3. Additional text for independent work psychology of color

    Symbolic meanings of colors have psychological connotations. Nevertheless, colors effect us psychologically regardless of any symbolism. And the psychological effect of one color can be very different from its symbolical significance. Black may signify mourning, but a black gown or suit, such as a tuxedo, is distinguished and elegant as well, depending upon circumstances. An orange or red gown is loud and flashy, out-of-place, when worn by a woman attending a funeral; but it may be proper and attractive when the same woman wears it at a gala reception or dance.     There is no absolute definition of psychological effects. A few years ago, I was wearing a charcoal-gray suit, a pair of gray gloves, a white shirt, and a subdued necktie. Standing in a subway car, I overheard two women whispering to each other: "He must be an undertaker." They shied away from me. They probably imagined I smelled of death. At the same time, I thought I was smartly dressed. After the experience, however, I always wore my charcoal suit with a bright-hued shirt and a very colorful necktie...and without gray gloves.     There can be hardly any question but that people prefer bright, sunny days to dark, rainy ones; a bouquet of fresh flowers is more attractive than a shabby trash can full of waste; darkness will always suggest danger and mystery; fire and flames will never cease to be fascinating as well as frightening.     As we have become more conscious of the pleasant or unpleasant reactions to colors, we employ our knowledge in a practical manner. We now paint the walls of hospitals and schools a pale Nile-green, rather than the previously universal dull gray or buff or glaring white; we find the soft green hue more relaxing to eye and soul. We've discovered that a small room looks bigger if painted in light tones, and even larger if one of its walls is done in a different hue; the lighter color gives a feeling of space, while the different color appears to open on another vista.     The Louvre in Paris, and other major museums in Europe, have long since painted the walls of various galleries in different hues: dusty-green, blue-gray, light-maroon, and so forth, in order to make them more intimate and diversified. New York's Metropolitan Museum of Art tried the same idea a number of years ago, but people objected to the colors; they were accustomed to the drab uniformity of each gallery. Recently, though, The Metropolitan has redecorated some of its galleries in color and nobody seems to complain, since people have become adjusted to the idea of color. Paintings on colored walls are closer to us, or so it seems. The dry, severe atmosphere of a museum is softened.     Many an artist faces a client who doesn't dare purchase a certain painting, because the client believes it won't go with the color of the wall. This is a completely erroneous concept. The color of the wall has nothing to do with the painting, unless the wall color is absurd - orange, perhaps, with cobalt blue woodwork! One doesn't encounter such bizarre color combinations in the average household. On a normal wall, any painting you like will remain attractive, provided that it's in a frame which visually separates it from the surroundings.

 APPENDIX 2