Color Versus Shape

After reading Arnheim’s chapter on color, I was most intrigued by Rorschach’s theory that a person with a preference for shape generally has an, “introverted disposition, strong control over impulses, and a pedantic, unemotional attitude,” while those who respond more to color have an, “openness to external stimuli, are sensitive, easily influenced, unstable, disorganized, and given to emotional outbursts.” He also states that those who are cheerful tend to respond more to color and those who are depressed will more likely respond to shape. I found this last bit quite interesting because initially, I thought that someone depressed would respond more to color than shape. I find that color has much more to do with emotion than shape. Shape is definite and solid. Color differs from eye to eye and evokes memories and experiences, therefore evoking some kind of emotion. Depression consists of intense sadness and loss of hope. Perhaps this is why I felt that depressed viewers would respond more to color – depression deals with a whole new level of emotions. But, if Rorschach is correct, then why would somebody suffering from depression respond more to shape? I think it has to do with a deadened sense of the world and sense of self. A person suffering from depression lives in his or her own dull world that lacks anything with real meaning, thus they might react more to shapes because shapes are definite and unchanging. “Color vision action issues from the object and affects the person; but for perception of shape, the organizing mind goes out to the object.”

Charles Blanc said that, “the union of design and color is necessary to beget paintings just as is the union of man and woman to beget mankind, but design must maintain its preponderance over color. Otherwise, painting speeds to its ruin: it will fall through color just as mankind fell through Eve.” Blanc speaks of a balance between shape and color in order to maintain an aesthetic of beauty, but also of meaning; the elements necessary for a successful painting. For someone like Jonathan I, becoming colorblind threw off this balance in his work, yet he was still capable of creating successful and meaningful paintings through his use of values and shades of gray and black. What does this mean about shades? Can white and black be considered colors? Are they as ‘meaningful’ as primary colors red, blue, and green or are they colors that lend themselves more to shape?

Artist Odilon Redon said, “One must respect black. Nothing prostitutes it. It does not please the eye or awaken another sense. It is the agent of the mind even more than the beautiful color of the palette of prism.” The understanding that I get from his statements is that black may not be either shape or color. It is what the mind uses to perceive the world around us. Actually, I have to admit that I’m having a lot of trouble understanding what Redon perceives black to be. Also, for those who are colorblind – are they seeing black or are they just seeing contrasts in shade?