Brown in the Iraqi drawing Almasrhakbh forties and fifties | ||
| Journal of Nabo | ||
| Article 1, Volume 0, Issue 15, November 2016, Pages 141-180 | ||
| Author | ||
| Ammar Abdul-Hamza Habib | ||
| Abstract | ||
| The structure of color in Iraqi contemporary painting The research is an attempt to study the structure of color in the contemporary Iraqi painting , to fathom the color options ,selections and use in the structure of the artistic works ,which establish the hierarchy of the forms of the works .The color strata has been a long time analyzed and evaluated according to certain values and theories almost has nothing to do with the process of painting .The time has come to study the mechanisms of creating the coherent structure of the esthetic ,semantic and creative message .The deep structure and the transformational component that generate ,stimulate interest and arose esthetic excitement of the artistic message . The study falls in four chapters, chapter one devoted to the importance and the need for the study as well as its objectives which are limited to the analysis of the paintings, the period of 1950 -1976.The chapter also includes specifications of the significant idioms of the research. Chapter two is a theoretical framework .It deals with an introductory to color theory , which establishes the bases of stretcher of color, rules and criterions has been formed to read and analyses the visual texts of the sample. Procedure has been design to select the community of the research which include (50) works .A sample of (6) works represent the period and meet the objectives and limitations of the study. Chapter four is devoted to the findings, conclusions and suggestions. The most important findings are the following:- 1-It has been dealing with the options and choices on the basis of intensity saturation and value of the colors to create the shallow depth ,the colors look like to float on the surface of the painting as in the models (1)(3)(4)(6). 2-The external context has influence the context of painting to the point that realize the environmental colors, the cast or touch of Ochers has appeared. The Arabic narrative process simulated in the painting from righto left, more over the Arabic semantic associated with colors, other semiotics systems can be noticed in all models except number (1). The main conclusions are the following:- 1-the positive and negative semantic of colors form a sphere ,the colors on its tropical circle ,white and black are on poles ,if the selection from the colors towards the white pole, then it is positive , on the contrary is negative semantic , 2-Most paintings with aerial perspective organizes colors from warm bright ,straight, saturated to cool faded colors as if they use the spectral colors vertically on the surface of the paintings . The other use the spectrum in parallel with the surface of the paintings . | ||
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