Colors in art history (Coursework Sample)

Colors in Art History Research Name Course Instructor Date Colors in Art History Research The Composition of the Colour Palette and the Socio-Economic Role of Pigments Used in Egyptian Painting This article is an overview of a research study that examines the use of pigments in ancient Egypt. It begins by outlining the project's aims, which include determining colors and the natural pigments that make them up, researching color enhancements and how they are employed, pigment commerce, and pigments and societal roles (Blom-Böer, 2019). Then came a description of the techniques used, indications of how samples were taken, and the number and classification of the results. Following that, we learn about the six primary colors used, namely black, white, red, blue, green, and yellow, and the numerous applications of each hue. Regarding socio-economic aspects, the article looked into the private and public sectors and their relationships with artisans, which differed significantly between the old, middle, and contemporary kingdoms. Kings would use their subjects, especially in the earlier kingdom, to create more prominent monuments for themselves (Blom-Böer, 2019). Weaker kings would subsequently dismantle and reuse these structures. During this period, skilled artisans were organized to produce various objects for funerals, while others adorned the Valley of the Kings. The high-priced pigments used in the coffin decorating added to the overall cost of the products. Then there is the classification of colors based on the pigments used to generate them, such as black from soot and green from malachite (Blom-Böer, 2019). It was vitally necessary to emphasize that specific colors, such as malachite, resulted from the decomposition of other elements. It is crucial to note that some color pigments, such as soot, can adhere to a surface on their own, while others, such as acacia, require the support of organic components. Yoruba Beadwork Beads of a specific sort and hue symbolize particular orisa in the Yoruba religion. White is the most established color in Yoruba society, followed by red, blue, and finally, yellow, the youngest. These four hues are utilized during initiations and other installation forms to paint symbolic signs of invocation and empowerment (Mason, 1998). Since black denotes the darkest shade of blue or red, it is second in seniority to white. The graphic design employs symmetry, rhythm, emotion, and balance to evoke awe and amazement via its use of color contrast, which results in a mathematical equation. The darkness of blackness represents the unknown territory beyond the safety of civilization and the embrace of home. When Oguin wears necklaces made of beads, the primary colors are black and green, with touches of crimson to represent blood and Ogun's fiery, explosive personality. Green points out that Oguin is elder to his siblings and fellow hunters Erinle and Osoosi and hence holds the head of hunters (Mason, 1998). The original doctor and one-third of the hunting three, Erinle, steals the dark, transparent green, or navy blue beads of the uninitiated. The youngest of the hunting three, Osoosi, will wear either a bright green or a light blue outfit. As was previously indicated, the kind and color of beads a god wears may be used to identify them. For instance, the deity of agriculture, Orrisa Oko, wears white beads with red stripes (Mason, 1998). His religious tools, like the beads, are adorned with alternating red and white stripes. Osanyin, the master of leaves, wears beads in a rainbow of hues to represent the rich diversity of the forest's plant life. To the Yoruba, the colors in this context have deep symbolic meaning. These hues represent various facets of Yoruba culture, making them significant cultural indicators. Filmmakers On Color Natalie Kalmus argues that the addition of color represents a further development in the film's march toward realism, with the same color, tone, and design principles applicable to the film medium as they do to the fine arts. A lack of color awareness is functionally equivalent to color blindness and prevents one from getting the full benefit of the color image. The fact that monotony is the adversary of fascination provides support for the color image, yet an overabundance of color is artificial. Each hue and shade has psychological connotations, some more obvious than others; for example, red is associated with danger, blood, life, and heat, while green is associated with the great outdoors, freedom, and freshness (Kalmus, 1935). Even down to the level of color contrast, or the psychological connection of the different hues to one other, these rules must apply to build up characters and harmonize emotions and circumstances. For instance, when two colors are side by side, the one on the left will often push the one on the right toward its complement, which may significantly impact how we perceive and interpret the original hue. Movies Meet The Rainbow The article focuses on the changes made to the film industry, namely the transition from silent black-and-white films to color films. Improvements in photography, illumination, staging, and cosmetics have helped the film business become technically advanced. However, the color was added using outdated tone, hand coloring, and tinting methods. Earlier efforts to introduce color to motion pictures, such as the well-publicized Kinemacolor, had their patents revoked and manufacturing halted after the film's first public premiere in 1909 (Bedi, 2017). Cinecolor and Prismacolor were two more processes that failed to catch on and were later superseded by the technicolor process, which debuted in a two-color film in 1917. The film was shot in process one, then process two, with a superior camera, introduced dyes. The full color was accomplished with process four of Technicolor, which was not drastically different from process three except for including a soundtrack. Companies struggled to embrace the camera because of the learning curve involved in using it. Pioneers like Walt Disney were among the first to use color technology, comparing it to a rainbow and black and white to a cloudy day. Walt Disney's willingness to experiment with the three-color process resulted in two years of exclusive use of the technology, which led to numerous award-winning films that received special recognition for using Technicolor (Bedi, 2017). Although his son now runs the family business, Max Factor deserves recognition as a pioneer in the film industry's makeup industry thanks to the success of his theatrical makeup store. Technicolor was convinced that color should be used to convey emotion, a cause championed by Natalie Kalmus, the ex-wife of the company's CEO. Many disagreed with the move, but it was a relatively minor problem for a firm that ultimately prevailed, guiding the globe from its traditional grays and browns to the more progressive rainbow shades. Real Men Wear Pink One illustration of this history of color by gender is the practice of assigning pink to female infants and blue to male infants at birth. The story delves more into how the pink culture discourages girls from developing into their natural feminine selves and how this, according to experts, leads to more fake behavior. The media's portrayal of a prince in pink as a man coming in touch with his feminine side, which purportedly constitutes a real man, inspired the paper's headline (Grisard, 2017). It is necessary to examine the cultural connotations of various hues across time, particularly in fields like design, advertising, and psychology, to see whether they have any bearing on sexual attraction. It is essential to recognize the association of certain hues with specific characteristics, such as femininity, seduction, and artificiality. The ancient Italians used the term "artistic prostitution" to describe the practice of drawing viewers' eyes away from the actual work of art on exhibit in favor of the paint itself as a means of attracting women. However, in ancient France, color was considered an asset to the design, signifying that men and women must work together but that males must still be in charge. Given the emotional impact of color, it is no surprise that color codes came to signify norms and taste, giving rise to social and geographic disparities and, eventually, marketing. According to many specialists, color affects mood and provokes feelings in individuals; thus, it should not be dismissed as unimportant. One color expert pushed the gender-based color agenda further by suggesting that a person's preferred palette may reveal their sex (Grisard, 2017). Pink has always been associated with girls and blue with males, but it was not until the 1950s that the princess culture cemented these stereotypes. As a result, a guy who prefers pink to other colors is often assumed to be gay or transgender these days. Since birth, males and girls are taught different behaviors via color codes, but this dramatization is unparalleled. Elimination of color in far eastern art and philosophy A general aversion to color characteri...