Colour theories of shadows have been explored by numerous artists throughout history. Leonardo da Vinci believed that shadows were not simply black, but rather reflected the colour of the object casting them. He described shadows as a combination of the object’s local colour and the colour of the surface on which the shadow is cast. For example, in his painting “The Last Supper,” the shadows on the robes of the figures are not simply black, but instead are tinged with the colour of the robes themselves.
The English artist J.M.W. Turner was another artist who was fascinated by colour theory, particularly in his later works. Turner was interested in the use of light and colour to create atmosphere and depth in his paintings, and his use of colour theory in his works had a profound influence on the art world. He experimented with the use of complementary colours in his paintings, particularly in his seascapes, to create a sense of luminosity and energy. In his painting “The Fighting Temeraire,” for example, he used contrasting colours to create a sense of drama and movement in the scene.
J.M.W. Turner: Painting The Fighting Temeraire
Eugene Delacroix, on the other hand, emphasised the importance of complementary colours in creating depth and contrast in shadowed areas. He believed that the use of contrasting colours in shadows could create a sense of luminosity and energy in a painting. For example, in his painting “The Death of Sardanapalus,” the shadowed areas are filled with purples and blues to create a sense of depth and atmosphere.
Ferdinand-Victor-Eugène Delacroix: The Death of Sardanapalus
“Delacroix was revered by subsequent generations of artists for his innovative manipulation of colour. He experimented with colour theory, observing that no hue existed in isolation, but would always be altered by neighbouring complementary or contrasting colours. His bold deployment of colour in Christ on the Sea of Galilee had a profound impression on Vincent van Gogh, who saw the painting in a Paris saleroom in 1886. The Dutch artist later recalled: “Ah – E. Delacroix’s beautiful painting – Christ’s boat on the sea of Gennesaret, he – with his pale lemon halo – sleeping luminous – within the dramatic violet, dark blue, blood-red patch of the group of stunned disciples. On the terrifying emerald sea, rising, rising all the way up to the top of the frame.” Delacroix’s conviction, taken up by the Impressionists and Post-Impressionists, that sentiments could be expressed through the arrangement of colours, forms and painterly gestures would ultimately lead the way to non-narrative and then abstract art.”
https://www.royalacademy.org.uk/article/delacroix-revolutionary-fervour
“Royal Academy Eugene Delacroix”
Other artists have also explored colour theories of shadows in their work, such as the Impressionists, who were interested in capturing the changing colours and qualities of light in their paintings. Contemporary artists have continued to explore colour theories of shadows in their work, often building upon the ideas put forward by artists such as Leonardo da Vinci and Eugene Delacroix.
One approach that some contemporary artists have taken is to play with the viewer’s expectations of shadow colours. For example, artist Kehinde Wiley has used vibrant, unexpected colours in the shadows of his portraits, creating a sense of energy and dynamism.
Kehinde Wiley. Installation view of A New Republic (exhibition).
Similarly, artist Jordan Casteel has used colour to create a sense of depth and luminosity in the shadowed areas of her paintings.
Jordan Casteel, In bloom, 2022.
Other contemporary artists have focused on the interaction between light and colour in their work, like Olafur Eliasson, who creates installations that use light and colour to transform spaces and create immersive experiences.
Olafur Eliasson, The unspeakable openness of things, 2018.
Overall, colour theories of shadows have played an important role in the history of art, and continue to be a source of inspiration for contemporary artists. It is fascinating to see how these ideas continue to evolve, and how artists use colour in their work to create depth, atmosphere, and emotion.
Sources:
Discovering da Vinci
https://www.discoveringdavinci.com/theory-of-color
“Delacroix and colour. The Louvre”
https://www.louvre.fr/en/what-s-on/life-at-the-museum/delacroix-and-colour
“Impressionism: Art and Modernity,” The Metropolitan Museum of Art:
https://www.metmuseum.org/toah/hd/imml/hd_imml.htm
“Kehinde Wiley’s World Stage: A New Republic,” Brooklyn Museum:
https://www.brooklynmuseum.org/exhibitions/kehinde_wiley_new_republic/
“Jordan Casteel: Returning the Gaze,” Denver Art Museum:
https://denverartmuseum.org/exhibitions/jordan-casteel-returning-gaze
“Olafur Eliasson on Turning Light into Color” Hyperallergic:
https://hyperallergic.com/174725/olafur-eliasson-on-turning-light-into-color/