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The Psychology of Grey in Painting Backgrounds

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  • Universiti Teknologi MARA, Perak Branch

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This writing is about a study of the psychology of the colour Gray used on the painting backgrounds. The study concerns how the colour Gray affects the behaviour of artists and has an impact on the production of works of art. A descriptive research using qualitative research method through surveys and observations as instrument. The artist uses the colour Gray as his guide in producing works to give a sense of emotional strength, feelings of melancholy, passion and so on. Each colour has a different psychological and emotional effect.
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Vol. 7, No. 2
Sept 2022
eISSN: 2550-214X
DOI: https://doi.org/10.24191/idealogy.v7i2
Editor-in-Chief
Ishak Ramli
Assoc. Prof. Dr Muhammad Abdul Aziz Ab Gani
Managing Editor
Nurul Shima Taharudin
Muhammad Redza Rosman
Haslinda Md Nazri
Mohamad Hafiz Yahaya
Nizar Nazrin
Editor
Professor Dr Shahriman Zainal Abidin
Dr Sheikh Mehedi Hasan
Professor Dr Anis Sujana
Professor Dr Tjeptjep Rohendi Rohidi
Assoc. Prof. Dr Sophiya Umar
Asst. Prof. Dr. Abdul Jalil Nars Hazaea
IDEALOGY JOURNAL
Volume 7, Issue 2, 2022
Published: 1 September 2022
Published by:
©UiTM Press
e-ISSN 2550-214X
MUHAMAD ABDUL AZIZ AB GANI, ISHAK RAMLI
MOHAMMAD HAFIZ YAHAYA, NURUL SHIMA TAHARUDDIN
HASLINDA MD NAZRI, MUHAMMAD REDZA ROSMAN
NIZAR NAZRIN
Idealogy Journal
Vol. 7, No. 2, 2022
I
TABLE OF CONTENTS
EDITORIAL
Idealogy Journal Information
III
Editorial and Review Board
IV
Kelangsungan Perbincangan Berkaitan Kesenian dan Reka Bentuk: Mukadimah
Continuation of Discussions Related to Arts and Design: Preface
Muhamad Abdul Aziz Ab Gani; Ishak Ramli
V-VI
Arts and Design Discourse in Idealogy Journal: Foreword
Muhamad Abdul Aziz Ab Gani, Ishak Ramli, Mohammad Hafiz Yahaya, Nurul
Shima Taharuddin, Haslinda Md Nazri, Muhammad Redza Rosman, Nizar Nazrin
VII
ORIGINAL ARTICLE
The Psychology of Grey in Painting Backgrounds
Aimi Atikah Roslan, Nurul Shima Taharuddin, Nizar Nazrin
1-7
Emotional Design for Children's Food Packaging
Wang Haiying, Muhamad Abdul Aziz Ab. Gani
8-24
Virtual Art Gallery Tour: Understanding the Curatorial Approach
Nur Muhammad Amin Hashim Amir, Hilal Mazlan, Aznan Omar
25-34
Hingar-Bingar Pasar Pengalaman (2004): Satu Kritikan Dalam Memahami Diri T.
