Blue Portraits & Sorrow

Blue Portraits & Sorrow

There have many different phases and even trends in the colors used in painting. People are easily inspired by each other and easily challenged by each other as well, causing new colors to be invented or new ways of using color to be created in hopes of recognition for something new. Color can cause a painting to look light and meaningless or dark and somber. Some colors can put enough strain the eyes that they actually disturb the viewer. One could spend a lifetime deeply analyzing the changes and shifts of color usage throughout history, however, I have a different question for you today. In all these changing trends and styles of color, is there any way in which artists through history are consistent with each other? I would argue that something that remains globally consistent in the world of art is the use of the color blue to convey sorrow or sadness. Picasso obviously had his famous “blue period”, but that isn’t what we’re going to talk about.
Psychologists of today suggest that blue is a color of many emotions. It can cause us to feel safe, bold, calm, stable, but most of all, sad. The very color itself causes most viewers brains to start to conjure up thoughts and emotions of sorrow and soberness. Therefore, many painters, both conscious of this knowledge and not, have incorporated blue into their portraits, where in turn the blue takes off on its own, almost subversively overpowering the subject matter into appearing sad, wistful, or mournful.

Title: Portrait of Florence PierceCreator: George BellowsDate Created: 1914Physical Dimensions: w76.2 x h96.52 cm (unframed)Type: Painting
Medium: Oil on wood panel Google Arts & Culture

 Florence Pierce was the daughter of a lighthouse keeper who lived on an island off the coast of Maine, where Bellows spent several summers. In this portrait of her, Bellows experiments with bold color arranged in large blocks. At the same time, he suggests a complex psychological presence conveyed by the brightly lit gaze of his subject. This portrait is already very dramatic, with its somber, pale figure, dramatic lighting and bold colors. However, it would not carry the same weight and sobriety if the rich blue of her dress were not present. It is this color that ties the subject down to her sorrow.

Title: Self-portrait or Le manteau rougeCreator: Tarsila Do AmaralDate: 1923Physical Dimensions: w73 x d60 (cm)Type: oil on canvas
Google Arts & Culture

 In this self portrait, there are the a lot of geometric structures, suggesting a Cubist interpretation. The treatment given to strong colors is uniform and flat. The use of cutouts in the figure balances the composition. The deep blue behind the figure and also highlighted in her eyes, gives an extremely strong feeling of mournfulness. The mental atmosphere that it appears the figure is in is one of great sorrow.

Portrait of a woman from southern Germany .
Hans Holbein the Younger

• Date: c.1523; Germany Places are defined in terms of modern geography.

• Style: Northern Renaissance
• Genre: portrait
• Media: oil, panel
• Tag: female-portraits
• Dimensions: 45 x 34 cm WikiArt

 Over a finely pleated collared blouse, this unknown woman is wearing a fur-lined jacket whichshe has fastened with a red cord. On her head, she has a rather old-fashioned cap and veil. Her pale face stands out well against the blue background. This painting is attributed to the German painter Hans Holbein, who painted similar portraits. Here again, the blue atmosphere that envelopes this figure opens up an entirely color-reliant aspect to this portrait. One of solidarity and sobriety and deep sadness.

Title: Portrait of a PilotCreator: Alexander N. Samokhvalov (1894-1971)Date Created: 1933Physical Dimensions: 89 х 64,3 cmSubject Keywords: Pilot, War, Samokhvalov, Uniform, Man, Portrait, Realism, Petrov-VodkinType: PaintingRights: The Institute of Russian Realist ArtMedium: Oil on canvas
Google Arts & Culture

 In this painting, a sense of power is the main characteristic of the subject. An aviator who guards the airspace of the motherland is focusing his gaze in the distance. He is ready to confront any enemy with determination.The precise contours, the sharp contrast of light and shade, the composition and the specifics of the figure of the aviator evoke the idea of nerves of steel and an unbreakable character. However, the background and highlights of blue imply the presence of another emotion in this scene. One of sadness. Although the figure appears brave, he also carries a weight of sobriety with him. Maybe its the wartime buddies he lost, maybe its the inhuman acts he has been forced to carry out.

Title: Self-PortraitDate Created: 1889Physical Dimensions: w438.2 x h571.5 cm (overall)Type: PaintingRights: Collection of Mr. and Mrs. John Hay WhitneyExternal Link: National Gallery of Art, Washington, DCMedium: oil on canvaspainter: Vincent van GoghTheme: portrait, selfSchool: Dutch
Google Arts & Culture

This self–portrait is a particularly bold painting, apparently executed in a single sitting without later retouching. Here Van Gogh portrayed himself at work, dressed in his artist's smock with his palette and brushes in hand. The haunting nature of the painting is distinct from his other self portraits. The dark blue–violet of the smock and ground, the vivid orange of his hair and beard, create a startling contrast to the yellow and green of his face and heighten the gauntness of his features in a sallow complexion. All tied together with this dismal blue. All in all, a very sad portrait, considering what was happening in his life at this point and what inward emotions and thoughts went into this work.