Kacey Evans

Annotated Bibliography
Color Throughout Modern Art

Bouman, M. J. "Luxury And Control: The Urbanity Of Street Lighting In Nineteenth-Century

Cities". Journal of Urban History 14.1 (1987): 7-37. Web.

What compelled humanity to attempt to illuminate the night time paths of cities? Historically it was
not until the 19th century when technology was advanced enough to allow for implementation of the gas
lamps and their later counterpart the electric street lamp. Night illumination for many centuries had been a
luxury for the riches people while the lower classes relied upon daylight to complete their productivity.
Lamps served for lighting humble spaces for the majority of people for only a little while. Gas lighting
would provide a stable source of illumination allowing for after dark activity.
In the city people desired for decorational illumination of the wealthier streets where it would
provide light for evening recreational activities. In corners of cities where crime was more escalated, it
served as a deterrent and safe have. The article looks closer at the various reasons that three different
cities installed urban street lighting.

Braun, E. (1995). Futurist Fashion. Art Journal, 54(1), 34-41. Retrieved February 2, 2016,
web.a.ebscohost.com.oak.indwes.edu/ehost/pdfviewer/pdfviewer?sid=

fromnhttp://0-

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The short art movement of Futurism recorded fast-changing styles of the artists. This article focuses
on inspecting the use of design and color and how it impacted the clothing styles of the futurists as well as
some of the artists ideas of design. The background explained how the Futurist movement came about
and how their philosophy inspired their creativity. Fashion was intended to change rapidly to stimulate

and challenge the artist to reinvent their work. Emphasis placed on destruction and chaos hoped to bring
about something better. The article focuses on the use of Ballas work in designing colorful sets of
clothing with a variety of uses ranging from studio wear to demonstration attire.
Through a series of documented manifestos, the goal of the Futurists was set to take over womans
and mens fashion. The artist also worked closely with the political activists of the day to spread
discontent by providing clothing designs that were unlike anything ever seen before. Specific goals
included overtaking the Italian fashion market, creating rapidly changing styles to stimulate the economy,
and supporting abrasive political factions. Balls clothing designs reflected his work as a painter and he
applied much of the same strategy of color application to achieve the garish styles. He had begun
tampering with clothing Before World War One, but it would not become overly influential until after the
war.

Cole, T. B. (2013). Houses at Murnau. Jama, 310(18), 1898. Retrieved February 2, 2016, frommhttp://0web.a.ebscohost.com.oak.indwes.edu/ehost/pdfviewer/pdfviewer?sid=

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a235efdc6d42@sessionmgr4003&vid=19&hid=4214

Kandinsky became remembered for his use of color in vivid, abstract paintings. The Houses at
Murnau are more representational than most of his work, but his evident use of color theory is evident in
the way he painted the grass and houses to create movement by layering complementary colors next to
each other to create movement. His unique use of color stemmed from the beliefs of Theosophy and ideas
that the artist was a form of heightened perception of the universe. Colors took on an association with
other senses like touch and hearing. These ideas sprang from his exposure to the French Avant guard.
The House at Murnau captures the scene of where he settled with other painters to explore the world
of abstraction. This particular image was earlier in his career before the Compositions and still identifies
the shapes of houses resting on a hill among the solid blocks of color and vigorous dashes of paint. His
later works would provide a forerunner to other artists like Duchamp in revolutionizing how art's
definition. His idealism about the hierarchy of different quality of art would eventually fade into the

background as new philosophy emerged.

Gage, J. (1990). Color in Western Art: An Issue? The Art Bulletin, 72(4), 518. Retrieved
Februaryn15,n2016,mfrommhttp://0-eds.a.ebscohost.com.oak.indwes.edu/eds/detail/ detail?
sid=51729264-f355-4df1-95dd-15bbe122fbb4@sessionmgr4003&vid=0&hid
=4208&bdata=JnNpdGU9ZWRzLWxpdmU=#AN=97458407&db=a9h

Color over time has served multiple purposes and meanings both political and symbolic through
many different types of art Color has a neutral meaning on its own, but culture and the artist's intention
attribute the definition of its use. In the early stages of Western art, color was reserved for the wealthy and
important because of costs. Gender has also attributed to cultural understanding of color, often white as
feminine, and black as masculine but the roles have occasionally been reversed. Psychological effects
upon the human perception have often intrigued artists.
The introduction of color theory caused may be artists to delve into the science of light perception by
the eye. Questions have arisen in the twentieth century exploring the meaning of the color brown and its
importance psychologically. Color and art demand comprehension of the history and understanding of the
artist in mind. Two different approaches to studying color have arisen in Western culture. The first was to
categorize color and their relationships to each other. Later on, color was explored through the mechanical
perception of the eye.

Lisa, L. F. (2014). On Barnett Newman's The Wild. Art Journal, 73(1), 30-43. Retrieved
Februaryd12,d2016,dfromfhttp://0-eds.a.ebscohost.com.oak.indwes.edu/eds/detail/de

tail?

sid=51729264-f355-4df1-95dd-15bbe122fbb4@sessionmgr4003&vid=0&hid=4
208&bdata=JnNpdGU9ZWRzLWxpdmU=#AN=97458407&db=a9h

The revolutionary painting is not much to look at, measuring eight feet tall and an inch wide. It
entices viewers to break the standard behavior of museums and lean in close for a further look. This was a

new way to engage viewers when it first exhibitioned in the 1950s. Some art critiques consider the
painting to be his bridge between painting and sculpture because of the unique dimensions. Newman
exhibited paintings alongside other Abstract Expressionists like Rothko and Pollok.
Paintings by Newman were normally large expanses of color segmented by thin lines called a zip.
The Wild was an attempt to explore scale. The canvas is a dark blue interrupted by a messy red line down
the middle. The stripe of red becomes the subject of the painting. Large works by the artist were to put the
viewer in their perspective scale to the painting just as the zips reflected the scale of the massive
paintings. Their size caused Newman to post signs in the gallery to encourage viewers to step up close
and interact with the size of the canvas

