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Date of Award
Master of Science (MS)
Dr. Joel C. Moss
When the artist approaches the easel, he is faced with a myriad of enigmatic problems. Primarily he is faced with subject matter, technique, and content. Most of the time these problems will not appear within a presupposed formula. They all mingle into a kind of subconscious, intuitive quest. The choices which are made can never be made in isolation from man's own physical and emotional environment. Since man’s reason is a combination of intellect and emotion, his work is always based on these elements, and can never be totally void of either of them. In my own progression, I am becoming more and more aware of color as being a vastly more important element in art than I had ever realized before. Certainly form can evoke emotions, but to a large extent the effect created by form can be highly altered by color. Color can invite the observer to further examination of a work, but more importantly it determines the initial response to the work. Perhaps this initial response is a very elemental one, but nevertheless it should not be overlooked. Also as one examines color further, one discovers that the form must enhance the color just as much as color must enhance the form. Too often artists become so preoccupied with form, that they lose sight of the importance of color. They are then only producing colored drawings. Color and form must be equally respected.
Copyright 1965 David L. Vandergrift
Vandegrift, David L., "The Emotional Impact of Color in Painting" (1965). Master's Theses. 949.