Alias Taib
Hingar-Bingar Pasar Pengalaman (2004): A Critique in Understanding T. Alias
Taib Himself
Nur Nafishah Azmi, Ibrahim Jamaluddin
35-49
A Study on Children Customary Clothes in Malay Head Shaving - Cukur Jambul
Ceremony for The Malay Royal Tradition
Nor Idayu Ibrahim, Muhammad Salehuddin Zakaria, Nasaie Zainuddin,
Muhammad Hisyam Zakaria
50-58
Modifikasi Interaksi Fisik dalam Pameran Virtual
Modifying Physical Interaction in Virtual Exhibition
Rani Aryani Widjono, Shania Geraldine
59-67
Digital Illustration as Visual Communication to Promote Kelantan Cultural
Heritage
Roziani Mat Nashir@Mohd Nasir, Ghazali Daimin
68-75
Preliminary Study of Supermarket’s Mobile Application Needs for Indonesian
Shopper
Shania Jiehan Geraldine, Dianing Ratri
76-84
Membangunkan Fitur Reka Bentuk dan Susun Atur Poster Kesedaran Dengan
Gabungan Emoji
Developing the Design Features and Layout with Combination of Emoji on
Awareness Poster
Noorlida Daud, Ahmad Zamzuri Mohd Ali
85-97
Kronologi Representasi Wanita Dalam Catan Di Malaysia: Dari 1930 Hingga 2020
Chronology of Women Representation in Malaysian Painting: from 1930 to 2020
Nurul Syifa @ Siti Aishah Ahmarofi, Elis Syuhaila Mokhtar, Issarezal Ismail,
Ida Puteri Mahsan
98-105
REVIEW ARTICLE
Cosmology in Contemporary Public Sculpture
Mahizan Hijaz Mohammad, Aznan Omar, Mohamad Khairi Baharom,
Nur Muhammad Amin Hashim Amir, Hilal Mazlan
106-118
Fahaman Salafi Jihad Dan Ancamannya Dalam Masyarakat Malaysia Semasa: Satu
Pengenalan
Salafi Understanding of Jihad and Its Threat in Current Malaysian Society: An
Introduction
Rahimin Affandi Abdul Rahim, Muhd Imran Abd Razak, Siti Maimunah Kahal
119-130
Gambus Johor Sustainability: Issues and Challenges
Siti Nur Shahirah Hussin, Tazul Izan Tajuddin
131-138
Promoting The Forgotten Local tales of Terengganu “Tujuh Puteri” in digital
Interactive Comic Book for Teenager
Wan Nurfathiyyah Binti Wan Abdul Hamid, Ahmad Sofiyuddin Mohd Shuib
139-145
Idealogy Journal
Vol. 7, No. 2, 2022
II
ARTWORK APPRECIATION ARTICLE
Tujuan dan Fungsi dalam Konteks Kesusasteraan Rakyat dan Cerita Jenaka
Melayu
Purpose and Function in The Context of Folk Literature and Malay Joke Stories
Hazrul Mazran Rusli, Muhammad Abdullah
146-153
Idealogy Journal
Volume 7 Issue 2 2022
III
IDEALOGY JOURNAL INFORMATION
INTRODUCTION
Idealogy Journal is a biannual journal, published by UiTM Press, Universiti Teknologi MARA, MALAYSIA. IDEALOGY is a
combination of the words IDEA and LOGY whereby the word IDEA refers to any activity or action that can lead to change. On
the other hand, the word LOGY refers to the understanding towards a certain group or thought, that is often related to the creation
of the idea itself. So, IDEALOGY is a platform for those who have ideas to share in journal form. The IDEALOGY Journal is
spearheaded by the Faculty of Art & Design, Universiti Teknologi MARA (Perak), however the scope and theme applied were
broadened to cover Arts & Social Science. This journal is purely academic and peer reviewed (double-blind review) platform. It
caters to original articles, review paper, artwork review and appreciation, exhibition review and appreciation, and book reviews
on diverse topics relating to arts, design, and social science. This journal is intended to provide an avenue for researchers and
academics from all persuasions and traditions to share and discuss differing views, new ideas, theories, research outcomes, and
socio-cultural and socio-political issues that impact on the philosophical growth in the contemporary events.
VISION
To elevate the standard of Academic writing, especially for ASEAN countries to be recognized in the eyes of the world
MISSION
To produce academia with world recognized writing quality
To combine with selected ASEAN countries in producing academic articles
PUBLICATION HISTORY
Published various field of arts and social sciences’ studies since 2016 onwards.
