14 Color in To The Lighthouse

Color in To the Lighthouse
Author(s): Jack F. Stewart

Source: Twentieth Century Literature, Vol. 31, No. 4 (Winter, 1985), pp. 438-458
Published by: Hofstra University
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Color in To the Lighthouse
JACK F. STEWART
According to Virginia Woolf, "paintingand writing... have much

in common. The novelistafterall wants to make us see .... It is a very
complex business, the mixing and marryingof words that goes on,
probablyunconsciously,in the poet's mind to feed the reader's eye. All
greatwritersare greatcolourists...." While "sound and sight seem to
make equal parts of [her] firstimpressions,"Woolf stressestheirpain-
terlyquality.2
In To theLighthouse,Woolf's search for spiritual essences is ex-
pressed in light and color.3 Johannes Itten's metaphysicof light and
color illuminatesthe relation between creativesource (Mrs. Ramsay/the
Lighthouse) and creative artist (Lily Briscoe/thepainting) in Woolf's
novel.4 Itten (AC, p. 153) furtheraffirmsthat "the end and aim of all
artisticendeavor is liberationof the spiritualessence of formand color
and its release fromimprisonmentin the world of objects." Woolf's art
does not reach so far toward abstraction,but she does imply that the
"luminous halo" of consciousness should be conveyed throughequiva-
lents of "plastic form,"and notes that "fictionis given the capacity to
deal with 'psychologicalvolumes.' 5
Roger Fry thought literatureshould parallel painting: "The Post-
Impressionistmovement... was by no means confined to painting....
Cezanne and Picasso had shown the way; writersshould flingrepresen-
tationto the winds and followsuit. But he never found timeto workout
his theoryof the influenceof Post-Impressionismupon literature"-as
Woolf ironicallyremarks (RF, p. 149). She herself accepted the chal-
lenge of designing a literaryart closer to the plasticvalues of painting.
While Fry championed the post-impressionists' "'attempt to express by
pictorial and plastic form certain spiritual experiences'" (RF, p. 154),
Woolf urged novelists"to convey thisvarying,thisunknownand uncir-
438
WOOLF'S TO THE LIGHTHOUSE
cumscribedspirit...."6 Fry'semphasis on formalrelationsmergesfruit-

fullywith Woolf's pursuit of being, as her art advances fromthe frag-
mentaryimpressionismof Jacob'sRoomto the luminous structureof To
theLighthouse.There revolving lights and colors play on the reader's
sensibilitylike light waves on the retina, and characters come to be
known by theirauras.
The impressionistsdid not confine colors within the outlines of
objects (as the rationalizingmind does), but observed how light spills
over fromone object to the next. Thus theygave objects a "luminous
halo" or aureole of color. As a verbal colorist,Woolf desires "to paint
men and women with that something of the eternal which the halo
used to symbolize,and which we seek to confer by the actual radiance
and vibrationof our coloring."7But in To theLighthouseher art goes
beyond impressionismand symbolismtowarda flexibleformthat"does
not shut out." The consciousness of each character tends to overflow
individual boundaries, minglingits colors with,those around it, as it
modifies the total pattern. These interactions recall the post-
impressionismof Cezanne, who wished "to represent things in their
interrelationshipin space," while still using "colour in its original
significance."8
While color in the novel expresses individual qualities, color/
character associations are not reducible to one-to-one symbolic
equations.9Woolf wanted to find literaryequivalents for "thatpleasure
which we gain fromseeing beauty, proportion,contrast,and harmony
of colour in the things around us"10-and which Delacroix considers
the exclusive propertyof painting.Beyond the sensuous immediacyof
impressionismlay the constructivecolor of Cezanne, whose art sym-
bolized nothing in particular,but "turned all external appearances of
real thingsinto a symbolof 'being,' 'whichis eternal"' (C, p. 270). To the
Lighthouseshares with Cezanne's painting a vital duality of aesthetic
image, that mirrorsactual sensationsand emotions,and symbolicform,
that mirrorsits own "process of construction."When Badt (C, p. 72)
speaks of blue as a "symbolicform,"he is concerned with a structural
quality and not with symbolic meaning. Blue, in Cezanne's painting,
does not stand for something outside itself,but locks other colors
togetherin harmony. The experience of color relations is more than
an optical sensation: it is a complex experience hard to put into words,
a stimulusand a revelation.
Color is a sensitive medium for expressing both individual and
universal experience. While color in literature inevitablygravitates
toward symbolic associations, Woolf manipulates rhythmic inter-
439
TWENTIETH CENTURYLITERATURE
relationshipsto create an overall plastic design, inwardlymirrored in

the image of painting. Lily Briscoe is one of those post-impressionist
artistswho "do not seek to imitate form, but to create form, not to
imitatelife,but to find an equivalent for life" (Fry,as quoted by Woolf
in RF, p. 154). While the novel illuminates life, it completes its
significancewithin the magic circle of art. Woolf accomplishes this
condensation by seeking out "plastic equivalents" and constructinga
virtual space that incorporates many of the subtle properties of color
contrast.Color in the novel is not only an equivalent of feeling,it is
also a component of form. The variouslytinted streams of conscious-
ness interconnect,so that"geometriccolour" becomes a structuralprin-
ciple as in Cezanne's painting."
What Cezanne says of shape and color applies to To theLighthouse:
"The outline and the colors are no longer distinctfromeach other. To
the extentthatone paints,one outlines; the more the colors harmonize,
the more the outline becomes precise.... When the color is at its
richest,the form has reached plenitude."'2 Merleau-Ponty'scomment
(p. 16) on Cezanne's portraiturecan be applied, with slight modifica-
tions, to Woolf's characterization: "One's personality is seen and
grasped in one's glance, whichis, however,no more than a combination
of colors." In the novel, the single "glance" becomes a series of subjec-
tive reflections,and "personality" a complex of sense perceptions,
memories,verbal rhythms,and color.
Just as white light refractedthrough a prism produces the seven
colors of the spectrum,so being refractedthrough self produces the
psychologicalspectrumof the novel. To theLighthouse is builton a nexus
of light and color. Its Neoplatonic theme is the relation of the One to
the many, the noumenal to the phenomenal. What Itten (AC, p. 30)
says of his students'"color combinations"applies to Woolf's characters:
"Intrinsicconstitutionand structuresare reflectedin the colors, which
are generated by dispersion and filtrationof the whitelightof life and
by electromagneticvibrationsin the psycho-physiologicalmedium of
the individual." Objects do not have colors, but for the eye all objects
exposed to lightabsorb some rays and reflectothers. Only Mrs. Ram-
say, as she identifieswith the light (TL, p. 97), or enters the "wedge-
shaped core of darkness" (TL, p. 95), transcends colorificdiffraction
and becomes pure being. After"burning and illuminating"(TL, p. 58),
she sinks back through the violet end of the spectrum (Lily's "purple
shadow" [TL, p. 81]) to achromaticinvisibility (TL, p. 95). "If the light
which falls on a body is completelyabsorbed by that body," says Chev-
reul, "so thatit disappears fromsight,as in fallinginto a perfectlydark
440
cavity, then the body appears to us as black.... ,3 Mrs. Ramsay's

