What Does It Mean to Be a “Colorist?”
©Pamela Hirsch, Autumn in New York. Acrylic on wood panel, 10×10 inches
My son and his girlfriend like to tease me, saying I have a love for “sad, beige things.” They’re referring to my fondness for neutrals, both in my decor and the art I create. I get it. But despite their teasing, I think of myself as a “colorist.”
Yes, you can stop laughing now.
What Does Being a Colorist Mean?
In the art world, a “colorist” typically refers to an artist whose work is characterized by the use of intense color, where color becomes the dominant feature of the art.
According to Google AI, a colorist artist is one who prioritizes color as the focal point of their work, using vivid and intense hues to evoke emotions and set a mood. For colorist artists, color is often more significant than subject matter or realistic representation.
Examples include the Fauves (French for “wild beasts”—gotta love that name!), such as Henri Matisse and Raoul Dufy.
Although not a Fauvist, Pierre Bonnard (1867–1947) was influenced by them and was considered a colorist in his own right. Known for his vibrant interiors and landscapes, Bonnard often combined these themes, inviting viewers to look out at a seascape or countryside through a room’s window. Despite passing away just after World War II, his art remains popular, with recent exhibitions at the Kimbell Art Museum in Ft. Worth, Texas, throughout 2024.
My own work may not fit the traditional definition of a colorist, but bear with…
Using Color to Express Emotion
“The chief function of color should be to serve expression.”
Color is an essential tool for conveying emotion. Other design elements—shape, value, line, contrast, space, and texture—also play a role, each to varying degrees.
Consider Picasso’s “blue period,” where he painted mostly in shades of blue and blue-green. During this time, Picasso was struggling financially and grieving a friend’s death, making blue the perfect choice for expressing his feelings. (A side note: my parents’ bedroom was decked out in blue wallpaper, bedspread, and curtains. I always found that room unbearably depressing—too much blue can be overwhelming!)
Years ago, I discovered an abstract landscape painting in a gallery in Healdsburg, CA, that I fell in love with. The painting was full of interlocking shapes, representing vineyards rolling up hills, and used lighter shades of blue and green than those Picasso favored. The subtle shifts in color made my eyes dance across the canvas, filling me with joy and excitement. I wanted that painting for how it made me feel and found myself aspiring to paint in a similar way, even before I committed to being a full-time artist.
Fred Cuming
“I am not interested in pure representation. My work is about responses to the moods and atmospheres.”
Fred Cuming, an artist I deeply admire, was an impressionistic landscape painter and a member of the Royal Academy in England (hence the “RA” after his name).
While the Impressionists were known for using bright, pure colors, Cuming leaned toward a tonal palette, choosing colors from the same family in varying shades and tones. He would often add a contrasting touch of color, which gave his paintings a sense of magic and captured the atmosphere of a scene.
Cuming was “obsessed with capturing color and light.” His paintings are complex and full of emotion, and I highly recommend exploring his work.
A Limited Palette
I enjoy working with what’s called a “limited palette.” For me, this means using a white, a black, and three primary colors—one red, one blue, and one yellow. I’ve “limited” the number of colors I’m using. Sometimes I’ll switch up these primary colors between paintings.
My current favorites include yellow ochre, anthraquinone blue, and burnt sienna. Every tint, tone, and shade on the canvas comes from these five colors. Even the greens are mixed using blue and yellow or black and yellow.
This specific set of colors creates more earthy, calm paintings, while other combinations of primaries might evoke different emotions.
Am I a Colorist?
I like to think so. I believe being a “colorist” doesn’t require using bright, chromatic colors.
What draws me in is how colors interact with one another on the canvas. I focus on balance and harmony with each stroke, paying attention to how each color makes me feel. Perhaps that’s why I shy away from overly vibrant colors, which I find harsh and unsettling. That’s not the mood I’m aiming for in my work.
And yet, I use color to create atmosphere and mood. It’s more significant to me than any of the other design elements.
Painting is a journey of constant learning and experimentation. Color is what makes it so much fun!