PUBLICATION FREQUENCY
Biannual Frequency: Two (2) issues per year (April and September)
e-ISSN
2550-214X
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COMMITTEE ON PUBLICATION ETHICS
This is an Open Access article distributed under the terms of the Creative Commons Attribution Non Commercial No
Derivatives License (http://creativecommons.org/licenses/ by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and
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Idealogy Journal
Vol. 7, No. 2, 2022
IV
EDITORIAL AND REVIEWER TEAM
JOURNAL ADVISOR
Professor Sr Dr Md Yusof Hamid AMP PMP
(Rector, Universiti Teknologi MARA, Perak Branch, Malaysia)
CHIEF EDITOR
Ishak Ramli
(Universiti Teknologi MARA, Perak Branch, Malaysia)
Associate Professor Dr Muhamad Abdul Aziz Ab Gani
(Universiti Teknologi MARA, Perak Branch, Malaysia)
MANAGING EDITOR
Article Refereeing Process & Authenticity
Nurul Shima Taharudin
(Universiti Teknologi MARA, Perak Branch, Malaysia)
Format & Copyediting
Muhammad Redza Rosman
(Universiti Teknologi MARA, Perak Branch, Malaysia)
Digital Object Identifier (DOI), OJS & Archiving
Nizar Nazrin
(Universiti Teknologi MARA, Perak Branch, Malaysia)
Visibility & Promotion
Mohamad Hafiz Yahaya
(Universiti Teknologi MARA, Perak Branch, Malaysia)
Record for Acquisition, Refereeing Process, & Notification
Haslinda Md Nazri
(Universiti Teknologi MARA, Perak Branch, Malaysia)
EDITOR
Malaysia
Professor Dr Shahriman Zainal Abidin
(Universiti Teknologi MARA, Malaysia)
Bangladesh
Dr Sheikh Mehedi Hasan
(Jatiya Kabi Kazi Nazrul Islam University, Bangladesh)
Indonesia
Professor Dr Anis Sujana
(Institut Seni Budaya, Indonesia)
Indonesia
Professor Dr Tjeptjep Rohendi Rohidi
(Universitas Dian Nuswantoro, Semarang, Indonesia)
Pakistan
Associate Professor Dr Sophiya Umar
(Bahauddin Zakariya University, Multan, Pakistan)
Saudi Arabia
Assistant Prof. Dr. Abdul Jalil Nars Hazaea
(Effat University, Saudi Arabia)
PANEL OF REVIEWERS
MALAYSIA
Associate Professor Dr Nur Hisham Ibrahim
(Universiti Teknologi MARA, Malaysia)
Associate Professor Dr Rusmadiah Anwar
(Universiti Teknologi MARA, Malaysia)
Associate Professor Dr Azhar Jamil
(Universiti Teknologi MARA, Malaysia)
Dr Mohd Khairi Baharom
(Universiti Teknologi MARA, Malaysia)
Dr Nagib Padil
(Universiti Teknologi MARA, Malaysia)
Dr Hanafi Hj Mohd Tahir
(Universiti Teknologi MARA, Malaysia)
Dr Shahrel Nizar Baharom
(Universiti Teknologi MARA, Malaysia)
Dr Azian Tahir
(Universiti Teknologi MARA, Malaysia)
Dr Aznan Omar
(Universiti Teknologi MARA, Malaysia)
Dr Hamidi Abdul Hadi
(Universiti Teknologi MARA, Malaysia)
Dr Syed Alwi Syed Abu Bakar
(Universiti Teknologi MARA, Malaysia)
Dr Zainuddin Md Nor
(Universiti Teknologi MARA, Malaysia)
Dr Verly Veto Vermol
(Universiti Teknologi MARA, Malaysia)
Dr Zahirah Haron
(Universiti Teknologi MARA, Malaysia)
Dr Saiful Akram Che Cob
(Universiti Teknologi MARA, Malaysia)
Ishak Ramli
(Universiti Teknologi MARA, Malaysia)
Nurul Shima Taharuddin
(Universiti Teknologi MARA, Malaysia)
INDONESIA
Professor Dr Anis Sujana
(Institut Seni Budaya Indonesia)
Dr Andang Iskandar
(Institut Seni Budaya Indonesia)
Dr Husein Hendriyana
(Institut Seni Budaya Indonesia)
Dr Supriatna
(Institut Seni Budaya Indonesia)
Dr Pandu Purwandaru
(Universitas 11 Maret, Indonesia)
Dr M. Zaini Alif
(Institut Seni Budaya Indonesia)
Drs Deden Maulana, M.Ds
(Institut Seni Budaya Indonesia)
Toufiq Panji Wisesa, S.Ds., M.Sn
(Institut Seni Budaya Indonesia)
Drs Syaiful Halim., M.I.Kom
(Institut Seni Budaya Indonesia)
Ratno Suprapto., M.Ds
(Universitas Pembangunan Jaya Indonesia)
SAUDI ARABIA
Asst. Professor Dr. Abdul Jalil Nars Hazaea
(Effat University, Saudi Arabia)
Asst. Professor Dr. Mueen Uddin
(Effat University, Saudi Arabia)
Asst. Professor Dr. Shajid Khalifa
(Effat University, Saudi Arabia)
BANGLADESH
Mr Al-Monjur Elahi
(Jatiya Kabi Kazi Nazrul Islam University, Bangladesh)
Dr Sidhartha Dey
(Jatiya Kabi Kazi Nazrul Islam University, Bangladesh)
Dr Sheikh Mehedi
(Jatiya Kabi Kazi Nazrul Islam University, Bangladesh)
PAKISTAN
Associate Professor Dr Sophiya Umar
(Bahauddin Zakariya University, Multan, Pakistan)
Masood Akhtar
(Bahauddin Zakariya University, Multan, Pakistan)
Shah Zaib Raza
(Bahauddin Zakariya University, Multan, Pakistan)
PHILIPPINES
Jeconiah Louis Dreisbach
(De La Salle University, Philippines)
Idealogy Journal, Vol. 7, No. 2, 2022, p. 1-7
DOI: https://doi.org/10.24191/idealogy.v7i2.358
Section: Original Article
1
The Psychology of Grey in Painting Backgrounds
Aimi Atikah Roslan1, *Nurul Shima Taharuddin2, Nizar Nazrin3
1,2,3 Universiti Teknologi MARA
Perak Branch, Seri Iskandar Campus, Seri Iskandar, 32610 Perak, MALAYSIA
Institutional e-mail: nurul026@uitm.edu.my2
*Corresponding author
Received: 3 August 2022, Accepted: 15 August 2022, Published: 1 September 2022
ABSTRACT
This writing is about a study of the psychology of the colour grey used on the painting backgrounds.