absorptivepowers are seen in her withdrawalinto darkness,but she is
also a powerful reflectorof light, who illuminatesother lives (TL, p.
160). In this oscillationshe emulates the lighthousewith its revolving
beams. Her powers of absorption and reflectionrelate to a rhythmic
embrace of lightand darkness symbolizedin the Tao, and ultimatelyto
the "white light" of cosmic being.
If Mrs. Ramsay relates to Lightas essence,14Lily relates to Coloras
the contingentsubstance of realityand art (TL, p. 75). Part I, "The
Window," is dominated by the transcendentsymbolof the Light, Part
II, "Time Passes," by darkness and silence, and Part III, "The Light-
house," by the refractionof Mrs. Ramsay's spiritual light into action
(the voyage) and form and color (Lily's painting). At one end of the
spectrum,Mr. Ramsay's intellectualvision dissolvesin infraredrays; at
the other, Mrs. Ramsay's spiritualvision dissolves in a blue haze bor-
dering on ultraviolet.In his discussion of "Coloured Spaces in the
PrismaticSpectrum,"Ogden Rood observes that"the space out beyond
0 is occupied by a very dark red... and outside of the violet beyond
1,000 is a faintgreyishcolour, whichhas been called lavender."15Rood
(MC, p. 106) adds that "the eye seems far more sensitiveto changes of
wavelengthin the middle regions of the spectrum than at either ex-
tremity."A similar blurringat the ends and sensitivityin the middle
can be observed in To the Lighthouse,where green and yellow are
associated with the androgynous, aesthetic vision of Lily and Car-
michael. A synthesisof blue and red extremesappears in the "triangu-
lar purple shape" on Lily's canvas, a momentarynegation of the entire
spectrum in James's close-up view of the lighthouse as a "black and
white" structure.
Withina given band of the spectrum,the dominantcolor serves to
express related qualities of several characters.In the novel, color per-
meates the various streamsof consciousness and is also an element in
the overall design. As in Cezanne's painting, "the whole canvas is a
tapestrywhere each colour plays separately and yet at the same time
fuses its sonorityin the total effect."16The various reds form a mas-
culine complex includingMr. Ramsay'sred-hotpokers, red geraniums,
and reddish-brownhedge; the reddish-brownstockingthat Mrs. Ram-
say is knittingfor the lighthouse-keeper'sson; her image of James "all
red and ermine on the Bench"; Paul Rayley'sblaze of amorous passion;
and Charles Tansley's red raucousness. The feminine/intuitive
wavelengthsare more flexiblyvaried than the dense red glow of male
egotism.Blue and greenare frequentlycombined-blue associated with
441
TWENTIETHCENTURYLITERATURE
sea, distance,transcendence;green with"flowinggrasses,"green shawl,

illusion,and imagination.Yellow-Mr. Carmichael'seyes and opium, the
"yellow eye" of the lighthouse, the "pure lemon" of its beams, the
harvest moon-is associated with meditationand intoxication.As for
specific auras, Paul is associated with "a reddish light" (TL, p. 261),
Cam witha "green light" (TL, p. 272), James's memoryof his mother
with"a blue light"(TL, p. 278), and Mrs. Ramsay with"the lightof the
Lighthouse" itself (TL, p. 94). In "Time Passes," the shade of Mrs.
Ramsay'sspiritis gray-which lies outside the spectrum.Physiologically,
"neutral gray" is appropriate to this visionary,transitionalphase, as it
combines "dissimilation" and "assimilation," "consumption" and "regen-
eration" of the optic substance.17Thus, when Mrs. Ramsay's spirit
revivesto reanimatethe voyage and the painting,the "essence" of "that
woman in grey" (TL, p. 266) is a paradoxical fusion of presence and
absence, fullnessand emptiness,color and colorlessness-just as grayis
the "abstract"of all complementariesand of all colors combined.
Mrs. Ramsay discusses local artistswith Charles Tansley, who in-
fers that "the colours [aren't] solid" (TL, p. 24). This is a clue to Lily's
art, which,like Cezanne's, is a structuringof space through mass and
color: "The jacmanna was bright violet; the wall staring white. She
would not have considered it honest to tamper with the brightviolet
and the staringwhitesince she saw themlike that,fashionablethough it
was, since Mr. Paunceforte'svisit,to see everythingpale, elegant, semi-
transparent"(TL, pp. 31-32). Lily's X-rayeyes, thatso easilyanatomize
Tansley, look for an underlyingarchitecturein nature that can sup-
port the intensityof her color vision. She does not want "the colour
[to be] thinnedand faded; the shapes etherealised"(TL, p. 75); she has
glimpsesof a more constructivevision: "She saw the colour burningon
a frameworkof steel; the light of a butterfly'swing lying upon the
arches of a cathedral" (Ibid.). This stereoscopicvision fuses surfaceand
depths, color and form,impressionistradiance and post-impressionist
structure.Its leading exponents are Cezanne in painting,and Proust in
literature.18
For Lily, as she dips into luscious blue or glistening red, or
squeezes thickgreen pigmentonto her palette,"Colorexpresses something
in itself...."'9 She does not analyze her emotions: she feels "some
instinctiveneed of distance and blue" (TL, p. 270), and "dip[ping] into
the blue paint, she [dips] too into the past there" (TL, p. 256). The
antithesisof her sensuous vision is Mr. Ramsay's abstractphilosophy,
symbolized by a kitchen table: "something visionary,austere; some-
thingbare, hard, nor ornamental.Therewasno colourtoit; itwas all edges
442
and angles; it was uncompromisinglyplain" (TL, p. 232; my italics).

Andrew firstproposed the image to illustrate Berkeley's theory of
perception, but in Lily's mind the table becomes a surreal emblem of
Locke's "primary qualities" of shape and extension, divorced from
"secondaryqualities" of color and feeling.She sees "a phantom kitchen
table" (emblem of the "muscular integrity"of the male mind) gro-
tesquely superimposed upon the sensuous realityof a pear tree, and
reflects:"Naturally,if one's days were passed in this seeing of angular
essences, thisreducing of lovelyevenings,withall theirflamingoclouds
and blue and silverto a whitedeal four-leggedtable (and it was a mark
of the finest minds so to do) ... one could not be judged like an
ordinary person" (TL, p. 38).
Locke's assumption of the primacyof form over color puts him
squarely in the masculine/intellectual traditionof Mr. Ramsay (who is
planning a lecture on Locke, Hume, and Berkeley [TL, p. 70]). Lily's
task is not to reject such empiricism,but to marryit to Mrs. Ramsay's
mysticism:"One wanted, she thought,dipping her brush deliberately
... to feel simplythat'sa chair, that'sa table, and yet at the same time,
It's a miracle,it's an ecstasy"(TL, pp. 299-300). Clearlythisdual way of
seeing, at once true to the object and expressive of the subject, com-
bines two waysof looking representedby the two Ramsays.The artist's
imaginationtransformsthe bare idea ("Think of a table when you're
not there") into a sensory image, reversing the Lockean process
wherebysense impressions are transformedinto ideas.
Working counter to the mathematical/philosophical thought of
Andrew and his father,Lily's mind (like Cezanne's) perceives the bare
structureof reality,but clothes it in sensuous light. Similarly,James
achieves double vision of the lighthouseas an achromaticstructureand
as "a misty-looking tower with a yellow eye" (TL, p. 276)-fusing day-
light and nighttimevision, fact and fancy, yin and yang. Only the
androgynous artistcan reveal "the nature of reality"as a matter of
shiftingperceptions,at once objectiveand subjective,analyticand sen-
suous. This twofoldgrasp of realityis characteristicof Cezanne's art,
which achieves, in Denis' words, "an equilibrium, a reconciliationof
the objective and subjective,"in an effect"at once shimmeringand
forcible"(D, pp. 213, 279).
Unconsciously Lily strivesto create an "androgynous form" that
will be the equivalent of harmonious being:
Heaven be praised for it, the problem of space remained, she
thought,takingup her brush again.... The whole mass of the
picture was poised upon that weight. Beautiful and bright it
443
TWENTIETH CENTURY LITERATURE
should be on the surface, featheryand evanescent, one colour

