The Psychology of the Colour Pink: Meaning, Symbolism and Wellbeing

Pink Sky Reflection, The Norfolk Broads, Art Photograph, Hugo Richardson

Pink is a colour with a surprisingly deep and varied history. From ancient literature to global cultures, from religious symbolism to modern marketing, pink has carried meanings of love, innocence, power, luxury and even rebellion. This post explores the fascinating story of pink and the emotional impact it continues to have today.

Pink in Early Literature

In the 8th century BC, Homer’s Odyssey references pink as the rosy colour of dawn, “Then, when the child of morning, rosy-fingered dawn appeared…”

Wild Rose with Rain Drops, Art Photograph, Hugo Richardson

Suffolk Pink: A Colour With History

Suffolk Pink, seen on many historic buildings in the region, dates back to the 14th century. The colour was traditionally created by adding elderberries to limewash, though sloe berries, blackthorn and even ox blood were also used. These additions were believed to strengthen the protective qualities of the limewash.

The ‘Suffolk Pink’ colour is highly protected and regulated by local councils and English Heritage.  Marco Pierre White once painted The Angel in Lavenham a shade of ‘blancmange’ in 2013 that offended the locals and the council.  He was forced to repaint, only after the right shade of pink was agreed with English Heritage.

Pink in Religion and Symbolism

Biblically, pink is associated with being in right relationship with God. It symbolises the “Love of God,” combining the red of Christ’s blood with the purity of white. In some artworks, Jesus is shown wearing pink to evoke innocence and the womb.

Pink symbolises friendship, beauty, faithfulness, compassion, romance, love and sensitivity. Pink roses, for example, represent admiration, happiness and familial love.

How Pink Pigments Were Made

Light red eventually evolved into the colour term “pink.” Historically, pink pigments were produced by mixing alum and chrome mordant with brazilwood dye or with madder roots plant Rubia tinctorum.

Mixed with white, pink can also be made using red from the cochineal insect. Cochineal was cultivated commercially in Poland, Prussia, Saxony, Lithuania and the Ukraine in the 18th century.

The cochineal harvest started on the fifth hour (between eleven o’clock and noon) of St John the Baptist’s feast day on the 24th June, accompanied by religious ceremonies.  Some stories are hidden deep in language, in words we use daily, but the origins of which have been long forgotten.

Polish cochineal is also known as Polish lac and the cochineal insect is known in Polish as Czerw.  The female of the cochineal, in the late larva state, was collected and boiled in water with vinegar. They were then dried in the sun, or in ovens and ground with bread acid to produce a dye.

But as many as 155 thousand insects were required for 1kg of dye, pushing red textile prices through the roof.  Polish noblemen, monarchs and high clergy were the only people that could afford cloth dyed with cochineal, also known as Saint John’s blood.

The first flags and banners of the Kingdom of Poland show a white-crowned eagle on a red background, and the white and red flag represents Poland to this day.

From the 16th Century, Polish cochineal was predominantly replaced by cochineals from the New World.

Pink symbolises friendship, beauty, faithfulness, compassion, romance, love and sensitivity.

Pink roses, for example, symbolise love between family members, admiration and happiness.

Pink Roses, Art Photograph, Hugo Richardson

Pink in Global Cultures

Pink carries different meanings around the world:

In Japan, the colour pink has a masculine association. The Sakura pink cherry trees that blossom in spring represent young warriors (Samurai) who fell in battle in the prime of their life.

Pink is a sign of trust in Korea.

In Latin America, it’s symbolic to architecture.

In India, Jaipur City is a tourist attraction.  It has forts, palaces, temples and bazaars which are predominantly pink.  The geography is often called ‘The Pink City’.

Pink in the Sky and Natural Light

Clouds often appear pink at certain times of day. This happens because sunlight scattered by clouds is also scattered by air molecules. Shorter?wavelength colours such as green and blue are scattered out of our direct line of sight more than red. The atmosphere preferentially scatters blue light toward us — a phenomenon known as airlight.

Airlight is responsible for the blue sky and contributes to the blue appearance of distant mountains, such as the Blue Mountains in Australia.  Because airlight is polarised, its intensity changes depending on the setting of a camera’s polarising filter. When reddened sunlight and scattered blue light combine, the result is the soft pink glow we often see in clouds.

It is responsible for the blue sky and partly for the blue colour of distant mountains  Airlight is polarised and so the intensity depends on the setting of the camera polarising filter.  The reddened light and blue light together produce the pink.

