L'Italo-Americano

L'Italo-Americano THURSDAY, SEPTEMBER 5, 2024 www.italoamericano.org 6 NEWS & FEATURES TOP STORIES PEOPLE EVENTS manuscripts. Blue, particu- l a r l y t h e s h a d e k n o w n a s ultramarine, became the color of the Virgin Mary, a r e p r e s e n t a t i o n o f p u r i t y , humility, and the heavens: u l t r a m a r i n e w a s d e r i v e d from the semi-precious stone l a p i s l a z u l i , w h i c h w a s imported from Afghanistan at great cost, making it one of the most expensive pig- ments available. This is why the use of this color in art- works was also often a sign of the wealth of the patron. Red and white continued to h o l d s i g n i f i c a n t s y m b o l i c meanings, with red associat- ed with the Passion of Christ, martyrdom, and the fire of the Holy Spirit, and white with purity, light, and the resurrection. These colors w e r e f r e q u e n t l y s e e n i n church frescoes, religious vestments, and the banners of crusaders. The Renaissance period marked a dramatic revival of interest in classical antiquity and brought about signifi- cant advancements in the use and production of color. Ital- ian artists such as Leonardo da Vinci, Michelangelo, and Raphael revolutionized the use of color in painting, cre- ating more realistic and vivid works that explored a wide range of human emotions. The color palette expanded significantly with the intro- duction of new pigments and the refinement of existing ones: vermilion (a bright red made from cinnabar), lead- tin yellow, and verdigris (a green pigment made from copper acetate) became sta- ples in the artist's palette. Key was also the increased use of chiaroscuro — the technique of using light and shadow to create depth and volume in painting — which, c o m b i n e d w i t h t h e u s e o f r i c h , s a t u r a t e d c o l o r s , a l l o w e d a r t i s t s t o c r e a t e more lifelike and dramatic c o m p o s i t i o n s . T h e u s e o f ultramarine continued to be highly prized, particularly in religious paintings, while other blues, like azurite, were more commonly used due to their lower cost. The influ- e n c e o f f o r e i g n t r a d e routes during this period also introduced new dyes and pigments to Italy, such a s i n d i g o f r o m I n d i a a n d cochineal from the Americ- as. As the Renaissance gave way to the Baroque period, Italian artists embraced a more theatrical and dramat- ic use of color, marking a stark contrast to the bal- anced, restrained palettes of e a r l i e r t i m e s . I t a l i a n Baroque artists like Caravag- gio used color to enhance the emotional intensity of their works, often employing stark contrasts between light and dark to create a sense of movement and drama. Dur- ing this time, deep, rich col- ors like crimson, deep blue, and gold were prevalent and u s e d t o e v o k e a s e n s e o f g r a n d e u r a n d o p u l e n c e , often in the service of the Catholic Church's Counter- R e f o r m a t i o n e f f o r t s . Baroque is also the artistic s t y l e t h a t g a v e b l a c k i t s prominence, as it used it to represent both power and piety. In the 19th century, the R o m a n t i c m o v e m e n t b r o u g h t a l o n g a r e n e w e d interest in nature and emo- tion, which was reflected in color choices often featuring rich, earthy tones like deep g r e e n s , b r o w n s , a n d r u s t reds. This was also a time of significant advancements in the production of synthetic dyes, which made a broader range of colors available to artists and the general pub- lic: mauve, magenta, and bright aniline dyes became popular and also, in a way, a sign of the Industrial Revolu- t i o n ' s i m p a c t o n a r t a n d fashion. S l o w l y b u t s u r e l y w e reached the 20th century, which brought about even more dramatic changes in the use of color, particularly with the rise of modernism and abstract art. Futurists like Giorgio de Chirico and Umberto Boccioni used bold, dynamic colors to convey the e n e r g y a n d m o v e m e n t o f modern life. In the mid-20th c e n t u r y , I t a l i a n f a s h i o n designers like Elsa Schia- parelli and Emilio Pucci r e v o l u t i o n i z e d t h e u s e o f color in clothing, embracing bright, unconventional hues that challenged traditional norms: Schiaparelli's use of " s h o c k i n g p i n k " b e c a m e iconic, while Pucci's psyche- delic prints in fiery colors became a hallmark of the 1960s. Today, the legacy of color in Italy lives on not only in art but also in fashion, archi- tecture, and even sports. The colors of Italy's most famous football clubs—AC Milan's red and black, Juventus's b l a c k a n d w h i t e — h a v e become as iconic as the mas- terpieces of the Renaissance. I t a l i a n d e s i g n e r s l i k e Valentino, renowned for his signature "Valentino red," and Dolce & Gabbana, who frequently draw inspiration from the rich colors of Sicily, continue to show the thriv- ing and creative relationship the country has with colors. Most of us witnessed first- hand how these color trends evolved throughout our lives, often reflecting broader soci- etal shifts in fashion, art, and even in the way we express ourselves. From the boldness of the 1960s and 1970s, to t h e m i n i m a l i s m o f m o r e recent decades, colors served as markers of change and progress. Yet, despite these e v o l v i n g t r e n d s , w h a t remains constant is the sub- tle yet timeless meaning of colors in our history and cul- ture: they are deeply rooted in the way we communicate, in our traditions, in our cre- ativity and, of course, in our seasons. A true connector between past and present, and between reality and fan- tasy. Colors have played a key role in Italian art, fashion, and symbolism throughout the centuries, and functioned as a reflection of the social, political, and technological changes in the country CONTINUED FROM PAGE 4 Above, an example of chiaroscuro, where vibrancy is given by the interplay of light and shadow. Below, the Virgin Mary, wearing her blue mantle. Blue became a color associated with Mary in the Middle Ages (These images were created with the assistance of DALL·E 2)

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