[{"_1":2,"_73":-5,"_74":-5},"loaderData",{"_3":4,"_12":13},"root",{"_5":-5,"_6":7,"_8":9,"_10":11},"user","recaptchaSiteKey","6Ler9Q4rAAAAAIntb4jBhAbPRXMJSQVneAzxg5M8","sentryTrace","75bd31fd1a0b52b3936e7bf94b6b9584-bd7f172e36406dec-0","sentryBaggage","sentry-environment=production,sentry-public_key=fbef35ac88c344bffa6f98009cf3736c,sentry-trace_id=75bd31fd1a0b52b3936e7bf94b6b9584,sentry-org_id=4505908219871232,sentry-sampled=false,sentry-sample_rand=0.5986173456685642,sentry-sample_rate=0.5","routes/domain.$domainId",{"_14":15,"_69":70,"_5":-5,"_71":72},"domain",{"_16":17,"_14":18,"_19":20,"_21":22,"_23":24,"_25":26,"_27":28,"_29":-5,"_30":-5,"_31":-5,"_32":33,"_43":44,"_52":53,"_67":68},"id","cmhdipr7q001aif02zoezgs0o","www.artic.edu","screenshotPath","sites/www.artic.edu/screenshot.jpg","htmlPath","sites/www.artic.edu/index.html","metaDescription","There is a horse painted with yellow ochre in the caves at Lascaux, estimated to be over 17,000 years old.","importantText","Six Ways of Looking at Yellow | The Art Institute of Chicago \n\n[Skip to Content](#content-h1)\n\n[](/)\n\nPrimary Navigation\n------------------\n\n* [Visit](/visit)\n \n [](#)[![](https://artic-web.imgix.net/b55a24a5-ab1c-453e-9ecd-e30ee5473f6e/navigation-thumbnail-visit.jpg?auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=auto&blur=1200&sat=20)\n \n Visit\n \n Find all the information you need—plus helpful tips—to plan your visit\n \n Start planning\n \n \n \n ](/visit)\n \n * [Hours](/visit#hours)\n * [Admission](/visit#admission)\n * [Plan Your Visit](/visit#plan-your-visit)\n \n [](#)[\n \n Plan Your Visit\n \n \n \n ](/visit#plan-your-visit)\n \n * [Museum Map](/visit/explore-on-your-own/museum-floor-plan)\n * [Free Daily Tours](/events?type=6&audience=3)\n * [My Museum Tour](/my-museum-tour)\n * [What to See in an Hour](/highlights/3/what-to-see-in-an-hour)\n * [Shopping and Dining](/visit/dining-and-shopping)\n * [Accessibility](/visit/accessibility)\n \n * [Who's 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JPEG)](https://artic-web.imgix.net/cef3e9f1-3493-40fb-ad8f-9f276d0bb02d/IM039585-int-Press300ppi%2C3000px%2CsRGB%2CJPEG.jpg?rect=0%2C0%2C3000%2C1691&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=423&blur=1200&sat=20) ![IM039585 int Press (300ppi, 3000px, sRGB, JPEG)](https://artic-web.imgix.net/cef3e9f1-3493-40fb-ad8f-9f276d0bb02d/IM039585-int-Press300ppi%2C3000px%2CsRGB%2CJPEG.jpg?rect=0%2C0%2C3000%2C1691&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=423&blur=1200&sat=20)\n\nSix Ways of Looking at Yellow\n=============================\n\nOne Theme, Multiple Voices\n\nShare\n-----\n\n[Ryan M. Pfeiffer](https://www.artic.edu/authors/229/ryan-m-pfeiffer), [Christina Warzecha](https://www.artic.edu/authors/267/christina-warzecha), [Veronica Cajigas](https://www.artic.edu/authors/269/veronica-cajigas), [Nicholas Barron](https://www.artic.edu/authors/304/nicholas-barron), [Anna Triska](https://www.artic.edu/authors/301/anna-triska), and [William FitzPatrick](https://www.artic.edu/authors/303/william-fitzpatrick) \nOctober 21, 2025\n\nThere is a horse painted with yellow ochre in the caves at Lascaux, estimated to be over 17,000 years old.\n\nBy Ryan M. Pfeiffer, Christina Warzecha, Veronica Cajigas, Nicholas Barron, Anna Triska, and William FitzPatrick\n\nThink about it. You’re in the dark of a cave, painting a yellow horse by the light of a flickering flame. Yellow is a color that seems lit from within, like it contains its own fire. Just like the sun it often represents.\n\nThere’s something unnerving about yellow. It has many meanings around the world: serenity, royalty, happiness, amusement, wisdom, and creativity. But also caution, sickness, anxiety, envy, and cowardice. The thing is, it doesn’t sit still. You call it one thing and then it immediately becomes something else.