編譯：加子藝
校對：張迅，王欣園
時(shí)間：2024年9月30日
凱利·格羅維爾（Kelly Grovier）是一名美國詩人、歷史學(xué)家兼藝術(shù)評論家枯夜，其代表作《色彩的藝術(shù)：39種顏料中的藝術(shù)史》（The Art of Colour[1]?: The History of Art in 39 Pigments）以色彩為線索员帮，大膽探尋從畢加索到莫奈等藝術(shù)大師的顏料選擇與使用背后的深層涵義，進(jìn)而重新審視藝術(shù)史器虾。本篇主要選取其中的八種色彩進(jìn)行介紹，以期為理解色彩蹦锋、歷史與文學(xué)作品間的暗潮涌動(dòng)提供幫助兆沙。
第一種是普魯士藍(lán)（Prussian Blue），其是德國煉金術(shù)士迪佩爾（Johann Konrad Dippel）一場失敗實(shí)驗(yàn)的無意之作莉掂，而此后便成為了作家作品中神秘的代名詞以及藝術(shù)家筆下不可或缺的一抹色彩葛圃，如畢加索的《藍(lán)色房間》（Picasso, The Blue Room）。
（Picasso, The Blue Room）
第二種是骨黑（Bone black）憎妙，其來自焚燒骨骼的粉末库正，是欲望與腐朽間界限的象征。約翰·辛格·薩金特（John Singer Sargen）在作品《X夫人》（Madame X）中便通過骨黑來表現(xiàn)生命的短暫和欲望的轉(zhuǎn)瞬即逝厘唾，進(jìn)而賦予了作品對肉體短暫性和腐朽的深刻哲思褥符。第三種是紅色，尤其是玫瑰胭脂色（Rose Madder）抚垃，其被維梅爾（Vermeer）巧妙地應(yīng)用在《拿酒杯的少女》（The Girl with a Wine Glass）一作中喷楣。這種色彩的萃取是通過煮沸釋放茜草根部的茜紅染料趟大。由此，畫中女子衣裙的艷紅不僅成為畫中的視覺中心铣焊，更暗藏著畫面人物之間微妙的情感張力逊朽。
第六種是綠色祖屏，其則有著更加險(xiǎn)惡的一面助赞。貝爾特·莫里索的《夏日》（Berthe Morisot, Summer’s Day）便使用了翡翠綠（Emerald Green），而這種顏料與舍勒綠關(guān)系密切袁勺，其中舍勒綠（Scheele’s Green）正是拿破侖臥室壁紙中所夾雜的有毒顏料成分雹食。因此，翡翠綠為畫作中的天空增添了一種不安的氛圍期丰，以此暗示著看似寧靜的場域下潛藏的危險(xiǎn)群叶。第七種是紫色，其在印象派畫家如莫奈（Monet）的作品中扮演了重要角色钝荡。19世紀(jì)街立，鈷紫顏料（Cobalt Violet）的發(fā)明使畫家們能夠捕捉到大自然中的紫色陰影，而莫奈的《鳶尾花》（Irises）和《睡蓮》（Water Lilies）系列便是以紫色來捕捉自然中的光影變化埠通。在莫奈看來：“空氣便是紫色的赎离。”
最后是白色端辱。盡管梁剔，表面上其象征著純潔無瑕圾浅，但卻有著黑暗的一面。詹姆斯·麥克尼爾·惠斯勒（James McNeill Whistler）在其作品《白色交響曲第一號(hào)：白衣少女》（Symphony White, No 1: The White Girl）中使用了鉛白（Lead White）憾朴。該顏料由鉛和醋生成，通過發(fā)酵動(dòng)物糞便的二氧化碳反應(yīng)產(chǎn)生喷鸽。雖然众雷，制作過程骯臟且有毒，但鉛白卻賦予了作品獨(dú)特的質(zhì)感做祝，即象征著藝術(shù)能夠從最污穢的材料中創(chuàng)造出最美麗的東西砾省。
色彩的歷史亦是藝術(shù)的歷史，每一種色彩背后的發(fā)明與故事既影響了藝術(shù)家如何創(chuàng)作混槐，又塑造了我們?nèi)绾涡蕾p和理解這些杰作编兄。這段探討色彩在藝術(shù)中的重要性，不僅拓展了我們對藝術(shù)作品的認(rèn)識(shí)声登，也讓我們更加關(guān)注色彩作為藝術(shù)語言的深刻表達(dá)力狠鸳。
Kelly Grovier, an American poet, historian, and art critic, delves into the hidden layers of masterpieces through the lens of color in his notable work The Art of Colour[2]?: The History of Art in 39 Pigments. This book reexamines art history by exploring the pigments used by artists such as Picasso and Monet, revealing how their choice of colors influenced the deeper meaning of their works. In this piece, Grovier introduces the histories and unique meanings behind seven key colors, each carrying a mysterious story that plays a crucial role in understanding the significance of color in art, history, and literature.