Pink Clouds, Art Photograph, Hugo Richardson

Pink in Maps and Empire

Traditionally, territories of the British Empire were coloured pink on maps. This was a practical compromise: red was the colour associated with the Empire, but printing colonies in red made place names difficult to read on globes and atlases. Pink provided a clearer, more legible alternative.

Pink as a Symbol of Luxury

In the West, Pink first became fashionable when European aristocrats, both men and women, wore a faint pink powdery variance as a symbol of luxury and class.

Pink in the Natural World

In the natural world, one of the most dramatic colours of pink can be found on the flamingo.  Their colour is as a result of the food that they eat which is mainly algae and brine shrimp.  The body of the flamingo metabolises the pigments which turn its feathers pink.

Flamingo, Art Image, Hugo Richardson

Pink in Psychology and Behaviour

In 1979 in the US, penitentiaries were painted pink as an experiment to reduce violence.  This type of pink is called ‘Baker-Miller’. The reason being that the experiment on the first correctional institution was directed by Baker and Miller.

The early research was found to be flawed.  While pink’s calming effect has been demonstrated, researchers of colour psychology have found the effect only occurs during the initial exposure to the colour.  When used in prison, the inmates often become even more agitated once they become accustomed to the colour.

Pink, Gender and Marketing

In the Western world today, pink is widely seen as feminine — .  Barbie pink for girls, blue for boys. But historically, this was not the case. Until the early 20th century, pink was considered a masculine colour, while blue was associated with femininity and the Virgin Mary.

This shifted in the 1940s when retailers realised they could increase sales by marketing colours to specific genders. By the 1950s, everything from toys to toothbrushes was colour?coded, cementing pink as “for girls” in popular culture.

The Rise of Rosé Wine

A very interesting marketing phenomenon has been the massive increase in the consumption of rose wine.  There are a number of reasons for this, some of which include the colour.

The ‘salmon’ shade of Rosé wine is generally the leader globally.  However, an apricot shade of rose wine is preferred by consumers in the Bordeaux region.

Global consumption of rose wine has increased by 30% in 15 years. In 2013 alone, the United States consumed 279.4 million litres (nearly 74 million gallons) of pink wine.

The increase of rose consumption appears to be based upon the attractively of its colour. Rosé is very popular with the millennial generation.  The pink is perfect for Instagram posts and influencers like Angelina Jolie and Brad Pitt, who own the award-winning producing Chateau Miraval has also helped.

Here are all the reasons, following some research on the web:

  • Rosé production quality has increased
  • Rosé has a lower propensity for producing a hangover compared to other wines
  • More and more women are looking for lightness and freshness
  • Rosé is being promoted by celebrities
  • It looks good on social media
  • There is a wide range of sweet to dry options

Flamingos, Art Image, Hugo Richardson

Please feel free to communicate with me about the ‘blogs’ we publish.

Email: hugo.richardson@image-memory.com

Tel.:     07476 343 777

The Psychology of the Colour Green: Meaning, Symbolism and Wellbeing

 

Oasis, Art Photograph, Hugo Richardson

Green symbolises life, fertility, and renewal. It is widely recognised as a calming colour, often helping people feel at ease in unfamiliar environments.

God said, “Let the earth grow green with vegetation, plants yielding seed and trees bearing fruit, each according to its kind.” And it was so.  The earth turned green with vegetation, plants yielded seeds and trees bore fruit, each according to its kind. And God saw that it was good. There was evening and there was morning; it was the third day.  Genesis 1:11-13

Lake Wood, Northumberland, Art Photograph, Hugo Richardson

Interior designers frequently use green in public spaces, restaurants, and hotels because it creates a sense of calm and connection to nature.  

Buildeo is an interior design company with clients that include Holiday Inn, Hilton and Formby Hall Golf Resort recommends green?based palettes for hotel lobbies.

Green, combined with elements such as fountains, waterfalls, or unusual plants, can evoke peace and tranquillity in a space for customer.

Thames Sluice, Henley-on-Thames, Art Photograph, Hugo Richardson

The Chelsea Flower Show featured strong themes of water and greenery, particularly in the ‘Ecotherapy Garden’ .

By contrast, yellow and red (as explored in earlier posts) stimulate energy and appetite which is why brands like KFC, McDonalds and Burger King use the yellow and red pallet.

Green has a long and layered history. It is created by mixing blue and yellow, and in some languages the same word is used for both green and blue.