The study concerns how the colour grey affects the behaviour of artists and has an impact on the
production of works of art. A descriptive research using qualitative research method through surveys
and observations as instrument was carried out. The artist uses the colour grey as his guide in
producing works to give a sense of emotional strength, feelings of melancholy, passion and so on. Each
colour has a different psychological and emotional effect.
Keywords: Psychology, Colour Grey, Painting
eISSN: 2550-214X © 2022. The Authors. Published for Idealogy Journal by UiTM Press. This is an Open Access article distributed
under the terms of the Creative Commons Attribution NonCommercial - NoDerivatives License
(http://creativecommons.org/licenses/by-nc-nd/4.0/), which permits non-commercial re-use, distribution, and reproduction in any
medium, provided the original work is properly cited, and is not altered, transformed, or built upon in any way.
1. INTRODUCTION
The sense of colour is triggered in brain by light waves that promote the perception of various hues
throughout the colour spectrum. In general, the majority of people acknowledge that colour impacts
emotions. Colour psychology is fundamentally based on human emotions and physiology. Individuals
might be drawn to specific colours for a variety of reasons, and there are also colour stereotypes.
Colour psychology is the study of colour as a determinant of behaviour and describes how colour
affects us. Artists use colour psychology to drive their colour choices and whether they want to evoke
strong emotions, melancholy, passion and so on. Cool colours, warm colours and neutral colours each
have different psychological effects. The different hues in each colour can give meaning and evoke
certain emotions.
1.1 Objective
This research examines the impact of grey colour plays in representing the artist's emotions
throughout the creation of art, as well as how can grey becomes the artist's preferred hue. This research
aims to investigate the psychological implications of using grey in the creation of art.
1.2 Problem Statement
This research is based on the psychology of colour and focuses on the usage of the colour grey in
art. Consequently, the issue arises: How can grey colour represent the emotions of artist? What
psychological implications of using grey gives in creation of art? This is because it is often believed
that grey is not the preferred hue and cannot positively stimulate human emotions.
The Psychology of Grey in Painting Backgrounds
2
2. LITERATURE REVIEW
According to an extract from the book "The Truth Is Always Grey: A History of Modernist
Painting," the renowned artist Van Gogh favoured the colour grey. He views grey as a colour. It is a
stimulating hue with the power to inspire warmth, enjoyment, and originality. Nor was Van Gogh the
first historical figure to appreciate the artistic value of grey. Charlies Baudelaire praised Delacroix's
grey painting in the Salon of 1845, stating, "The picture is grey...grey as nature, grey as the summer air
when the sunset sunlight falls trembling on every object." The grey tones of Delacroix's palette,
according to Baudelaire, allow for the delicacy and ethereal quality of the air in his exhibited paintings.
According to Baudelaire, Delacroix is one of the greatest painters, on par with Leonardo and
Michelangelo, and his works are at the forefront between Renaissance and contemporary art. After the
Salon of 1845, several works continued to inspire Van Gogh's grey elation and Baudelaire's joy in
Delacroix's grey palette: “The fundamental grey which differentiates the masters, expresses them and
is the soul of all colour” (Odilon Redon, French symbolist painter, 1840-1916).