meltinginto another like the colours on a butterfly'swing; but
beneath the fabricmust be clamped togetherwithbolts of iron.
It was to be a thing you could rufflewith your breath; and a
thing you could not dislodge with a team of horses. And she
began to lay on a red, a grey,and she began to model her way
into the hollow there. (TL, p. 255)
Lily is tacklinga fertiledilemma, for, as Anton Ehrenzweig remarks,

"in the conflictbetween strongcolour and strongformeach adversary
grows in stature and power through their mutual confrontation ....
Strong form and space inhibitcolour interactionwhile strong colour
interactionobliteratesformand space."20 Lily brings this dialectic to a
"razor edge of balance between two opposite forces" (TL, p. 287). The
forces that have been released battle for domination of the picture
space: Lily feels the plastic stressdisruptthe flatsurface of her canvas,
and threaten her own psychic balance (TL, p. 236). The more she
plunges into her paintingand tacklesthe problems of color and form,
the more she encountersthe unconscious substructureof her personal-
ity.
Blue is the visionarycolor for Woolf. In her sketch,"Monday or
Tuesday," "space rushes blue," while the narrator of "An Unwritten
Novel," seeking spatial form, exclaims: "There's the vista and the
vision-there's the distance-the blue blot at the end of the avenue
... "21 William Gaunt notes the importance to the impressionistsof
primaryblue as "the atmosphericcolour par excellenceof sky and dis-
tance,"22while Emile Bernard observes of Cezanne's aquamarine that
"in fact,the atmosphere is this blue; in nature it is always found over
and around objects and they merge into it the more they draw away
towardsthe horizon."23Blue, in To theLighthouse, is associated withsea,
sky, a bird's plumage (TL, p. 45), shadows of the hedge (TL, p. 234),
pigments on Lily's palette or canvas (TL, pp. 237, 238, 256, 308), a
parental shadow (TL, p. 251), distance and vision (TL, pp. 270, 284),
Mrs. Ramsay's aura (TL, p. 278), the reflectingsurface of the sea (TL,
p. 284), smoke and unreality(TL, p. 285), the microcosmicformof the
island fading like memoryin the distance (TL, p. 307), and the eyes of
all the male characters except the poet Carmichael.
James encountersthe shade of his mother"in a blue light"(TL, p.
278) associated with coolness, memory,and truth.The persistenceof
blue in memory-its spiritual power-would be greater than that of
red, for, as illuminationdeclines, "colors of long wave lengths (reds)
will fade out sooner than colors of short wave lengths (blues)."24 To
444
James, his motherhas become an aura, ratherthan a figurewithclear

outlines. The blue wavelength is naturally related to Mrs. Ramsay's
Madonna role, for "blue light ... is very difficultfor the eye to focus
and will cause objects to appear blurred and surrounded by halos"
(CFS, p. 45). As a colorist,Woolf's intuitionsare remarkablyclose to
optical phenomena. Even in a most lyricaldescriptionof Mrs. Ramsay's
response to the light-"it silveredthe rough waves a littlemore brightly,
as daylightfaded, and the blue went out of the sea and it rolled in
waves of pure lemon . . ." (TL, p. 99)-Woolf's color observation is
accurate, for "an ultramarineblue surface does not reflectthe yellow
wavelengths,but only the blue."25 The seaward-lookingMrs. Ramsay
achieves ecstasy through an alternation of complementary colors,
mediating a deeper interplayof light and darkness.
Mrs. Ramsay's peculiar combination of radiance and somber-
ness-at one extreme,"'blue is darkness made visible'"26-agrees with
the tonal range of blue fromheightto depth, skyto sea, "brightsteel to
soft purple" (TL, p. 45), and blue-whiteto blue-black. "[Blue] is the
only colour which can be seen as a close neighbour to and essentially
akin to both dark and light.. ." (C, p. 58). The fluctuatingintensitiesof
blue relate it to the rise and fall of Mrs. Ramsay's animatingenergies.
For Kandinsky,"the tendencyof blue to deepen is so strongthatin fact
it becomes intrinsicallymore intense and characteristicin deep tones,"
while for Goethe blue "at its highest degree of purity ... is like a
stimulatingnegation" (cited in C, p. 59). The dual extremes of palest
and darkest blue relate to the light/darkness duality of Mrs. Ramsay's
being. Despite her strong affinitywith the stern, searching, beautiful
light-"it seemed to her like her own eyes meeting her own eyes ..."
(TL, p. 97)-she alternatelyfindsher true being in the "wedge-shaped
core of darkness" (TL, p. 95), which gives freedom,peace, and stability.
With rhythmicoscillations, like those of the lighthouse beam, she
plunges into ecstatic or contemplative moods that are equally
impersonal-as if fusinglife and death in a single rhythm.While these
states lie beyond the spectrum, with its individual chromatic dif-
ferences,it is a factthatblue, above all colors, is capable of diffusionor
condensation into lightor darkness,day or night-being, as Denis says,
the very color of the atmosphere.
Mrs. Ramsay's spiritualexperience is mediated by images of light
and darkness, but her sensory response to the lighthouse is keyed to
color contrast:the "blue" of the waves in daylightis succeeded by the
"pure lemon" of the beams in darkness (TL, p. 99). Behind this in-
teraction of colors lies a fluid interchange of opposites27-waves of
445
darkness in lightand lightin darkness-that stimulatesMrs. Ramsay's