First, he recounts the origin of Prussian Blue, a color born out of an accidental discovery in 1706 by German alchemist Johann Konrad Dippel. When Dippel was about to discard a failed concoction, a dye-maker used the solution to create a deep blue hue, later named Prussian Blue. This color became a vital pigment in the works of artists like Picasso, as seen in The Blue Room, symbolizing mystery and depth. Prussian Blue’s serendipitous creation left a lasting impact on the art world.
Bone black, on the other hand, represents the boundary between desire and decay. This pigment, made from the pulverized remains of burnt bones, is used in John Singer Sargent’s Madame X to add an eerie tone to the subject’s pale skin, making it appear almost gangrenous. This use of bone black transforms the painting into a meditation on the transience of flesh, where the line between beauty and decomposition is blurred, offering a profound commentary on mortality.
Red, particularly rose madder, is skillfully used by Vermeer in The Girl with a Wine Glass. Derived from the roots of the madder plant, this pigment gives the woman’s dress its vibrant red hue. In this painting, color serves not just as a visual draw but as a tool to convey the subtle emotional tension between the characters, highlighting the complex interplay of desire and power.
Orange, representing eternal beauty, is exemplified in Sir Frederic Leighton’s Flaming June. At [3]?first glance, this painting seems to depict a peaceful summer nap, but the inclusion of a nearby oleander plant hints at the presence of death. However, Leighton’s use of chrome orange, a pigment made from chromite, transforms the scene into a symbol of beauty that transcends mortality, forever radiant and unyielding to the passage of time.
Yellow takes on a supernatural quality in Rembrandt’s Belshazzar’s Feast, where the divine writing on the wall is rendered in lead-tin yellow. Though this pigment’s formula disappeared in the 18th century, it was rediscovered in the 20th century, bringing back the vibrant hues that once illuminated the robes and religious symbols of old masters like Rembrandt.
Green, however, carries a more sinister undertone. Berthe Morisot’s Summer’s Day utilizes emerald green, a pigment closely related to the toxic Scheele’s Green, which is suspected to have contributed to Napoleon Bonaparte’s death due to its use in wallpaper. In Morisot’s painting, the green-tinted sky creates a sense of unease, hinting at the hidden dangers beneath the seemingly tranquil scene.
Purple played [4]?a pivotal role in the works of Impressionist painters like Monet. The invention of cobalt violet in the 19th century, along with the creation of portable paint tubes, enabled[5]? artists to capture the subtle violet hues of nature’s shadows. Monet’s Irises and Water Lilies series owe much of their atmospheric depth to this timely invention. As Monet famously declared, “the air is violet”.
Lastly, white, often symbolizing purity, has a darker side. In James McNeill Whistler’s Symphony in White, No 1: The White Girl, the lead white pigment used is derived from a process involving lead, vinegar, and fermenting animal excrement. Though the process is filthy and toxic, the result is a luminous white that underscores the paradoxical nature of art, where beauty can emerge from even the most impure materials.
The history of color is the history of art. The invention and stories behind each color have influenced how artists create and shaped[6]? how we appreciate and understand these masterpieces. This exploration of the importance of color in art not only broadens our understanding of works of art but also makes us more aware of the profound expressive power of color as an artistic language. It has also made a significant contribution to our understanding of literary works, as more and more writers use color as a means of expressing their deeper meanings.
