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Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza

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Pale Intrusions Into Blue: the Development of a Color Hannah Rose Mendoza Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2004 Pale Intrusions into Blue: The Development of a Color Hannah Rose Mendoza Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY SCHOOL OF VISUAL ARTS AND DANCE PALE INTRUSIONS INTO BLUE: THE DEVELOPMENT OF A COLOR By HANNAH ROSE MENDOZA A Thesis submitted to the Department of Interior Design in partial fulfillment of the requirements for the degree of Master of Fine Arts Degree Awarded: Fall Semester, 2004 The members of the Committee approve the thesis of Hannah Rose Mendoza defended on October 21, 2004. _________________________ Lisa Waxman Professor Directing Thesis _________________________ Peter Munton Committee Member _________________________ Ricardo Navarro Committee Member Approved: ______________________________________ Eric Wiedegreen, Chair, Department of Interior Design ______________________________________ Sally Mcrorie, Dean, School of Visual Arts & Dance The Office of Graduate Studies has verified and approved the above named committee members. ii To Pepe, te amo y gracias. iii ACKNOWLEDGMENTS I want to express my gratitude to Lisa Waxman for her unflagging enthusiasm and sharp attention to detail. I also wish to thank the other members of my committee, Peter Munton and Rick Navarro for taking the time to read my thesis and offer a very helpful critique. I want to acknowledge the support received from my Mom and Dad, whose faith in me helped me get through this. Finally, I want to thank my son Jack, who despite being born as my thesis was nearing completion, saw fit to spit up on the manuscript only once. iv TABLE OF CONTENTS LIST OF FIGURES....................................................................................vi ABSTRACT...............................................................................................viii THE MAN WITH THE BLUE GUITAR ...................................................1 INTRODUCTION AND OVERVIEW.......................................................2 RESEARCH METHODOLOGY................................................................8 VISION AND PERCEPTION....................................................................10 PIGMENT..................................................................................................17 SYMBOLIC BLUE....................................................................................44 LINGUISTIC BLUE ..................................................................................57 PSYCHOLOGICAL IMPACTS OF BLUE ................................................61 BLUE IN DESIGN.....................................................................................65 REFERENCES...........................................................................................83 BIOGRAPHICAL SKETCH ......................................................................86 v LIST OF FIGURES 1.1 Pablo Picasso, The Old Guitarist ..........................................................1 3.1 Cross Section of the Human Eye...........................................................19 4.1 Sample of Egyptian Blue ......................................................................27 4.2 Head of Ramses III ...............................................................................28 4.3 Hunting Birds in a Papyrus Thicket ......................................................29 4.4 Azurite in Mineral Form.......................................................................30 4.5 Azurite in Pigment Form ......................................................................31 4.6 Amulet of Bes........................................................................................32 4.7 The Master of the Saint Bartholomew Altarpiece, Saints Peter and Dorothy......................................................................33 4.8 Indigo or Woad as Pigment...................................................................35 4.9 Farmed Indigo Plants............................................................................37 4.10 Ultramarine in Pigment Form .............................................................39 4.11 Simon Bening. The Crucifixion..........................................................40 4.12 Giovanni Bellini, Madonna of the Meadow.........................................41 4.13 Titian. Bacchus & Ariadne.................................................................42 4.14 Yves Klein, IKB74..............................................................................44 4.15 Smalt in Pigment Form.......................................................................45 4.16 Prussian blue in Pigment form ............................................................46 4.17 Cobalt in pigment form.......................................................................47 4.18 John Everett Millais, The Bridesmaid .................................................48 vi 5.1 Kota Master, Maharao Bhim Singh of Kota Attending Krishna as Brijnathji ............................................................................52 5.2 Giotto, Arena Chapel in Padua.............................................................53 5.3 St. Joshua Tree .....................................................................................57 5.4 Thomas Gainsborough, The Blue Boy...................................................61 5.5 Vincent Van Gogh, The Starry Night ....................................................62 8.1 Robert Adam, The Ante-Room at Syon House in Middlesex.................81 8.2 Wedgwood Cream Jug, Jasperware.......................................................82 8.3 Single Color Toile-du-Jouy in Blue ......................................................82 8.4 Chinese Dish ........................................................................................84 8.5 Spodeware, Plate with Indian Sporting Scene .......................................86 8.6 James McNeil Whistler. The Peacock Room: Harmony in Blue and Gold...................................................................88 vii ABSTRACT This thesis covers the development and use of the color blue in Western Europe and the United States. How humans see the color blue physically and how human beings perceive the color blue from a cultural standpoint is the starting point for the discussion. The technological advancements involved in the creation of pigments, as well as the symbolic meanings of those pigments in use are also covered. Further, this thesis consists of a discussion of the way in which blue is used in the English language, and what that usage says about our culture. The psychological and psychophysiological implications of the usage of blue is covered regarding interior coloring as relates to both state of mind and physical reactions to the color. Included also, is a discussion of the use of the color blue as it relates specifically to interior design and involves aspects of the various other sections as design is inextricably intertwined with history and culture. The most commonly used categories in teaching the history of design, as determined by an overview of major design history texts, is used to follow the history of the use of the color blue in design. The discussion begins with ancient cultures such as the Egyptians, Greeks and Romans and moves through to a view of current trends in design viii Figure 1.1 Pablo Picasso. The Old Guitarist. The Art Institute of Chicago. From The Art (n.d.) Retrieved October 13, 2004 from theartchive.com THE MAN WITH THE BLUE GUITAR By Wallace Stevens The pale intrusions into blue Are corrupting pallors...ay di mi, Blue buds of pitchy blooms. Be content -- Expansions, diffusions -- content to be The unspotted imbecile revery, The heraldic center of the world Of blue, blue sleek with a hundred chins, The amorist Adjective aflame... 1 CHAPTER ONE: INTRODUCTION AND OVERVIEW Introduction Although the colors in most ancient spaces have become too faded for us to see in their full glory, they were amply used. Ancient Greek structures were brightly polychromatic and the interiors of the Mudejar architecture in Spain were explosions of a variety of colors (Pile, 1997). The seemingly upside-down columns used for support by the Minoan and Mycenaean cultures were painted red and blue. Ceilings in Egyptian temples were colored blue to give the impression of looking up at the night sky. Research into ancient architecture along with the study of extant color schemes gives us a view into how important the role of color has been and continues to be in architecture and design. Color has always been a means of communication and can act as a universal link when language, written or spoken, has reached a barrier. In early Christian times color communicated certain ideas, such as purity or hellfire, to the largely illiterate masses, many of whom did not speak a common tongue. In the present day red is associated with caution or danger, and a red octagon is understood almost universally to mean stop, whether in English speaking Britain or in Spanish speaking Mexico. Each color has a fascinating history of both symbolic usage and the extraordinary measures taken in producing the pigments. Light, color, texture and form are valuable tools available to the interior designer or architect when creating a space. Therefore, an understanding of the way in which they can be used for maximum effect is necessary. The tools of the trade must
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