ecstaticmoment of being. Just as she sinks her being in darkness or
expands to meet the light,so she is associated with a whole range of
color-that is, the reader's response to blue in various contexts and
degrees of saturation merges with his response to the character's
stream of consciousness,so that chromaticsensationsare progressively
fused withspiritualequivalents.This fusionof color and being matches
the actual fusionof color and formthatLily strivesforin her painting.
The "total effectof blue" involves"a complete reconciliationof the
opposing qualities of 'excitementand repose'" (C, p. 59). This makes
blue the color of creativeimagination.James and Lily seek integration
(psychological and aesthetic) through memories of Mrs. Ramsay
steeped in ideal or actual blue. Their unconscious needs are transposed
into color sensations,and this process works for the reader too. Lily's
sense of time,for instance,is related to the verticalrange of blue. The
present moment is "like a drop of silver in which one dipped and
illumined the darkness of the past," while the past itselfis identified
with her "blue paint" (TL, p. 256). Lily's need of blue parallels
Cezanne's, for"it is blue ... the colour withwhichit is possible to blend
most other colours in harmonious and richconjunctions(unlike brown,
to which it is infinitelysuperior from the colourist's point of view),
which gives definitionto this existencebased whollyon colour .. ." (C,
p. 81). Nietzsche says that "in books there are blue shades of colour
withwhichtheirauthor seeks to steadyhis taut sensitivity" (quoted in C,
p. 60), and this may be true of Woolf herself in To theLighthouse.
Considering Mrs. Ramsay's energizing role in her marriage, it is
ironic to note that "cool hues such as blue and violet, being passive,
make ideal backgrounds."28However, her encouraging attitudetoward
her husband, children, and proteges makes her at least a potential
source of harmony. Blue may be used as a background to show off
other colors. Thus Van Gogh aimed to "paint infinity,[as] a plain
background of the richest,intensestblue" (CL, pp. 3, 6), and Cezanne
told Bernard: "'Blue gives other colours their vibration,so one must
bring a certain amount of blue into a painting" (quoted in C, p. 57).
Mrs. Ramsay provides the visionary"background" of Woolf's novel, its
sense of spiritual space and depth, but her wavelike outpourings of
energy in support of others exhaust her individual "chroma," leaving
her to seek light and darkness beyond the human spectrum.
Red and blue are often found in conjunction in the novel. Itten
(AC, p. 68) describes the conjunction of red and blue in "La Belle
Verriere," a stained-glass window in Chartres Cathedral: "This
446
Madonna is the Queen of Heaven, born of the primeval cosmic blue.

She shines like a young star withcold energy,surrounded by the red
lightof matter.The Child, the incarnateSon of God, is garbed in dark
red." This contrast parallels that of mother and son in To theLight-
house,where Mrs. Ramsay imaginesJames, with "his fierceblue eyes,"
growingup to be "all red and ermine on the Bench" (TL, p. 10), while
she herself,a Madonna figure who "[has] the whole of the other sex
under her protection,"is associated with "the great plateful of blue
water ..." (TL, p. 23). Under her tutelage,Charles Tansley, whose life
lacks grace or pleasure, watches a man posting a circus bill in "glisten-
ing reds and blues" (TL, p. 21). These separate intensitiesof hue
caricature the clash of opposties embodied in the Ramsays. With red
and blue there must eitherbe conflictor chromaticmarriage resulting
in some shade of purple.29Tansley, despite his "purple book" (TL, p.
238), failsto achieve integrationbetween the restlessred of his ego and
the tranquilizingblue of Mrs. Ramsay's spirit,and so remains dehu-
manized at one end of the spectrum,with the "red, energetic,shiny
ants" (TL, p. 293). But Lily, who synthesizesspiritual rays of mother
and son into a "triangularpurple shape" (TL, p. 81), is "moved"-after
an outburstof imaginaryred (TL, pp. 261-62)-"by some instinctive
need of distanceand blue" (TL, p. 270) thathelps her to harmonize her
painting. Her syntheticview of Mrs. Ramsay and James merges their
auras, and integratestheirfiguresin a pyramidalstructurecharacteris-
tic of Renaissance religious art. The resultantpurple triangleis also, in
its tripartiteform,a plasticabstractionof the fictionalshape thatWoolf
creates from her own experience.
The vivid contrastof red and blue in painting goes back at least
to Titian, who "intensifiedthe blue of the horizon beyond all natural
verisimilitude,and intensifiedthe colours of the skyand the sea to such
a degree that theyacquired completelyequal status with the reds" (C,
pp. 69-70). In balancing her foreground and background colors,
Woolf is also balancing the "psychologicalvolumes" of the Ramsays.
Their marriage brings into contact opposite wavelengthsof red and
blue that,in ideal synthesis,would create the impersonal illumination
of white light. The color red is associated with effortand excitation.
Mr. Ramsay's vision is blocked, giving more heat than light: "[the]
break in the thickhedge, [was] guarded by red hot pokers like braziers
of clear burningcoal, between which the blue watersof the bay looked
bluer than ever" (TL, p. 33). The point of view is that of Lily and
Bankes, but they are looking at the color tones of the Ramsays, who
form the spiritualaxis of the novel. In To theLighthouse,mental and
447
spiritual,personal and impersonal energies are polarized in juxtaposi-

tions of red and blue.
Mr. Ramsay's ego conflicts(red tonality)emphasize the desirability
of impersonal vision (blue). Blue, the maternal/visionary color, is asso-
ciated withliberationand expansion: "First,the pulse of colour flooded
the bay withblue, and the heart expanded withit and the body swam
..." (TL, p. 33). For Lily and Bankes, this glimpse of transcendenceis
quickly "checked and chilled by the prickly blackness" (Ibid.)-
suggestingtheir personal limitations.Similarly,the infrared blur that
obscures the alphabet fromthe letterR on suggeststhe limitsset by Mr.
Ramsay's identity.Instead of a "pulse of colour" that signifiesa re-
sponse to light and life, there is a hectic pulse of blood that signals
forcingof the will: "The veins on his forehead bulged. The geranium
in the urn became startlinglyvisible .. ." (TL, p. 54). The bloodred
blur is a symptomof self-blindedego, for one sees red if one closes
one's eyes against the light. The prominence of geraniums and veins
implies a consciousness suffused and overheated with itself.30The
geraniums provide an objective correlativeof Mr. Ramsay's thought
patterns,but when he "[lowers]his gaze" to the flowersaround him, he
notices only "something red, something brown" (TL, p. 102). The
lighthouse itselfis glimpsed "between the two clumps of red-hot pok-
ers" (TL, p. 104), as the blue bay had been through the hedge. Thus
the hyperintensequalityof volitionis throwninto reliefagainst the cool
blue of spiritual vision. Even Mrs. Ramsay's sympatheticassertion of
fantasyin the face of fact-" 'Perhaps you will wake up and find the
sun shiningand the birds singing'" (TL, p. 26)-is consistentwithcolor
interactions,for "blue on red-orange retains its dark figure, yet be-
comes luminous, assertingand maintainingits strangeunreality"(AC, p.
136; my italics).Mrs. Ramsay's imaginationultimatelyhas the power to
modifyher husband's actions-just as his actions are destined to fulfill
her unrealized dream.
Optical imagery occurs in the contrast between farsighted Mr.
Ramsay and his nearsightedwife. Woolf's accuracy appears again, for
"the eye focus[es] differentlyto differentcolors (farsightedfor red,
nearsightedfor blue) ..." (CFS, p. 60). As L. Moholy-Nagyexplains:
"Red makes the eye 'far-sighted,'by causing the lens to grow thicker.
This action will give red a nearer position than blue which causes the
eye to grow 'near-sighted'as it flattensthe lens."31Mrs. Ramsay'svision
is linked withthe euphoric "pulse of colour [that]flooded the bay with
blue" (TL, p. 33), yetshe is so "short-sighted"(TL, pp. 21, 48, 109) that
she cannot distinguishbetween "a lobsterpot" and an "upturned boat"
448
(TL, p. 239). In the color-codingof the Ramsays,blue is associated with