2.1 Colour in a Work of Art
There are three categories of colours in art: cold colours, warm colours, and neutral colours. Cool
hues (green, blue, and purple) are often associated with a sense of serenity and harmony, yet they may
also trigger sad thoughts and despair. Because it is connected with natural elements such as water and
the sky, blue is often seen as a tranquil hue. However, it may also evoke a sense of sorrow or seclusion,
as in the works of Pablo Picasso created between 1901 and 1904, which reveal the artist's inner
melancholy via the use of blue and blue-green monochromatic hues.
Figure 1. The Old Guitar, Pablo Picasso (1903)
Warm colours are recognised for their ability to enhance excitement and happiness. These vibrant
hues include yellow, red, and orange. Most of the logos of well-known corporations, notably fast-food
chains like KFC, McDonald's, and Pizza Hut, use this fiery hue to stimulate hunger and promote energy
and aggression. Takishi Murakami is one of the painters who uses warm colours to create a pleasant
and joyful mood.
Idealogy Journal
Vol. 7, No. 2, 2022
3
Figure 2. Warm Colours (2022)
A neutral colour is most precisely described as one that seems to have no colour that is not generally
seen on the colour wheel and serves as a support for the main and secondary colours. Black, white,
brown, and grey are the most popular neutral hues. According to Ocvirk (2006), not all pigments have
visible colour. Some, such as black, white, and grey, do not resemble any of the spectrum's hues. This
hue is sometimes referred to as neutral. This neutral really represents the total of the many colour
wavelengths in light beams.
Since neutral hues look colourless, they are aesthetically pleasing. This hue has grown popular as a
backdrop in home design and also enhances other colours when arranging furniture. This makes it more
comfortable for the eyes to see. Grey is considered a neutral hue in interior design since it compliments
and accentuates other colours in the space.
When matched with a brighter hue, a neutral hue will make the shade seem livelier. The human eye
is naturally drawn to these hues. If a piece of artwork has an excessive number of vivid hues, our eyes
will likely get confused, resulting in an unpleasant aesthetic. Neutral hues may improve visual variation
and harmony while drawing attention to the work's primary point. This is backed by a 2010 comment
by James Gurney: "Grey is often associated with drabness or monotony, yet it is truly the artist's closest
buddy." Many paintings fail because there are too many vivid hues in comparison to grey."
When paired with colours and tones, neutrals may have a great deal of visual impact since they serve
to produce a realistic image. For instance, the use of neutrals may alter the depth of an artwork. All
neutral hues are easily discernible and stand for tranquilly and comfort. This hue also evokes feelings
of tranquilly, death, melancholy, misery, nature, darkness, and mystery.
2.2 Colour Psychology
Angela Wright created a unified theory of colour psychology and colour harmony in the 1970s to
investigate how colour impacts our emotions, ideas, and behaviour. This is the foundation of colour
psychology applications. By combining the science of colour harmony with the study of human
psychology, it is possible to influence behaviour. Karen Hailer discovered in an extract from her book
"The Little Book of Colour: How to Use the Psychology of Colour to Transform Your Life" that there
are three primary ways in which we react to colour: "Personal colour associations," "Cultural meaning
and symbolism," and "Psychological Meaning." According to Karen's interpretation of "psychological
meaning," when we see colour, we comprehend the information communicated, the majority of which
is influenced by the subconscious. Colour communicates with us in a language we understand
intuitively, the language of emotions, and it consciously influences our conduct.
3. RESEARCH METHODOLOGY
This research employs a descriptive methodology. This strategy is used to describe the phenomena
or particular qualities of a person, scenario, or group in depth. The primary objective is to comprehend
Brown Black Grey White
The Psychology of Grey in Painting Backgrounds
4
a given issue and describe the present occurrence or circumstance. This study likewise employs a
qualitative methodology; therefore, the relevant data consists of interview transcripts, field data
recordings, images, personal papers, and other notes. Typically, qualitative research employs interview
techniques, observation, prior writing, and observation as its methodology. This is utilised to
comprehend the underlying reasoning, viewpoints, and motives.
4. FINDING
4.1 The Psychology of Grey Colour in Painting
The colour grey is created by combining primary and secondary colours or opposing colours on the
colour wheel, resulting in a tertiary colour (third colour) or natural colour. He believes that grey is a
colour, according to Frances Guerin (2018). Grey has varied temperatures, tones, rhythms, and
meanings, as do all colours. He stated that grey is adaptable, pliable, and may be reshaped into surprising
new materials and connotations. It reflects and absorbs light and expands the spectrum between black
and white, between the colour extremes of all other hues.