In Ancient Egypt, green symbolised regeneration and rebirth. Artists ground malachite — a copper mineral — to create green pigment. Although beautiful, malachite darkened over time as it oxidised.

Malachite was used by the Ancient Egyptians for tomb decoration, but this fell out of use over time as it oxidised and went black over time.

The Ancient Romans produced green pigment by soaking copper plates in wine, creating verdigris, the green patina seen on aged metal.

Place de la Republique, Lille, France, Art Photograph, Hugo Richardson

Verdigris was used for mosaics and painting.  This technique for green production was used through the medieval period where monks would use this pigment to paint scenes in illuminated manuscripts.

During the Renaissance, plants began to be used to make paint.  However, the pigment from plants faded quickly.

Green is often associated with the Islamic religion, but this idea was only developed in the 12th Century.  In the Quran green is mentioned eight times, always in a positive sense, as a colour of vegetation, spring and paradise.

Michel Pastoureau, described as a ‘historian born in colour’, and a master of medieval images, symbols and colour has written about this. A leading historian of colour, writes extensively about this in Green: The History of a Colour. He notes that green became a unifying and sacred colour for Muslims during the 1100s.That is why many copies of the Quran from the Middle Ages had green bindings, as they do today.

Michel Pastoureau has written a full book titled ‘Green – The History of a Colour – translated from the French by Jody Gladding.

Similarly, a great number of religious dignitaries wear green clothing. Muslims believe green is a “symbolism associated with paradise, happiness, riches, water, the sky and hope”.

In 1775, Swedish chemist Carl Wilhelm Scheele created a vivid green pigment using arsenite — beautiful but highly toxic. It was used in wallpaper, clothing, toys, and art, and is believed to have contributed to Napoleon’s ill health during exile. The wallpaper in the room where he was exiled contained Scheele’s green.

More positively, green is restful, soothing, cheerful and health giving.  Green is thought to relieve stress and help heal.  Those who have a green work environment experience fewer stomach aches.

Green landscape photography — available in a range of sizes — can bring these calming qualities into a room. Please feel free to contact me if you’d like help selecting images for your professional space at Image Memory.

Landscape, Goudhurst, Kent, Art Photograph, Hugo Richardson

Green is the colour of balance and harmony and can, therefore, be helpful in times of stress.

So many of us are exposed to the glare of electronic screens on a daily basis. Prolonged use of computers have been noted as having an aggravating impact on tinnitus.

Many of us spend long hours in front of electronic screens, which can aggravate conditions such as tinnitus. Research indicates that exposure to green environments may lower blood pressure and heart rate, supporting recovery and relaxation. If you click on this text area, you will see evidence that green stimulates recovery and relaxation and has a positive impact upon mental health.

Sulhampstead Cattle Bridge, Kennet Canal, Art Photograph, Hugo Richardson

Colour-chakra theory from Hindu scriptures adds green; strengthens bones and muscles, disinfects bacteria and virus, and relieves tension; used to treat malaria, back problems and blood pressure.

Goldstein asserts “under the influence of green (as with blue) light, time is likely to be underestimated.”  “Also, weights will be judged lighter.”

Theale Lagoon, Theale, Art Photograph, Hugo Richardson

Negative associations:

Boredom, stagnation, envy, blandness, enervation, sickness

 Positive Associations : (source: Envato Pty. Ltd.)

Health, hope, freshness, nature, growth, prosperity

hugo.richardson@image-memory.com

Tel.: 07476 343 777

Next week in the Psychology of Colour series – Pink

J M W Turner and the Elements – Fire

Prometheus gave humanity fire

A Lime Kiln by Moonlight, J M W Turner, 1799

I am delighted to present the third of the ‘blogs’ relating to JMW Turner and my attempts to follow his methodology with my photographic work. Turner’s approach to art involved drama, action and bright light.

For example, we already know that his marine paintings included stormy events, ports defying the sea and ships capsizing.

The English Romantic painter, was lucky in a number of ways.  Britain was enjoying the developments associated with British invention.  Also, we had success in remaining independent from invasion attempts, following our success at the Battle of Trafalgar in 1805.

We were also making significant strides with science.  For example, Humphry Davy, born in Cornwall, invented the Davy Lamp. This ‘arc lamp’ was one of the first electric lights. Bessemer was patenting a process for smelting steel. George and his son Robert’s company, Robert Stephenson and Company, manufactured and released the Locomotion No. 1, which was the first steam locomotive to carry passengers on a public rail line in 1825.