Morley, S. (2009). Painting the page. Journal of Visual Art Practice, 8(1 and 2), 141-159.
RetrieveddFebruaryd15,d2016,dfromdhttp://0-web.a.ebscohost.com.oak.indwes.edu/
ehost/pdfviewer/pdfviewer?sid=5b49394a-4df1-476a-86a4-a235efdc6d42@sessionm
gr4003&vid=10&hid=4214

The author seeks to explore the works of Mark Rothko by reflecting and comparing it to his art
experience. The opening begins to define what a book is and how it is about the authors work of painting
on book covers. The importance of books is in the symbolism they have held over history first as an allencompassing religious authority, to great works, down to humble collections of words that conflict
against each other in their social meanings. The final result is that books are a symbol of knowledge
having more importance over feeling.
This argument sets the foundation for being able to read the context of Rothkos very abstracted
blocks of color. Similar to the books downfall, painting had regressed from the lofty format of the
academy to the obscure meanings of abstraction. Interpreting Rothkos paintings fall into three categories.
Formally, they are looked at regarding the shape, color, and brushstrokes that give a deep surface
meaning. The existentialist approach leads one to question the state of humanity in its barest form. The
final evaluation is to look at the paintings with a spiritual eye and try to derive the subject. The author

sums it all up by comparing Rothkos painting to Asian paintings that open the viewer to pondering the
void.

Salomon, D. (2014). Fluorescent architecture, or, Dan Flavin at the supermarket. The

Journal of

Architecture, 19(6), 949-974. Retrieved February 2, 2016, from http://0www.tandfonline.com.oak.indwes.edu/doi/pdf/10.1080/13602365.2014.9875

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Fluorescent lighting began as an innovation in suburbian architecture. As a new type of technology, it

was overlooked by most artists. Some of the minimalists decided to take things even further with
reduction of content and form. Dan Flavin was a revolutionary artist that took the fluorescent light bulb
and turned it into a unique artists media. By applying analytical analysis, he achieved a structured
aesthetic with light. His work is revolutionary not only in form but also in social structure because he used
unorthodox material as his subject. The viewer confronts a new and challenging perception of what can be
called art.
The development of supermarkets that have culminated in the large, shiny shopping experience
known today developed with the hum of fluorescent lights that give off their ambient light to make the
shoppers more relaxed. Explanation of the history of fluorescent lights and their range of possible colors
build an increasing argument for their effective use as an art medium as well as social convention. These
conventions paved the way for the artist to use the pure existence of light and light source to create works
of art that could fill an entire room with their presence, heightening the viewer's experience better than
any painting. By mixing different colored bulbs, Dan Flavin can divide space, create a mood and evoke a
sense of presence in a room with his art.

Tropy, J. M. (2012). THE COVER. JAMA: Journal of the American Medical Association.,
543. Retrieved January 28, 2016, from

http://0-

web.a.ebscohost.com.oak.indwes.edu/ehost/pdfviewer/pdfviewer?vid=2&sid
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Painter Giacomo Balla became deeply involved with the Futurist movement. The article discusses
one of his most famous paintings, Street Lamp, in which he broke down the spectrum of whit light into
different colors on the canvas to visually describe the radiating light from a street lamp. The painter
experienced what is know as arc eye, it is a condition when their retina of the eye sustained damaged by
staring at a bright light for too long. In this case, it was the type of street lamp that caused him to go
temporarily blind. His color division is thought draw inspiration from this experience along with the work
of Surat. The ideology futurism clearly indicated the implied movement of the light and the contrast of the
brightness of the street lamp outshining the moon.
This work is an example of some of the ways that Balla used color in his work. Of particular not is
the arrangement of warm and cool colors in the painting to create a strong sense of intensity and focus. He
continued to build off of Surratt's work in how he mixed different colors of paint to create the illusion of
white at the center of the lamp in jumping sparks. This dramatic sense of movement was characteristic of
Futurism. Ballas style would later change, and his artistic ideals go out of style after World War Two.

Turner, N. (1998). Cezanne, Wagner, Modulation. The Journal of Aesthetics and Art Criticism, 56(4), 353.
Retrieved February 2, 2016, from http://0-web.a.ebscohost.com.oak.indwes.edu/ehost/pdfviewer/pdfviewer?
sid=5b493

94a-4df1-476a-86a4-a235efdc6d42@sessionmgr4003&vid=14&hid=4214

The article compares the painting style of Cezanne to the musical elements used by Wagner. The
reader familiarizes himself with the aspect of music theory, called modulation, in which the tone of a
piece of music changes by alternating the key in which the chords are played. Cezanne listened to the
music of Wagner, Impressionist paintings, and the changing philosophical culture that opened up a new
exploration of perception and abstraction. Wagner took inspiration from new ideas on the subject of
philosophy. That new focus on how Man perceived the world became important, causing Cezanne to
explore how to capture the different points of view in on one canvas and Wagner to explore the different
tones of the same chord in his music.

As for Cezannes work, he came under the influence of modulation as a child playing Wagners
music on the clarinet. Later he began to see the change of color throughout light and shadow of an object
to be the same thing, only visual. It was the classical way of painting things three-dimensionally by
relating the hue of the shadow to the local color of the object and in turn to the highlight. Even in his large
blocks of color, he continues to contour and gradate, building up a range of colors by comparison against
the whole.