The Fear of Colour in Western Art: An Analysis of David Batchelor’s Chromophobia

Introduction

David Batchelor’s book, Chromophobia, based on his doctoral research at the Courtauld Institute of Art, explores a persistent phenomenon in Western art history: the fear or aversion to colour. This chromophobia, as Batchelor terms it, has profoundly influenced the perception and application of colour in Western art. This essay discusses Batchelor’s theory within the broader cultural and historical context of colour in Western art, with a particular focus on 20th-century abstract art and the roles of artists such as Wassily Kandinsky and Mark Rothko. The work also offers a critical reflection on the cultural and social dimensions of colour and its connections to power structures and aesthetic hierarchies. Through an analysis of Chromophobia, I will evaluate Batchelor’s theory and examine how fears and prejudices surrounding colour have emerged, transformed, and been resisted in modern and contemporary art.

Source: Dwell

The Roots of Chromophobia in Western Culture Batchelor traces the origins of chromophobia to classical antiquity, where the Greeks and Romans adhered to a distinct hierarchy of values in their art: line and form were privileged over colour. This preference stemmed from the belief that line and form represented a more rational, structured approach to art, while colour was seen as chaotic and sensory. Colour was associated with superficiality, whereas line and form were linked to depth and intellectual content. Philosophers such as Plato and Aristotle favoured abstraction and rationality over sensory experience, ideas that later dominated Renaissance and Enlightenment art theories.

During the Renaissance, this dichotomy was further reinforced by the emphasis on creating perspective and realistic forms. Although colour still played a role in painting, it was primarily used to enhance forms and create a sense of space, rather than functioning autonomously. Batchelor interprets this approach as a sign of the continued suppression of colour in Western culture.

In the Enlightenment, with its focus on rationality and science, the aesthetic values of classical antiquity were re-emphasized. Colour was often regarded as a secondary element, inferior to the primary use of line, form, and composition. The suppression of colour during this period also aligned with a broader cultural tendency to view emotion and sensory perception as forces that needed to be controlled by reason. Aversion to colour became not only an aesthetic issue but also a moral one. Colour was associated with the emotional, the feminine, the sensual, and even the “barbaric,” while form and line were linked to masculinity, rationality, and civility.

Colour and Modernism:

With the advent of the modernist movement in the early 20th century, perceptions of colour began to shift. Progressive artists challenged traditional hierarchies and sought to elevate the role of colour in their work. Abstract artists such as Wassily Kandinsky, Piet Mondrian, and later Mark Rothko began to view colour as a powerful force in its own right, rather than merely a decorative element. Kandinsky saw colour as an autonomous power capable of expressing inner feelings and spiritual experiences. In his book Über das Geistige in der Kunst (1911), Kandinsky argued that colour, like music, could evoke abstract experiences without referencing objects in the physical world. He developed a theory linking colours to specific emotions and moods—for example, using yellow to convey joy and energy, while blue evoked a more spiritual and calming quality.

Mark Rothko, a key figure in abstract expressionism, developed a unique approach to colour often associated with spiritual and existential themes. His paintings, characterized by large colour fields, invite the viewer to immerse themselves in an experience that is both physically and emotionally intense. By omitting recognizable forms, Rothko focused entirely on colour’s capacity to create a direct and profound experience. His works, such as No. 61 (Rust and Blue), serve as windows to an inner world, offering a space for contemplation. Rothko believed that art could elevate the human condition and that colour played a critical role in achieving this. He even claimed that his works were not about colour but about emotions and experiences, with colour serving merely as a conduit.

The Cultural and Social Dimensions of Chromophobia

Batchelor’s analysis of chromophobia extends beyond the aesthetic dimensions of colour to reveal its cultural and social implications. He argues that the fear of colour can be understood as a manifestation of broader cultural and ideological power structures. Colour is often associated with the “other”—the foreign, the exotic, or the primitive—and has therefore been subordinated to Western notions of refinement and civilization. This dynamic is evident in how colour has been used to differentiate between classes and cultures.

In colonial contexts, for example, colour was often associated with non-Western and “primitive” societies, which were deemed inferior. The preference for neutral earth tones and the avoidance of bright colours became symbols of refinement and Western superiority. Batchelor emphasizes that these cultural prejudices contributed to the marginalization of colour in Western art, where aesthetic values aligned more closely with the dominant Western culture.

The relationship between colour and gender also plays a significant role in Batchelor’s theory. Colour is frequently linked to femininity, sensuality, and decoration, in contrast to the masculine qualities associated with line and form. These gendered perceptions have led to the view that works heavily reliant on colour are less serious or intellectually rigorous than those focused on form and structure. This has contributed to the undervaluation of colour in both art theory and practice.

Critical Reflection: The Complexity of Colour in Art History

While Batchelor’s arguments in Chromophobia are compelling, it is important to critically examine his claims. Although his theory of chromophobia provides a valuable lens for analyzing Western art history, it can sometimes appear overly generalized or reductive. For example, the fear of colour was not always dominant throughout art history. Various periods and movements, such as the Baroque and Romanticism, demonstrated a clear appreciation for the expressive power of colour.

Moreover, the valuation of colour varies by region and cultural context. In Venetian Renaissance painting, for instance, colour was used as an essential and independent means to express beauty and emotion. Artists such as Titian and Veronese made extensive use of colour to create lifelike and dynamic compositions, suggesting that colour was not universally regarded as inferior but was contextually appreciated.

Contemporary Responses to Chromophobia: The Embrace of Colour

The late 20th and early 21st centuries have seen a clear trend towards re-evaluating and embracing colour in art. Artists such as Yves Klein and James Turrell have employed colour in innovative ways, making it the central focus of their work. Yves Klein is known for his iconic International Klein Blue (IKB), a deep blue hue he used to stimulate the viewer’s senses and emotions. His monochrome works challenge traditional hierarchies in painting and explore the pure experience of colour as an autonomous entity.

James Turrell, an artist working with light and space, has given colour a physical and almost tangible character through his light installations. Works such as his Skyspaces offer an experience where colour and light are used to evoke a sense of transcendence and introspection. Turrell’s approach situates colour in a new context, where it is not only visual but also physical and emotional. His installations challenge traditional painting by liberating colour from the canvas and presenting it as a spatial experience.

Source: Art UK

Conclusion: The Enduring Relevance of Batchelor’s Chromophobia

David Batchelor’s Chromophobia offers a powerful and provocative argument about the fear of colour in Western culture. It uncovers deep-seated prejudices and cultural assumptions that have shaped the use and appreciation of colour. Although Batchelor’s theory occasionally simplifies the complexities of art history, it provides a valuable framework for understanding the ideologies that have marginalized colour.

The works of abstract artists such as Kandinsky and Rothko played a pivotal role in re-evaluating colour, transforming it into a powerful medium for expressing emotion, spirituality, and transcendence. In contemporary art, colour is increasingly approached as an independent element, enabling artists to create new experiences and perceptions that transcend traditional notions.

For further exploration, the following books are recommended: Color and Meaning: Art, Science, and Symbolism by John Gage, The Primacy of Color in Painting: Modern Art from Manet to Klee by Pierre Schneider, and, of course, Batchelor’s own Chromophobia. These works offer diverse perspectives on the complex relationship between colour and art, demonstrating how colour has remained a powerful, contested, and versatile subject throughout history.