As a result of its black-to-white tonal range, this grey's symbolic significance is variable. Grey that
is darker seems mysterious, dramatic, strong, and unified. The colour light grey seems relaxing and
soothing. Metallic grey like silver appears sleek, stylish and sophisticated. The colour grey is often
linked with ageless, branded, classic, corporate, and balanced qualities. They symbolise duty, justice,
loyalty, wisdom, pragmatism, sadness, and loss.
Figure 3. Comrade, Oil on canvas 130 x 220 cm (diptych), Xiaogang (2005)
In the "Bloodline" series of paintings by Zhang Xiaogang, the notion of 'family', which is entrenched
in Chinese culture, has been transformed into a more personal 'collective' version. This "Bloodline"
series was primarily influenced by the discovery of an intriguing vintage photograph of Zhang's mother
when she was young. Personal medium-sized family photographs were shot between 1950 and 1960
according to a formula that satisfied the official sense of public aesthetics, till he showed an idealised
society model. Zhang Xiaogang reinterpreted ancient family photographs from the cultural revolution
in his series of huge family paintings, which debuted in 1993.
Zhang noted, in reference to his "Bloodline" series of paintings, that old photographs have a specific
visual language and added, "I am attempting to create the appearance of 'false images' in order to repaint
the past and life that has been 'painted'. On the surface, the features in this photograph seem as placid
as still water, yet there is intense inner turmoil behind. In this condition of strife, the future is murky
and uncertain from one generation to the next. Regarding the effect of Chinese political upheaval on his
paintings, Zhang said that the cultural revolution was more of a psychological condition than a historical
Idealogy Journal
Vol. 7, No. 2, 2022
5
event. It has a tight relationship to his upbringing. Zhang believes that there are several similarities
between the psychology of the Chinese now and the psychology of the Chinese at that period.
Based on an extract from the book "The Revolution Continues: New Art from China," numerous
unexpected red lines crawl across the picture, uniting the nameless and emotionless figures wholly
defined by the force of collectivization. A pair of photos from 2005's "Comrade" series give a "common
identity"1 rather than revealing any particularity. There are patches of colour on the face, similar to the
effects of stage lighting or birthmarks. It offers the impression of a recall from the past since antique
photographs are often colourless or grey. The structure of Zhang's portraits is to present images of
individuals who already have a certain degree of formality. He just imitates images, but enhances their
formality.
The Notion of Collective Identity was developed for a touring exhibition of contemporary Chinese
art at the Chinese Art Centre, Manchester, and the University of Hong Kong Museum and Art Gallery,
Hong Kong, curated by the author in 2007
Figure 4. Francis Bacon, Study of Self-Portrait, Oil paint on canvas (1976)
In the 1976 series of self-portraits by Francis Bacon, a solitary human figure in a room with one leg
crossed represents himself at that time. In the preceding years, a number of Bacon's close friends had
passed away, leaving him with a feeling of loss. The loss of a loved one is evident in his art, the grey
backdrop of which conveys the gloomy and sour mood he had at the time.
Bacon lost several acquaintances, including his boyfriend George Dyer, throughout the 1970s.
Bacon said in an interview with Sylvester in the early 1980s, "Friends have perished around me like
flies, and I have no one but myself to paint." Because I have nothing better to do, I have created self-
portraits even though I detest my own appearance. 1976's Study of Self-Portrait features Bacon naked
save for a white collar. His upper torso is wrinkly, and his left leg is elongated and deformed, with
internal organs projecting forward. This is the artist's sole self-portrait sans clothing. In contrast to the
majority of Bacon's early works, the self-portrait of Francis Bacon has a consistent backdrop and is
spatially basic. The backdrop of the piece, which depicts a gloomy chamber, alludes to the idea of his
emotions' stillness.
The Psychology of Grey in Painting Backgrounds
6
Figure 5. Sometimes by Closing Your Eyes You Will See More Clearly after
Andrew
Wyeth, Acrylic and Oil on Canvas, 244 x 198.5 cm (2019)
Grey is also often seen as a "colourless" hue since it is not the favoured hue for evoking emotions,
particularly joyous ones. The majority of Hazri's paintings have a combination of hues, notably in the
backdrop. Hazri uses grey to portray memories of the past, bygone personalities, and melancholy. The
two homes on the hill in the backdrop of his translation of Andrew Wyeth's art recalled recollections
from his childhood. Because the backdrop directs the feelings of the people in his artwork, the grey in
the background has the greatest influence. For him, memories of the past are as hazy as fog, dust, and
puffs of smoke, as if we were searching for a weak light.
