Black in Art

I remember being firmly told, when I was being taught how to paint in watercolours at school, that black was not something to use straight out of a tube. You achieved a huge spectrum of blacks by mixing other colours, such as reds and greens. Along the way, when learning of oil painters, there seemed to be some who historically used black in generous amounts, while others avoided its use in their work.

Viejos comiendo sopa, Francisco Goya, (Image courtesy of the Prado Museum)

One of the most famous artists to be associated with black is perhaps Francisco Goya. His "Black Paintings" are somber indeed in their generous use of black, but, in this case, the subject matter is also associated with very dark themes. Goya painted this series of 14 paintings on the walls of his house, the Quinta del Sordo, outside Madrid when he lived there from 1819-1823. He was deaf by this time, he was afraid of going mad, and he had a very bleak view of humanity, having lived through the savage Napoleonic Wars and having watched the disasters of Spanish government. He painted these works without title, and by painting them directly on the walls, he clearly did not intend others to see them. This image, transferred to canvas from the wall of the house, was later titled Two Old Men eating Soup.

Edouard Manet comes to mind immediately when I think of later 19th century artists who began to use black very effectively. He turned away from subtle modelling and simplified, even flattened, the images he portrayed. Not only did he outline in black, but in such paintings as the "scandalous" Olympia - a painting which seemed to shock everyone when it was first exhibited in 1863, his use of black was extensive.  Like other contemporaries in France, Manet also was influenced by Japanese woodcuts, where the use of black was widespread and powerful.

Olympia, Edouard Manet, 1863, (Image below courtesy of the Musee d'Orsay)

He continued his use of black even after he became close to many of the Impressionist painters.

The Execution of Emperor Maximilian, 1867.. (Image  courtesy of the Fine Arts Museum, Boston)

This is one of his three paintings of The Execution of Emperor Maximilian, painted in 1867. Again, his use of black is striking.

Pierre Soulages, black painting

When one thinks of artists in the 20th century who are noted for their use of black, Pierre Soulages is one artist who stands out. He began to concentrate on the use of black after 1979, and pushed the possibilities of black by manipulating the surface of the paint to enhance texture, reflectivity, character. In fact, Soulages remarked that, "There are people who refuse to accept that you can create light on a black canvas." He calls his use of black outrenoir, ultra-black. He talks of black as being like another country, and has commented, "I like the authority of black. It is an uncompromising colour. A violent colour, but one that encourages internalisation. Both a colour and a non-colour. When light reflects on black, it transforms and transmutes it. It opens up a mental field of its own." At 92, Soulages is one of France's most noted artists, now linked inextricably to his huge opus of black paintings, none of which have titles. These are two illustrations courtesy of his website.

Pierre Soulages, black painting

Perhaps I have become more interested recently in the use of black in art because of my increasing use of black as a ground for silverpoint drawings. It is certainly a colour that arrests the gaze and transforms - I feel as though I too am straying into a totally different country with my silverpoints on black.

Moments of Drought for Artists

Every artist, no matter what the discipline or form of art, has times when artistic "drought" prevails. Pressures of daily life, illness, travel – there are many reasons which dictate that it is very hard to get down to creating work.

I was thinking about this situation recently, because I seem to be more wedded to driving and logistics than creating work at present. Yet there is a quiet little voice at the back of my head that says that when life slows down a little, the drought period will allow floating ideas to rise to the surface again.

I remember how Francisco Goya produced an amazing body of work during a long illness in Cadiz, around 1792-94. He was freed from the pressure of commissioned work, and perhaps too, his deafness during his illness made him a much keener observer of people for the portraits he executed. At any rate, as he recuperated, he experimented in his paintings, drawings and even the aquatint etchings which would become known, when published in 1799, as the Caprichos. His self-portrait, on the right, done in 1790-95, shows a self-scrutiny that is solemn and lonely.

Autorretrato ante el caballete, 1790-95, Francisco Goya, (Image courtesy of the Real Academia de Bellas Artes de San Fernando, Madrid)

Other works from this period of crucial artistic development are very sobering, for Goya developed a much more critical and introspective eye, producing profoundly penetrating psychological and social commentaries on his world. The image below is no. 79 of the Caprichos, entitled Nadie nos ha visto (No one has seen us).

Caprichos, no. 79, Nadie nos ha visto (No one has seen us). 1799, Francisco Goya (Image courtesy of the Metropolitan Museum,New York)

Frida Kahlo is another artist who famously suffered periods of illness and difficulty, but she learned to use these times as springboards for her work. So as one goes along in life, trying to get through periods when art seems from another world, how does one keep in touch with that small inner voice?

Frida Kahlo, photographed by Guillermo Kahlo

I find, personally, that in order to keep at bay the gnawing feeling of emptiness that I experience when I cannot get to drawing, let alone painting, I need to keep thinking about art projects.

Whenever I have a moment of quiet, I try to summon an idea that I might have had, and I try to explore it in my mind's eye. The imagination is a far more adaptable "computer" screen than a real screen. No need for any image programme as you mentally try out a composition, move it around, add elements, change colours, explore ways to do something. Then I will leave the image alone, and move on with life. But later, I will come back to the image and try further to refine the whole concept and composition. Eventually, my "drought" period will end, and then I know that I have something that at least can start me back into the process of being an artist creating something. It is a form of bridge, but very helpful, I find.

Interestingly when this situation has happened in the past, and yes, it can happen quite often – that's life! – I later can look at the work I created, and know exactly what was happening in my life at that time. The work is a form of self-portrait, a moment in time, and it brings back vividly the emotions and thoughts of that period. In essence, these works of art that allow one back into the normal rhythm of being an artist can be the eloquent equivalent of entries in a private journal or memoir.