Colored artworks

The work of color is central in any artistic work. It is even one of the first tools of the artist. It is difficult to imagine a work that would exist without the working of color - even if it is the absence of color that the artist chooses to present.

Through the ages and artistic movements, the use and meaning attributed to color evolves, but the essence of color remains the same. Every artist must master the properties of color in order to control his composition. In the restoration of paintings, color even becomes a science, because it is necessary to know the different molecules to find the colors and mixtures originally used by the artist.

In the history of art, the importance of color fluctuates according to periods and geographical areas. During the Italian Renaissance, for example, there was a debate (called Paragone) between the authority of color versus drawing: according to the schools, it is the color, and not the line, that creates the emotion and visual power of a work of art. The colors thus take on an immense importance, and assume certain meanings: white symbolizes purity for example, and blue (systematically used to clothe the Virgin Mary) is associated with divinity. These symbols are not thought of randomly: the purple for example, is used since the Byzantine era to signify the highest rank of royalty. Unlike ochre, the purple pigment came from a specific shell, and was extremely difficult - and therefore rare, and expensive - to obtain.

More generally, colors can be divided into three categories: warm, cool, and neutral. As their name implies, these classes of colors give off an atmosphere that the painter can use to influence the emotion of his work. Baroque art, for example, manipulates the contrasts between warm and cold colors to capture the power of bodies. The play of light is exalted by the effects of color. For a long time, the traditional Western school of painting required painters to reproduce the colors of the environment around them. It was the Impressionists, in the 19th century, who explored other ways of seeing - and therefore of transcribing on canvas - their chromatic environment. By avoiding complex mixtures and painting spontaneously, in the open air, the Impressionists reinvented the use of color to reproduce reality.

It was not until abstract and subjective painting that art devoted itself to color as a subject. Mark Rothko, precursor of the Colorfield Painting movement and of abstract expressionism, sees in his paintings a living organism whose color is human and whose format is transcendent. Piet Mondrian, on the other hand, sought in his paintings to approach the very essence of nature through the purity of primary colors, to achieve abstraction. The founder of the Russian avant-garde movement of Suprematism, Kasimir Malevich, will disturb the senses of everyone with his work "White square on white background", in which the color is painted only for itself. Contemporary art, photography, collage, or pop art also use in their respective ways the resources of color, exploring indefinitely all its pluralities. As Picasso said, "When I have no blue, I use red."

Artsper writes art in color: discover below a great selection of works that honor color and its properties. What better way to brighten up an interior?

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Subcategories

Colored artworks

Ecstasy

Maturité

Dualité

Multiplicité

Horizontal and Vertical Movements #1 and #2

Prussian Blue Movement #5 and #3

A world of colours

Abstrait N 12

Abstrait N 7

Abstrait DSC 1807

Abstrait DSC 1690

Abstrait 202

Fish n°2311

VII

Conceptos japoneses II / Japanese concepts II

Conceptos japoneses I / Japanese concepts I

Atrapados / Trapped

Untitled

In Memoriam. Peter Brook

El corazón también se deshoja / The Heart Also Defoliates

Luces de otoño / Autumn Lights

La emoción de la duda / The Thrill of Doubt

Ecos de campanas / Echoes of Bells

Un mensaje de color venido de lejos / A colored message from afar

L'envelat del poble (The village tent)

El disidente orgulloso (The proud dissident)

Luna de mar (Sea moon)

Coincidencias II (Coincidences II)

Coincidencias I (Coincidences I)

Juego para una noche de luna (Moonlit night game)

Large Contemporary French Abstract Expressionist

Rêves en bleu

Set of 2 Acrylic on Paper. Abstract collage mixed media

REF 24-24 - Abstraction géométrique

REF 14-24 - Eclat de couleurs

Le tourbillon de la vie

Legado de lo Invisible #2. From The Legado Invisible Series

Couleur additive perseus

Looking for connection

Gaze Into The Lake 01

Post Cubism

Self-Portrait 25.33

Lilac geometry

Tender Sea

Vanishing Green

UP23_71

UP23_63

UP23_63

KH#304

KH#301

Line 0623-03

Line 0623-01

Line 1222-02

Composition XII

Intenciones del Silencio II

Intenciones del Silencio VII and III. Diptych

Self-Portrait 25.39

Self-Portrait 25.38

Self-Portrait 25.37

Self-Portrait 25.36

Flamenco

Caracoles

Antipode

Self-Portrait 25.27

La vie en bleu

Dawn of Equilibrium