| Budget Amount *help |
¥2,700,000 (Direct Cost: ¥2,700,000)
Fiscal Year 2006: ¥700,000 (Direct Cost: ¥700,000)
Fiscal Year 2005: ¥2,000,000 (Direct Cost: ¥2,000,000)
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| Research Abstract |
Since the Modern era, European Paintings have developed naturalistic representation by integrating drawing, light and shade, and colors to depict scenes based on narratives. However, starting around 1800, at the beginning of the new phase of the modern period, colors began to play an overwhelmingly important role in the composition of the picture surfaces of modern paintings. This is illustrated through the works of the Impressionists and abstract paintings. Nevertheless, the important role of color in modern paintings has not yet been fully discussed.
In order to clarify how the change in color representation influenced the innovative structure of modern painting, this study ventures to treat color as the "media," focusing especially on the "overlap" between colors as a clue towards elucidating its function. For instance, Pointillism and Cloisonnisme, which were developed under the influence of Impressionism, are equivalent to the "overlap" between pictorial layers, which mean the pict
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ure surfaces composed of the multilayered colors.
Despite this, most discussions of Pointillism or Cloisonnisme have focused mainly on the contrasts between hues or optical mixtures. However, this study will not discuss the interaction between colors on the same layer, but instead explore the interaction between colors belonging to distinct layers. In order to clarify how they are mutually related in realizing pictorial structures, the study suggests that the most important element is the "overlap" of layers, in other words, the poly focus of the pictorial structures.
In general, the revolutionary development in representation from Cezanne to Picasso has been described independently of the change in color orders. This study, based on the steady analysis of the primary materials of color theories written in Germany and Switzerland since the 19th century, presents a new perspective regarding the relationships between the colors and pictorial structures in modern paintings. Here, the "overlap" becomes a key, representing the typical function of "color media", illuminating how the change in color orders innovated the constellation of pictorial structures in modern paintings. Less
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