Light Bulb, photo taken by Hugo Richardson

Abstract Light Art, photograph by Hugo Richardson

Fire was being used industrially for manufacturing and for generating steam. One of Turner’s most famous paintings, depicting the move from sail to steam with marine transportation, shows how innovation was having an impact:

The Fighting Temerair, J M W Turner, 1838

The Eruption of the Souffrier Mountains, JMW Turner 1815

Turner was also interested in Geology, which led to a great demand for paintings of volcanoes.

At the start of the 1770s, an international group of artists gathered around the volcanologist William Hamilton (1731-1803), who resided as the British ambassador at the court of Naples at the foot of Mount Vesuvius.

Please see my ‘fireworks’ image below, inspired by Turner’s work:

Fireworks, Reading, Berkshire – photo taken by Hugo Richardson

The painters in his circle strove for realistic depictions of nature; they were interested in scientific inquiry and participated in the debate between the Plutonists and the Neptunists.

‘Neptunists’ believed that all rocks, including granite and basalt were formed by crystallization of material from the early earth’s oceans.

‘Plutonists’ believed that the rocks of the earth were formed through volcanic and magnetic action.

Crimson Sunset, J M W Turner, 1825

Moreover, the aesthetic qualities of fiery sunsets were always worthy visual material.

Sunset over Wiltshire Landscape, photo by Hugo Richardson

Turner arrived at a concept of landscape painting in which fire was not only used to create decorative affects, like those in the works of his contemporaries, but also became an integral part of his understanding of nature.

Firelight and lamplight were often subjects that Turner chose for his art.  This next piece of art focuses upon a fireplace in a bedroom.

A Bedroom with a Fire Burning, and a Bed with Yellow Curtains, JMW Turner 1827

Please see an interior photograph that focuses upon a living room stove, after Turner’s work of art above.

Stove Fireplace with a Round Candelabra for diffuse Light, photograph by Hugo Richardson

Glow of Bonfire, Art Photograph by Hugo Richardson

Next week Turner and The Elements – Earth

Local scenes of Reading, now on sale at Reading Museum

Birds of Burghfield – Part One

When we first moved to Burghfield we were amazed at the wide variety of bird life, particularly aquatic, that live around the Kennet and Avon Canal and local stretches of water.

One of the most amazing species of bird that we have observed is the heron.  It is a very tall bird, with strange strands of feathers at the front, that make it look somewhat unkempt.

Fiona and I continually discuss the extraordinary features that this sizeable bird has. Their quirks include a bendy neck that it retracts when flying.  This is unlike other birds, like swans and geese, that straighten out their necks in front of them when in flight. The heron has 20 to 21 cervical vertebrae in its neck, which makes this possible.

They look like cloaked school masters in profile. Or the poem ‘Haegri’ (Shetlandic for Heron, please click on ‘Haegri’ for the full poem) by Roseanne Watt aptly describes her heron as ‘curled like a question mark’. They are one of the few species of birds that are prehistoric. I must admit they don’t look like a bird from this epoch when they fly, watching them makes me feel I have been transported millions of years back in time.

The heron is reluctant to take off because they weigh up to 2 kilograms and are up to 98cm in height, with feathers that provide some resistance to flight.  Consequently, a big wingspan is required and this measures up to a full 1.95 metres.

An adult heron needs around half a kilogram of food per day and they will continue on the hunt till this target is reached.  They eat fish, voles, frogs, eels, insects and young birds, like ducklings for example.  Mind blowingly we have seen a grown heron fly towards a mink in a distinctly aggressive way.

I am also convinced that the heron was the model for the birds in the Avatar films (please click on Avatar video clip for the plumes).  If you look closely at the photograph above, you can see a long dark plume of feathers trailing behind its head.  Their plume is like the reins that the avatars used to ride on the backs of magnificent birds depicted in the movies.

Please see photo below that shows the heron with neck fully retracted in flight.

Herons are also very solitary by nature.  I have only ever seen them on their own. Of course, they must find a partner in Spring, or the numbers would deplete quickly! The female will lay up to 10 pale blue eggs and both parents incubate the eggs for 25 days.

Sources of information include:

https://community.rspb.org.uk/ https://www.everyheron.com/

https://www.heronconservation.org/herons-of-the-world/heron-taxonomy-and-evolution/
 

hugo.richardson@image-memory.com 

Photographs by Hugo Richardson

Tel. 07476 343 777