Chromophobia by David Batchelor

Chromophobia is a book by David Batchelor that explores the fear and loathing of colour in Western culture. Chapters of the book delve into the history of colour and how it has been viewed throughout Western history.

What does Chromophobia mean?

Intense fear of colours. Most people with this disorder have an extreme aversion to one or two colours or may only fear bright colours. People with chromophobia have severe anxiety or panic attacks when they see a colour they're afraid of.

David Batchelor's main argument in "Chromaphobia" is that colour has been undervalued in Western culture, particularly in art, and that this fear or dislike of colour is culturally constructed and can be traced back to various historical and cultural factors.

What is the viewer's role in the experience and interpretation of colour in art, and how does the book address this?

The book says that when we look at art, we play an essential role in seeing and understanding colours. This is because colours are not just a feature of the artwork but also depend on our experiences, culture, and surroundings.

Whitescapes

This chapter discusses how colour has been connected with disorder, chaos, and death in Western culture. The author explains how people have tried to control and organise colour throughout history and how it threatens order and logic. The author also discusses how religion uses colour to represent good and evil.

The author believes that white is a popular colour because people think it represents purity, clarity, and cleanliness. In design, white is often used to create a sense of calm and spaciousness. However, the author argues that this preference for white can also erode non-white cultures. For example, colonial architecture in India was often painted white, and Western art has traditionally excluded non-white artists and subjects. The author's idea of "white scapes" shows that colour is not just about looks but also has cultural and political meaning. It challenges us to consider how colour affects our world and how we see it.

Chromophobia

The fear of colour, known as 'Chromaphobia', has affected how we talk about colour in art and design. This fear challenges the traditional order of colour and encourages the use of colour as an essential material. The author argues that colour has become something to sell products and services rather than a necessary part of art and design.

The author explains how colours are chosen carefully to make consumers feel a certain way and how branding and colour are essential in creating a company's identity. The author's exciting writing makes you think and reflect on colour. They strongly point out that the fear of colour is a big part of our culture.

But what is chromophobia, according to Bachelor?

How does this relate to my use of colour in painting?

Chromophobia, according to Bachelor, we have established is the fear or dislike of a colour. He argues that this fear has manifested in Western culture in various ways, such as the association of colour with femininity and the prioritisation of monochromatic/muted colour palettes in architecture and design. In painting, chromophobia can be seen in the emphasis on line and form over colour and in the rejection of colour as a significant component of artistic expression.

How does Bachelor define colour?

What is his argument for the importance of colour in art?

Bachelor defines colour as a property of light that the human eye perceives. He argues that colour is a fundamental element of art, capable of expressing emotion, meaning, and symbolism. He contends that the rejection of colour in Western culture has limited the potential of art to communicate complex ideas and feelings. Bachelor cites several historical examples of the use of colour in painting, including the bright colours of medieval illuminated manuscripts, the use of colour to create atmospheric effects in Renaissance art, and the symbolic use of colour in religious and mythological paintings. These examples demonstrate the power of colour to convey meaning and emotion and how colour has been used throughout history to create specific moods or messages in art.

Bachelor critiques the work of modernist painters like Malevich and Mondrian for rejecting colour in favour of abstraction and geometry. He argues that their use of colour was limited and symbolic rather than expressive, reflecting a broader trend towards chromophobia in Western culture. He questions and argues that their work represents a missed opportunity to explore the full potential of colour in art.

I agree with Bachelor that colour can be a powerful tool for expressing identity and challenging dominant cultural norms. His argument has implications for contemporary art practice and much criticism by suggesting that artists should not shy away from colour but rather embrace it to convey complex ideas and emotions.

---