaque. Will need to stand next to the red of the Rothko frame in some place to see the calming effect and the cancelling out of similar colours, don’t make a dark line round the glass in this case! Use hot pink, but sparingly like turquoise
• orange: as a complementary to turquoise, warm, positive, stimulates mental activity, provides emotional strength in difficult times, encourages two-way communication, encourages self-respect and respect for others (7) Type of cocktail: Campari orange, because it contains two shades – dark orange, meaning deceit, and golden orange, which should be positive
• white: protects and encourages, opens up the mind for something new, sense of peace, comport, hope, but too much can create a cold, isolated, empty feeling (9). Use a bit of it as something in or on the pink cocktail to enhange the meaning, but also to stand in opposition to the red and black
• yellow: the brightest colour visible, increases optimism and communication, makes nervous, associated with envy, influences head rather than heart (10). This only in context with other warm colours, but not on its own, since it is part of turquoise, I may not need it separately (just as blue)
• blue: calming, strength, wisdom, trust, do the right thing in difficult situations (14), since it is part of turquoise I may not need it separately (just as yellow)
• colours not to use in this context: gold (2), purple (8), both have meanings opposite to those I want to convey; green (11) – it takes away the aggression of the red and adds too much hope, which is not true; grey (12) – because it does not convey any of the emotions associated with this context

The colours I would like to use after this initial research will be shades of red, brown and deep black to create a background in the style of a Mark Rothko painting (research to follow). On this I will try and paint a symbolic, weird and aggressive-looking cocktail arrangement of turquoise, pink and orange drinks made in a silver shaker and served in glasses of different shapes. The colour white will only be used to mix tonal values and to add highlights, yellow, blue and green will not be part of the painting as separate areas of colour. Off now to some detailed research on the mechanisms at work in Mark Rothko’s paintings.

Resources:

Olesen, J. (2016) Hidden Meanings of Colour and Art [online]. Jacob Olesen, Copenhagen. Available at: http://www.color-meanings.com/hidden-meanings-of-colors-and-art/ [Accessed 14 May 2016]

Rothko, M. (1958) Four Darks in Red [oil on canvas] [online]. Whitney Museum of American Art,

1. http://www.color-meanings.com/silver-color-meaning-the-color-silver/
2. http://www.color-meanings.com/gold-color-meaning-the-color-gold/
3. http://www.color-meanings.com/turquoise-color-meaning-the-color-turquoise/
4. http://www.color-meanings.com/black-color-meaning-the-color-black/
5. http://www.color-meanings.com/red-color-meaning-the-color-red/
6. http://www.color-meanings.com/pink-color-meaning-the-color-pink/
7. http://www.color-meanings.com/orange-color-meaning-the-color-orange/
8. http://www.color-meanings.com/purple-color-meaning-the-color-purple/
9. http://www.color-meanings.com/white-color-meaning-the-color-white/
10. http://www.color-meanings.com/yellow-color-meaning-the-color-yellow/
11. http://www.color-meanings.com/green-color-meaning-the-color-green/
12. http://www.color-meanings.com/gray-color-meaning-the-color-gray/
13.http://www.color-meanings.com/brown-color-meaning-the-color-brown/
14. http://www.color-meanings.com/blue-color-meaning-the-color-blue/