distance, imagination,shortsightedness;red withcloseness, rationality,
farsightedness.Mrs. Ramsay gazes out through the window, taking a
long view over the bay; Mr. Ramsay gazes into the intricatedetail of the
hedge. Both kinds of looking have their drawbacks. The long view is
free of complexitybut unfocused-"Blue and purple become hope-
lessly lost to blur in darkness and distance" (CFS, p. 45)-while the
short view is accurate but unsynthesized.If one thematic pole of the
novel is merging-which dissolves individual outlines-the other is
separating,which defines outlines in painful detail, while losing sightof
the whole. In a balanced vision, these two modes of seeing-one syn-
thetic,fusing the alphabet into a unity, the other analytic,breaking
thoughtinto a sequence of letters-must reinforceeach other. The eye
of the artiststrivesto see the object two ways-as a structureof parts
and as a luminous whole.
Mrs. Ramsay knitsa "reddish-brown"stockingfor the lighthouse
keeper's boy, and ten years later Mr. Ramsay sets offfor the lighthouse
"carryingbrown paper parcels . . ." (TL, p. 231). His masculine ethos is
associated withbrownthings,fromearth and hedge to books and boats,
causing a series of interactionsbetween brown and blue. Lily needs
Mrs. Ramsay's spiritual blue frequency,but she also needs Mr. Ram-
say's close earthyquality: the question is how to combine these oppo-
sites. She switchesher attentionfrom Mr. Ramsay in the boat to "the
mess of the hedge withits green cave of blues and browns .. ." (TL, p.
234); her brush "flicker[s]brown over the white canvas" (TL, p. 235);
"she [begins] precariouslydipping among the blues and umbers" (TL,
p. 237); then, "moved ... by some instinctiveneed of distance and
blue, she look[s] at the bay beneath her, making hillocks of the blue
bars of the waves, and stony fields of the purpler spaces, [and] again
she [is] roused ... by somethingincongruous. There [is] a brown spot
in the middle of the bay. It [is] [Mr. Ramsay's] boat" (TL, p. 270). Itten
(AC, p. 136) notes that dark brown and blue juxtaposed "excite" and
"awaken" each other, and that "the brown ... is resurrected by the
power of the blue." Mr. Ramsay is certainlyresurrectedfrom sterility
by his wife'sanimatingenergy,which finallysends him on his voyage.
Mergingopposite ends of the spectrumproduces the color purple,
whichis thereforea directsign of integration.According to Rood, "this
sensationcannot be produced by one set of waves alone, whatevertheir
length may be; it needs thejoint action of the red and violet waves, or
the red and blue" (MC, p. 107). Thus spiritual integrationcannot be
achieved either by Mr. Ramsay's intellector by Mrs. Ramsay's intuition
449
workingseparately; the two extremes must meet in a complete circle,

just as masculine and feminine components must mingle in a fully
creative (androgynous) self. Indeed, "the spectrumreally has no ends
... for red and violet are adjacent,psychologically-theirmixture re-
sults in purple, which lies outside the spectrum but fills the gap be-
tween red and violetin a spectrumwhichwe mightimagine bent into a
ring."32
In To theLighthouse, red (and the energies of fire) becomes con-
structiveonly under the aegis of Mrs. Ramsay, who gives the order to
"'Light the candles'" (TL, p. 145). The "flames [stand] upright," il-
luminatingthe microcosmicfruitbowl,and conjuringup a festiveimage
of Bacchus "among the leopard skinsand the torcheslolloping red and
gold" (TL, p. 146). Minta "[wears] her golden haze" (TL, p. 148) and
Mr. Ramsay likes such "golden-reddishgirls"(TL, p. 149), but Lily feels
"scorched" by "the heat of love" in Paul. Mrs. Ramsay, a maternal
goddess who has the power to ignitehuman energies,is "fire-encircled"
by her children's laughter. She presides over the "yellow and purple"
cornucopia of fruitand the brown-and-yellowdish of meat, bestowing
the blessings of sun and fire. She herself is a fountain of energy,
"burningand illuminating"(TL, p. 58), as she dispenses heat and light.
Her emblem of radiant integrationis the ruby that"shines out" (TL, p.
158).
Fire that burns more than it illuminatesis destructive,and here
such consuming fire is associated with the red light of a dangerous
sexual passion. While Lily strugglesto harmonize colors in her paint-
ing, "suddenly ... a reddish lightseemed to burn in her mind, cover-
ing Paul Rayley,issuingfromhim. It rose like a firesent up in tokenof
some celebrationby savages on a distantbeach .... The whole sea for
miles round ran red and gold. Some winey smell mixed with it and
intoxicatedher" (TL, p. 261). This ritualized,atavisticimage of sexual-
ity (burning, drowning, drunkenness) is the negative counterpart of
Mrs. Ramsay'scivilizedfertility rite.Lilyis fascinatedby the raw forceof
sexuality-directlyexpressed to her painter'ssensibilityas reddish light
and cracklingfire-yet it seems to threaten not only her psychic bal-
ance, but the very fabric of a culture based on sublimation.
The threatis valid aesthetically,as well as psychologically,for "red
light,placed againsta green surround,would 'flare' over the green and
neutralizeit" (CFS, p. 118). Baudelaire took a perverse "delightin the
combinationof red and green," which suggested to him "the fusion of
violence and peace,"33 and Van Gogh, in his "Night Cafe," "tried to
express the terriblepassions of humanityby means of red and green,"
450
projecting into this "clash and contrast of the most alien reds and
greens" the shock waves of his own psyche (CL, pp. 3, 28). Lily,
however, is strivingfor equilibrium. She needs to deal with the coun-
terforceof the masculine ego, as she needs to balance the colors and
masses in her painting. When colors call forththeir complementaries,
the resultmay be eitherconflictor harmony.Itten notes that"two such
colors [i.e., pigments] make a strange pair. They are opposite, they
require each other. They inciteeach other to maximumvividnesswhen
adjacent; and theyannihilate each other, to gray-black,when mixed-
like fire and water" (AC, p. 78). When Lily thinks of the Rayleys'
marriage,she "squeez[es] the tube of green paint" (TL, p. 257) in an act
of self-assertion,then arms herselfby "taking the green paint on her
brush" (TL, p. 258). It is the dominance of green on her palette that
incites the blaze of red in her imagination.
But the tendency of red to annihilate green (or of Rayley or
Tansley to destroyLily'sconfidence) is countered by the tendencyof "a
green areola" in vision to surround any "red circle" placed on canvas
(LCC, p. 92). Moreover, "Red and Green are of all complementary
colours the most equal in depth" (LCC, p. 51), and green is intensified
by proximityto red.34Thus Lily's reflectionson her masculine oppo-
sites stimulate,rather than inhibit,her color sense and vision. Goethe
points out that "single colors affectus, as it were, pathologically ....
However, the need for totalityinherentin our [optical]organ guides us
beyond this limitation.It sets itselffree by producing the opposites ...
and thus bringsabout a satisfyingcompleteness."35The "reddish light"
Lily encounters while concentratingon her painting may be seen as a
composite of everythingoutside her normal wavelength,and therefore
as antagonisticto the limitsof her self. For, "if we isolate one hue from
the prismaticspectrum,for example green, and collect the remaining
colors ... with a lens, the mixed color obtained will be red, i.e. the
complementarycolor of the green we isolated" (AC, p. 18). In her life,
as in her painting,Lily is committedto a search for integration,and
thus has to face the opposing self-an interaction that Woolf
dramatizes in terms of color.
Cam, in the boat, is associated with green, providinganother link
withLily on the lawn. She looks into "green cascades" (TL, p. 246), and
green lightsaturatesher mind, as she penetratesthe luminous under-
world of the unconscious: "Her hand cut a trailin the sea, as her mind
made the green swirls and streaks into patterns and, numbed and
shrouded, wandered in imaginationin that underworld of waters ...
where in the green light a change came over one's entire mind and
451
one's body shone half transparentin a green cloak" (TL, p. 272). This is
the underworldof Marvell'soceanic mind thatcreates other seas, "An-
nihilatingall that'smade /To a green thoughtin a green shade." Cam's
enchanting green sea is the imaginativecounterpart of the rougher
existentialseas of Cowper's "Castaway," as recited by her father.The
green sea also has "a purplish stain ... as if somethinghad boiled and
bled, invisibly,beneath" (TL, p. 201). The complementarygreen and
purple, brought together,imply a continuum of experience ranging
from ecstasy to suffering,and from creation to destruction.
The color green is also associated tangentiallywith Mrs. Ramsay,
and directlywithLily. Green and blue are frequentlyjuxtaposed, sug-
gesting affinitiesbetween aesthetic and spiritual modes of vision. Ac-
cording to Rood, "positivegreen" is particularlydifficultto incorporate
into a painting withoutdisruptingthe chromaticbalance. "The ability
to solve thisproblem in a brilliantmanner,"says Rood (MC, p. 241), "is
one of the signs which indicate an accomplished colourist,and, when
the green is combined with blue, the task becomes still more difficult
and success more praiseworthy." Cezanne successfully harmonizes
blues and greens in such paintingsas "The Great Pine" (1892-96) and
the lyricallate "Mont Sainte-Victoire"(1904-06), in which "the sky ...
burstsinto ... an explosion of clouds of blue and green, as deep and
strong as the blues and greens of the earth. ..."3 In Lily's painting
green and blue are consistentlylinked (TL, pp. 234, 238, 241, 309). As
she "[loses] consciousness of outer things . . . her mind [keeps] throw-
ing up fromits depths, scenes, and names, and sayings,and memories
and ideas, like a fountainspurtingover thatglaring,hideouslydifficult
whitespace, while she modelled it withgreens and blues" (TL, p. 238).
The unconscious aim of Lily's art is to strip herselfbare and remodel
the blank space withthe greens and blues of imaginativeand spiritual
reality. Like Cezanne, she constructsa space in which things exist,
through rhythmicalternationsof color, and this space is an extension
of herself.
"Green is the intermediatebetween yellowand blue" (AC, p. 136),
which clearly reflectsLily's position in the color scale between her
fellow artist,Carmichael, and her spiritual mother, Mrs. Ramsay. At
the same time,"red, as regards its brilliancy,is midwaybetweenyellow
and blue; and in green these two extremesare united" (LCC, p. 51). By
analogy, Mr. Ramsay's vibrant egotism (red) can be seen as midway
between Mr. Carmichael's detached illumination (yellow) and Mrs.
Ramsay's spiritual density (blue), while the green paint that Lily
squeezes onto her canvas may signifyher attemptto combine aesthetic
452
and spiritual qualities (yellow and blue) in opposition to disturbing