This hue is often associated with colours such as smoke, dust, dust, cement, concrete, overcast skies,
roads, and buildings, among others. This colour is quite prevalent in our everyday lives, despite being
regarded a filthy or unsightly hue. Because it may generate a calming and contemplative environment,
grey can offer a composition a feeling of openness and scale. As shown in Hazri's picture, grey is not a
single hue but rather contains numerous minor variations that may be detected with close attention.
Grey is not a 'colour' category for Hazri, but every smudge of it calms his spirit in comparison to fiery
hues such as red, yellow, and orange.
5. CONCLUSION AND RECOMMENDATION
From a psychological perspective, grey is an inactive colour. It is an unrestricted, natural, impartial,
and indeterminate hue. Individuals who like the colour grey are those who want to shield themselves
from the outside world. This demonstrates that these people want a balanced and secure lifestyle. In
controlling their emotions to prevent experiencing emotional anguish, these individuals do not want to
harm their feelings. This is shown by comparing three works by artists from the West (Francis Bacon),
the East (Zhang Xiaogang), and Southeast Asia (Hazri) that have a major commonality, namely the
colour grey. The concept and narrative focus upon personal concerns and old recollections, which
influence the grey hue of the piece. These three painters stress backdrop simplicity, such as
monochromatic hues. Because this colour is neither black nor white, it is simple to blend with all other
hues. It also induces a sensation of chill, relaxing the spirit from the chaos of the outside world, yet it
is neither refreshing nor revitalising.
When the artist starts to paint on the canvas, this grey hue has already begun the creation of an
artwork. It is the emotional consequence of semi-conscious activities' self-psychology. Colour is a
Idealogy Journal
Vol. 7, No. 2, 2022
7
manifestation of the artist's essence or particular feeling. Consequently, visible colour is a physical
conduit to psychological and emotional importance for both the artist and the art appreciator. According
to Goethe's colour theory, "grey unifies all other hues"; yet, until "the artist surrenders himself to his
impulses," grey is colourless and devoid of passion. Therefore, grey is colourless, or non-existent to the
human sight. Grey is never present. Grey may also give the human body a mundane and ordinary
appearance. Grey also seems plain, tiring, monotonous, and depressing. However, it also seems lovely
and official, but not endearing. This hue is also connected with maturity and greying hair as individuals
age.
ACKNOWLEDGEMENT
No acknowledgement to anyone is necessary.
FUNDING
This research is not funded by any organization it is individual expenses.
AUTHOR CONTRIBUTIONS
Aimi Atikah Roslan as the main author played a role in collecting data, planning research tree and
delegate task for research member, while Nurul Shima Taharuddin as the corresponding author
produced an analysis based on data and literature, and Nizar Nazrin conducted literature review and
methodology.
CONFLICT OF INTEREST
There are no potential conflicts of interest with respect to the research, authorship, and/or publication
of this article.
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Book
Why did many of the twentieth century's best-known abstract painters often choose grey, frequently considered a noncolor and devoid of meaning? Frances Guerin argues that painters (including Jasper Johns, Cy Twombly, Agnes Martin, Brice Marden, Mark Rothko, and Gerhard Richter) select grey to respond to a key question of modernist art: What is painting? By analyzing an array of modernist paintings, Guerin demonstrates that grey has a unique history and a legitimate identity as a color. She traces its use by painters as far back as medieval and Renaissance art, through Romanticism, to nineteenth- and twentieth-century modernism to show how grey is the perfect color to address the questions asked by painting within art history and to articulate the relationship between painting and the historical world of industrial modernity. A work of exceptional erudition, breadth, and clarity, presenting an impressive range of canonical paintings across centuries as examples, The Truth Is Always Grey is a treatise on color that allows us to see something entirely new in familiar paintings and encourages our appreciation for the innovation and dynamism of the color grey. © 2018 by the Regents of the University of Minnesota. All rights reserved.
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Stangline, M. (n.d.). What do the colors mean in art therapy & color psychology? What do the Colors Mean in Art Therapy & Color Psychology? Retrieved March 10, 2022, from https://www.creativecounseling101.com/what-colors-mean-art-therapy-color-psychology.html