The Sensation of Yellow with Olafur Eliasson
Experience the sensation of the colour yellow through two captivating installations by artist Olafur Eliasson. Who is this artist and why is yellow important in his work?
Five fascinating facts
When you think of Vincent van Gogh, the colour yellow probably comes to mind. So, was yellow Van Gogh’s favourite colour? Not always, perhaps, but when he was living in Arles in the south of France, the colour played a remarkably large part in his paintings.
His most famous yellow work is the painting Sunflowers, but the colour is also strongly present in his landscapes and other iconic paintings that he created in the sunny town of Arles. With all that yellow, he captured the light and life of the south.
In June 1888, he wrote about the landscape:
‘...tones of gold of every shade, green-gold, yellow-gold, red-gold, ditto bronze, copper, in short from lemon yellow to the dull yellow colour of, say, a pile of threshed grain’.
This still life of sunflowers is full of warmth, vibrancy and life, but the withering flowers also suggest decay. But the yellow colour makes everything more cheerful. Van Gogh used three shades of chrome yellow, and built up the colour in several layers, using different brush strokes and thicknesses. He didn't just use the yellow paint only for its colour, but also as something more tangible. By doing this, he would make yellow the main subject of the painting.
Vincent van Gogh, Sunflowers, 1889, Van Gogh Museum, Amsterdam (Vincent van Gogh foundation)
The colour yellow has long been used to depict the sun and sunlight. Van Gogh went to the South of France in search of clearer light and the warmth of the sun.
He wrote:
‘Sunshine, a light which, for want of a better word I can only call yellow – pale sulphur yellow, pale lemon, gold. How beautiful yellow is!’
The 19th century saw the introduction of several new sources of light, including gaslight and electric light. From then on, even indoor spaces could be infused with a radiant yellow.
In this painting, the reaper labours in the heat of the sun. Van Gogh’s sun shimmers in a greenish-yellow sky. The warm yellow wheat contrasts against the pale purple of the shadowy hills. Light yellow brush strokes surround the sun.
Vincent van Gogh, Wheatfield with Reaper, 1888, Van Gogh Museum Amsterdam (Vincent van Gogh Foundation)
This room has a strange energy. The curious figures and the cow are certainly part of the reason, but also because of the bright green and yellow colours. Marc Chagall (1887-1985) made this painting shortly after leaving Russia for Paris. He was blown away by the bustling city of bright lights, colours and new art. The Yellow Room may be filled with the light of all these impressions.
Marc Chagall, The Yellow Room, 1911, Fondation Beyeler, Riehen/Bazel, Beyeler Collection. Photo: Robert Bayer
In the late 19th century, the colour yellow was associated with everything that was modern, daring and decadent. This association also clung to the yellow novels by groundbreaking writers such as Emile Zola that were published in France.
Yellow became popular in fashion, interiors, advertisements and even literature. One journalist wrote: ‘It was the colour of the hour, the symbol of the time-spirit.’
Vincent van Gogh loved contemporary French literature, and depicted books in several of his paintings. The paperbacks with yellow covers described the reality of modern life, including raw themes such as prostitution and alcoholism.
Vincent van Gogh, Piles of French Novels, 1887, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Men saw women who read the yellow books as independent, rebellious and dangerous. In this painting, Ramon Casas (1866-1932) depicted a fashionable young woman lying on a sofa with a yellow book in her hand, after a night out. The book could be a novel by Emile Zola or Joris-Karl Huysmans, or worse, an erotic novel with an anonymous yellow cover. As the title suggests, the woman is ‘decadent’: she loves style, beauty and pleasure and does not care what other people think.
Ramon Casas, Decadent Young Woman (After the Dance), 1899, Museu de Montserrat, Barcelona, gift by Josep Sala Ardiz, 1980
Vincent van Gogh and his contemporaries used natural yellow ochre in their paintings, but also newer synthetic yellow pigments: zinc yellow, expensive cadmium yellow and the somewhat cheaper chrome yellow. These modern colours were bright and vivid, and made their paintings radiant.
Chrome yellow was Van Gogh's favourite, which came in three shades: light (or lemon) yellow, a deeper shade and a more orangeyellow variant. Unfortunately, chrome yellow fades and darkens over time.
Pigments are tiny, insoluble grains that impart colour. To make paint, they are mixed with a binding agent, such as linseed oil or egg yolk. Chrome yellow was Van Gogh's favourite yellow; it was very bright and opaque. The oldest existing yellow pigment is yellow ochre, a mineral found in the ground. It has been in use since prehistoric times.
The photograph shows jars, each containing a different colour of yellow pigment powder from the Cultural Heritage Agency of the Netherlands Collection (photo: Heleen van Driel).
Short, loose brushstrokes in various shades of yellow give this painting rhythm and energy. Van Gogh even painted the frame yellow. He used mainly chrome yellow, sometimes mixed with zinc yellow.
Vincent van Gogh, Quinces, Lemons, Pears and Grapes, 1887, Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation)
Around 1900, various artists used colour to express thoughts, emotions and ideas. They drew inspiration from social codes, Christian traditions, Theosophy and the ideas of Johann von Goethe.
The colour yellow was often linked to spring and Easter, light and new life. Vincent van Gogh didn't give yellow a fixed meaning, but often used it to express an emotion in a painting.
In this work, Van Gogh ‘translated’ a black and white print of a painting by Rembrandt into colour. Strikingly, he left out the main figure: Christ. Instead, his focus is on Lazarus, his sisters and a large rising sun. It seems as if it is the power of the sun, not Christ, that is bringing the dead man back to life. With his red beard, Lazarus bears a close resemblance to Van Gogh, who was resident in a psychiatric institution at the time.
Vincent van Gogh, The Raising of Lazarus (after Rembrandt), 1890, Van Gogh Museum, Amsterdam, Vicnent van Gogh Foundation
For Swiss artist Cuno Amiet (1868-1961) yellow stood for spring, new life and the exuberance of nature. The bright colours seem unnatural, but stem from earlier, more realistic works featuring meadows overflowing with yellow dandelions. In this painting, Amiet has distilled the landscape into flat areas of colour without detail.
Cuno Amiet, The Yellow Hill, 1903, Kunstmuseum Solothurn, Dübi-Müller-Stiftung. Foto ©Kunstmuseum Solothurn/David Aebi
Wassiliy Kandinsky (1866-1944) believed that colour was the ideal way to connect with the viewer's soul, to make it ‘vibrate’, as he put it. Yellow and blue were important opposites: one was earthy and active, the other spiritual and profound. In this painting, he used colour contrasts and unexpected colours to challenge the viewer to discover hidden spiritual realities.
Wassily Kandinsky, Large Study, 1914, Museum Boijmans Van Beuningen, Rotterdam