passions (red). Lily models the "hideously difficultwhite space" of her
canvas "withgreens and blues" (TL, p. 238). Her strongimpulse toward
blue (the color of spiritual distance) is an inner necessityinspired by
her craving for Mrs. Ramsay, while her need for aestheticdistance is
implied by Carmichael's quiet presence. Placed between the primaries
yellow and blue, "green finds no simple complementarycolor in the
spectrum; it requires a mixtureof red and violet, or the color called
purple" (MC, p. 158). Thus Lily's search for integration(green/red;
green/purple)37is matched by her need to join opposite ends of the
human spectrumin her painting(red/blue).Her purple plays a keyrole
as the chromatic signifierof integration.
Yellow is the motifof contemplative,catlikeAugustus Carmichael,
whose "otherwisemilk white" beard is stained with a "vivid streak of
canary-yellow"(TL, p. 19). His addiction to opium is a token of his
rejection of outward realityin favor of an inner sun of mystic/poetic
illumination."In China," observes Itten (AC, p. 17), "yellow,the most
luminous color, was reserved to the emperor,the Son of Heaven. None
other mightwear a yellow garment; yellow was a symbol of supreme
wisdom and enlightenment."Mr. Carmichael's poetryis imagined to be
oriental and majestic in flavor (TL, pp. 289-90). A venerable figure
dressed in yellowslippers (TL, p. 65), he assumes a godlike role as he
casts his blessing on the voyage and the vision. Phenomenologically,
"yellowis the most light-givingof all hues. ... Golden yellowsuggests
the highestsubliminationof matterby the power of light,impalpably
radiant, lacking transparency,but weightlessas a pure vibration"(AC,
p. 132). The centralityof Carmichael, his closeness to both earth and
sun, sense and spirit,is supported by data of color perception. Birren
(CFS, p. 47) notes that"yellowwill be seen as the nearestand largestof
colors": Augustus, "drinking soup, [is] very large and calm in the
failinglight,and monumentaland contemplative. .." (TL, p. 145). The
passivityof yellow,often used as a luminous background in painting,
relates to Carmichael's lethargy;his presence, however,is subliminally
helpful to Lily, as she wrestleswith her painting on the lawn, and he
seems to "[crown] the occasion" with "a wreath of violets and
asphodels . .." (TL, p. 309). Asphodels have "whiteor yellowflowerslike
lilies,"38while the color violet is the complementof greenish-yellow-a
mixtureof motifsassociated with Mrs. Ramsay, Lily, and Carmichael.
The fact that "yellowis the lightestand violet the darkest hue" (AC, p.
64) furthersuggests an aesthetic synthesis.
Yellow and blue-violet (which approximates purple) are also
453
complementaries-that is, combined they produce white light. Mr.

Carmichael and Mrs. Ramsay are united by "looking together"at the
"yellow and purple dish of fruit" (TL, p. 146), whose pyramidal
structurerecalls Cezanne's still lifes. Their unity once more signifies
integrationof aesthetic and spiritual modes of vision. "Her eyes had
been going in and out among the curves and shadows of the fruit,
among the rich purples of the lowland grapes ... putting a yellow
against a purple, a curved shape against a round shape, withoutknow-
ing why she did it, or why, every time she did it, she felt more and
more serene . . ." (TL, p. 163). Aestheticbliss here has a basis in the
science of optics, for visual purple and visual yellow are mutually
transformingagents: "[The] purplish pigmentin the rods of the retina,
bleached to visual yellowby the action of light[is] considered a factorin
transforminglight rays into the sensory impulses of vision ..."
(WNWD). Thus Mrs. Ramsay's intuitivecombination of colors exactly
renders the physical basis of spiritual vision.
In the geometryof the Color Circle (AC, p. 64), the yellow/violet
axis (with its "light-darkcontrast")stands at rightangles to the green-
blue/red-orangeaxis (with its "cold-warm contrast"). Similarly,in the
color geometryof "The Lighthouse," aestheticand emotional axes are
based on similar color contrasts-yellow/violet: the glow of
Carmichael/the shadow of Mrs. Ramsay's spirit; red/green: the
passionate warmthof Mr. Ramsay,Tansley, Rayley/the coolness of Cam
and Lily. The formal geometry of Part Three creates a continual
oscillation between the predominantly aesthetic and psychological
spheres of lawn and boat, until,witha single strokeof her brush, Lily
resolves the opposition into harmony.
Allen McLaurin's discussion of yellow focuses some of the prob-
lems of dealing withcolor in literature.McLaurin (EE, p. 194) says that
"in her use of yellow ... Woolf is tryingto come close to the 'pure'
colour of a painting-colour withoutany literarymeaning." Yet when
he adds that "yellow is a positive avoidance of logical meaning," and
that the quality of autonomy "rubs off on to the colour" from Car-
michael, he comes perilouslyclose to assigning negative meanings. At
the same time,McLaurin cites G. E. Moore in support of his contention
that "yellow means simply yellow ... [and] cannot be translated into
other terms." The critical difficultyof distinguishingbetween plastic
and symbolicvalues in the novel may be a sign of Woolf's success. In
transposingcolor into words,39she exploits a field of subtle interrela-
tions between sensation and idea.
As Itten (AC, p. 36) notes, "our sense organs can functiononly by
454
means of comparisons.... Color effects are . . . intensified or

weakened by contrast."For Van Gogh, "thereis no bluewithout yellowand
withoutorange"(CL, pp. 3, 491) while Badt (C, pp. 37-38) claims that
"every touch of paint" that Cezanne laid on his canvas was aimed at
"intensificationof the relationshipswithinthe picture." Especially rele-
vant is Rudolf Arnheim'sobservation(AVP, p. 62) that "the identityof
a color does not reside in the color itselfbut is establishedby relation.
We are aware of this mutual transfiguration, which makes every color
dependent on the support of all the others,just as the stones of an arch
hold one another in place." This is exactly the kind of construction
withcolor that Lily practicesin her painting,and that Woolf attempts
to match in To theLighthouse.
In tracing Woolfs use of the four visual primaries, blue, red,
green, and yellow,I have, in each case, discovered patternsof reaction
and integrationthat function aestheticallyas well as psychologically.
Instead of being tied to fixed symbolicmeanings,Woolf's colors vibrate
together,causing dramatic tension before achieving what Fry calls "a
harmonious plastic unity." McLaurin (EE, pp. 73, 80) suggests that
"some sort of keyboard of colours can be constructed,some 'systemof
relations' as in Cezanne's art," and that "language might be able to
create a relation similar to that established by colours in a painting."
The sense of interactionis particularlysignificantin literature,where
direct effectsof light and color on the retina must be replaced by
imagined responses. In To theLighthouse, each characterhas, as it were,
its own frequency,and is known by its own range of color associations.
Moreover, each character modifiesand is modified by a complex "sys-
tem of relations"-involvingvirtualcolor, mass, and line-that helps to
unify the novel as "a psychological poem" (AWD, p. 104) and as a
self-reflexivework of art. The language of color is integralto Woolf's
vision and design, as she explores the interfacebetween fictionand
painting. Only through color interactions-complementing,but tran-
scending, psychologicalrelationships-can Woolf's reader pass beyond
printed words and experience that "luminous silent stasis," in which
aesthetic contemplationand human understanding become one.
' VirginiaWoolf,"WalterSickert,"
Collected
Essays(London:HogarthPress,
1966),II, 241; myitalics.Subsequentreferencesin mytextare based on this
edition.
2JeanneSchulkind,ed., Moments ofBeing(London: HogarthPress,1978),
p. 66.
3
VirginiaWoolf,To theLighthouse
(1927; rpt.New York: Harcourt,n.d.).
Subsequentreferences in mytextare based on thisedition,abbreviated
as TL.
455
4 See Johannes Itten, The ArtofColor,trans.Ernst van Haagen (New York:

Van Nostrand, n.d.), p. 13: "Color is life .... Colors are primordial ideas,
childrenof the aboriginalcolorless lightand itscounterpart,colorlessdarkness.
As flamebegets light,so lightengenders colors. Colors are the childrenof light,
and light is their mother."Subsequent referencesin my text are based on this
edition, abbreviated as AC.
5Virginia Woolf, Roger Fry: A Biography(1940; rpt. Harmondsworth,
Middlesex: Penguin, 1979), p. 225. Subsequent referencesin mytextare based
on this edition, abbreviated as RF. Fry adapts the notion of "psychological
volumes" fromCharles Mauron, TheNatureofBeautyin Artand Literature, trans.
Roger Fry (London: Hogarth Press, 1927), pp. 66-67. Fry's "Plastic Colour,"
Transformations (London: Chatto and Windus, 1926), pp. 213-24, and Cezanne:
A Studyof His Development(1927; rpt. New York: Noonday Press, 1958) are
contemporaneous with To theLighthouse(1927).
6 Woolf, "Modern Fiction,"Collected
Essays,pp. 2, 106.
7Vincent Van Gogh, The CompleteLettersof VincentVan Gogh, 2nd ed.
(Boston: New York Graphic Society, 1978), pp. 3, 25. Subsequent referencesin
my text are based on this edition, abbreviated as CL.
8 Kurt Badt, TheArtof Cezanne,trans. Sheila Ann Ogilvie
(Berkeley: Univ.
of CaliforniaPress, 1965), p. 49. Subsequent referencesin mytextare based on
this edition, abbreviated as C.
9 See David Daiches,
VirginiaWoolf,rev. ed. (New York: New Directions,
1963), pp. 87-88. Allen McLaurin, VirginiaWoolf:The EchoesEnslaved (Cam-
bridge: Cambridge Univ. Press, 1973), pp. 193-94, notes that "the use of
colour becomes less 'literary'in the traditionalway" (than Daiches recognizes).
"Colour," he writes, "is used to convey something which can be described
vaguely as an emotional equivalence, a subtle reaction which is not logical."
Subsequent referencesin my textare based on thisedition,abbreviated as EE.
10Hubert
Wellington, ed., The Journal of Eugene Delacroix, trans. Lucy
Norton (Ithaca, N.Y.: Cornell Univ. Press, 1980), p. 200.
11
Fry,Cezanne,p. 77, finds color, as well as form,to be "geometric,"and
in "Plastic Colour," Transformations, p. 220, he defines "the central idea of
C6zanne's later work" as "the constructionof clearly articulatedplastic wholes
by means of the interplayof coloured planes...."
12 Quoted in Maurice
Merleau-Ponty,"Cezanne's Doubt," Sense and Non-
Sense,trans.Hubert L. and PatriciaAllen Dreyfus(Evanston,Ill.: Northwestern
Univ. Press, 1964), p. 15. Subsequent referencesin my text are based on this
edition.
13 M. E.
Chevreul, The Laws of Contrastof Colour,trans.John Spanton, new
ed. (London: Routledge, 1868), p. 2. Subsequent references in my text are
based on this edition, abbreviated as LCC.
14See
myarticle,"Light in To theLighthouse,"Twentieth Century Literature,23
(1977), 377-89.
15 Ogden Rood, Modern Chromatics, ed. Faber Birren (New York: Van
Nostrand, 1973), p. 104. Subsequent referencesin my text are based on this
edition, abbreviated as MC.
16 Maurice Denis, "Cezanne-II," trans.
Roger Fry,Burlington Magazine, 16,
No. 83 (1910), 279. See also Denis, "Cezanne-I," trans. Fry, Burlington
Magazine, 16, No. 82 (1910), 207- 19. This two-partessay is a vitalsource for the
456
evolution of Fry's views on Cezanne. Subsequent references in my text are

abbreviated as D.
17 Ewald
Hering, cited in Itten, The Art of Color, p. 21.
18See Virginia Woolf, A Writer'sDiary, ed. Leonard Woolf (London:
Hogarth Press, 1953), p. 72: "The thingabout Proust is his combinationof the
utmost sensibilitywith the utmost tenacity.He searches out these butterfly
shades to the last grain. He is as tough as catgut and as evanescent as a
butterfly'sbloom." Subsequent reference in my text is based on this edition,
abbreviated as AWD.
19Van
Gogh, Letters,pp. 2, 428. Cf. Wellington,ed., TheJournalofEugene
Delacroix, p. 151: "... colour gives the semblance of life."
20 Anton Ehrenzweig,The Hidden OrderofArt (Berkeley: Univ. of Califor-
nia Press, 1971), pp. 158- 59, 160. Fry,Transformations,
p. 216, observes: "There
is almostinevitablya conflictbetweenthe decorativeand plasticuses of colour. It
is yet another aspect of the incessant tension between the organisation of a
picture upon the surface and its organisationin space."
21Virginia Woolf, A Haunted House and OtherStories(London: Hogarth
Press, 1967), pp. 13, 24.
22 William Gaunt, The Impressionists (London: Thames and Hudson,
1970), p. 19.
23 Quoted in
Badt, The ArtofCezanne,p. 57. According to Badt (p. 72), the
impressionists"succeeded in fusing their pictures into unity in a blue-hued
space," but he contraststheir atmospheric blue with Cezanne's compositional
use of the color.
24 Faber
Birren,Color,Form,and Space (New York: Reinhold, 1961), p. 96.
Subsequent referencesin mytextare based on thisedition,abbreviatedas CFS.
25
Egbert Jacobson, Basic Color (Chicago: Theobald, 1948), p. 117.
26J. E. Cirlot,A Dictionaryof Symbols,trans.Jack Sage (New York: Philo-
sophical Library, 1962), pp. 51-52.
27See Rudolf Arnheim,"Perceptual Analysisof a Symbol of Interaction,"
Toward a Psychology of Art (Berkeley: Univ. of California Press, 1972), pp.
222-44.
28
Faber, Birren, CreativeColor (New York: Reinhold, 1961), p. 52.
29
Experiments in color fusion show how purple light can be generated
fromred and blue: "If a red card is exposed to one eye and a blue card to the
other eye (simultaneously),perfectfusion in the center of the brain will result
in a mixture of the two (a purple)" (Birren, Color,Form,and Space, p. 44).
30
According to Wassily Kandinsky,ConcerningtheSpiritualin Art (1912),
trans. Michael Sadleir et al. (New York: Wittenborn,Schultz, 1947), p. 45,
chromotherapyhas shown that"red lightstimulatesand excitesthe heart,while
blue light can cause temporaryparalysis."
'3 L. Moholy-Nagy,Visionin Motion(New York: Theobald, 1961), p. 155.
32 Gordon Lynn Walls, The Vertebrate Eye (1942), quoted in Jacobson,Basic
Color, p. 116.
33Alison Fairlie, "Aspects of Expression in Baudelaire's Art Criticism,"in
Ulrich Finke, ed., FrenchNineteenth CenturyPaintingand Literature(New York:
Harper, 1972), p. 51.
34Jean Sutter,ed., The Neo trans.Chantal Deliss (Greenwich,
Impressionists,
Conn.: New York Graphic Society, 1970), p. 29, offersthe followingsuccinct
457
definitionsof Chevreul's Laws: "Simultaneous contrastmeans that two colour-

areas placed side by side will tend to exaggerate their differences,and, if
complementaries,they will acquire an unusual brilliance.... Successive con-
trastmeans thatone colour-area willfatiguethe eye aftera momentand induce
an after-imageor surrounding halo of the colour-opposite."
35 Quoted in Rudolf Arnheim, "Color," Art and Visual
Perception,New
Version (Berkeley: Univ. of California Press, 1974), p. 362. Subsequent re-
ference in my text is based on this edition, abbreviated as AVP.
36 Meyer Schapiro, Paul Cezanne (New York: Abrams, n.d.), p. 124.
37
Purple and green are sometimesjuxtaposed (TL, pp. 33, 286) as, im-
plicitly,in Lily'svisionof Mrs. Ramsay "stepping ... across fieldsamong whose
folds,purplishand soft,among whose flowers,hyacinthsor lilies,she vanished"
(TL, p. 270). (Here the purple of integrationmerges withthe green-and-white
of Lily's emblematic flower.)
38 Webster'sNew WorldDictionary,College Edition (New York: World, 1957).
(Subsequently referred to in my text as WNWD.)
39 Cf. Denis, "Cezanne-II," p. 275: "Every work of art is a transposition,
an emotional equivalent . . . Cezanne taught us to transpose the data of sensa-
tion into the elements of a work of art." Woolf had to adapt this lesson to
fiction,taking valuable hints from Cezanne and Fry, as well as from Proust.
458

14 Color in To The Lighthouse

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Color in To the Lighthouse

Author(s): Jack F. Stewart

According to Virginia Woolf, "paintingand writing... have much

cumscribedspirit...."6 Fry'semphasis on formalrelationsmergesfruit-

relationshipsto create an overall plastic design, inwardlymirrored in

cavity, then the body appears to us as black.... ,3 Mrs. Ramsay's

sea, distance,transcendence;green with"flowinggrasses,"green shawl,

and angles; it was uncompromisinglyplain" (TL, p. 232; my italics).

should be on the surface, featheryand evanescent, one colour

Lily is tacklinga fertiledilemma, for, as Anton Ehrenzweig remarks,

James, his motherhas become an aura, ratherthan a figurewithclear

darkness in lightand lightin darkness-that stimulatesMrs. Ramsay's

Madonna is the Queen of Heaven, born of the primeval cosmic blue.

spiritual,personal and impersonal energies are polarized in juxtaposi-

(TL, p. 239). In the color-codingof the Ramsays,blue is associated with

workingseparately; the two extremes must meet in a complete circle,

and spiritual qualities (yellow and blue) in opposition to disturbing

complementaries-that is, combined they produce white light. Mr.

means of comparisons.... Color effects are . . . intensified or

4 See Johannes Itten, The ArtofColor,trans.Ernst van Haagen (New York:

evolution of Fry's views on Cezanne. Subsequent references in my text are

definitionsof Chevreul's Laws: "Simultaneous contrastmeans that two colour-

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