\n\nHere are six takes on the changeling yellow from our creative and fiery staff. \n\n**circling the solar citrus**\n-----------------------------\n\nWhat a lovely spread we have here! Oysters, ready to be shucked and slurped. A little red mullet looks startled, possibly contemplating its inevitable devourment.\n\n[![Still-life painting, fish, open oysters, eel, lemon on tablecloth.](data:image/gif;base64,R0lGODlhBgAFAPQAAB4ZGC8oHi0pJC0qJDMqIzUsIzQtJDsrITcxKUlCNkhBO1RCMlhPP1ZQQmphUHltWHt3aYFoV4Z0YY2IZpeOfpqNfJuWfKGdiKqghq2ljKmllbankrCqlQAAAAAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYYFAgwmAkTQMchBNt1cI8EqVZE5ZxF6SEADs=)](https://www.artic.edu/artworks/44892/fish-still-life)\n\n[Fish (Still Life), 1864](https://www.artic.edu/artworks/44892/fish-still-life)\n\n \n\nÉdouard Manet \n\nThe carp looks to be giving one last flail as it takes its final gulp of air. Its feathery tail pushes the entire picture plane down toward us. Everything seems to be tilting frontward, tipping slowly—descension in suspension. Everything looks like it’s about to fall.\n\nWith the line of the eel and knife, Manet guides our gaze toward the lemon. This zesty piece of fruit is the sun of this gastronomic galaxy. All the other objects seem to be caught within its orbit. The carp looks like it wants to swallow that lemon whole right before it suffocates. Tragically, the lemon is just out of reach.\n\n![G41412 Press (300ppi, 3000px, sRGB, JPEG) (1)](https://artic-web.imgix.net/a4554f37-0021-446a-94cd-237ccd242f70/G41412-Press300ppi%2C3000px%2CsRGB%2CJPEG1.jpg?rect=1652%2C978%2C1166%2C923&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=594&blur=1200&sat=20)\n\nI imagine Icarus with the same expression as this fish, right as his wax wings melted. Just as he began to fall, I see him looking toward the zenith sun longingly. Maybe the poet Sian Wilmot is right when she suggests that possibly all Icarus wanted, that poor boy, was to get a little taste of the sun.\n\n—Ryan Pfeiffer, technician, Art Handling, Collections and Loans \n\nTales of Flame\n--------------\n\nToshiko Takaezu is one of the forerunners of female ceramic artists from the mid-20th century who stripped utility from traditional clay forms. In _Black Hole_, the splash of yellow beckons.\n\n[![A work made of stoneware and glazes.](data:image/gif;base64,R0lGODlhBAAFAPQAADYyMFdJLn9jNnFvbXt5dXp6fHp7fn5+famMQ4qBcIiEfouHf8KpZs25dX9/gIGBg4uJg46MhqKioqysrAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURYAFFD8E0yyAgiQMEi3QUUwgAOw==)](https://www.artic.edu/artworks/188521/black-hole)\n\n[Black Hole, 2000](https://www.artic.edu/artworks/188521/black-hole)\n\n \n\nToshiko Takaezu \n\nThis yellow tells tales of the kiln’s atmosphere and the path of the flame, with wisps of blues and greens chiming in. This is a vessel holding its breath and waiting for its secret to be discovered. The yellow drifts and dissolves into an iron-rich brown until the story is abruptly interrupted by the titular black hole. \n\n![Takaezu rear view](https://artic-web.imgix.net/97015958-805c-4c2a-b2ef-4bd9d85a3108/Takaezu_rearview.jpg?rect=0%2C0%2C843%2C1053&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=937&blur=1200&sat=20)\n\nThe ethereal surface surrounding this chasm defies gravity, as if the air trapped inside might create buoyancy. Is the hole a window into the vessel or a portal to the cosmos? Perhaps it is neither, but instead an invitation for introspection.\n\n—Christina Warzecha, specialist, Modern and Contemporary Art \n\nBearing the unknown\n-------------------\n\nIt towers above me—tucked into the corner of _The First Part of the Return from Parnassus_ by Cy Twombly. A burst of yellow, encased in a triangle. \n\n[![Large abstract painting of canvas sparsely filled with multicolored scribbles and shapes.](data:image/gif;base64,R0lGODlhBgAFAPQAANC7qdzLpN7IptbHqdPDrdPHrd3Nst7Mtd3NueDLquHMseHPsuHPtOLQs+3SsOjStOnTt+zWtu3Wt+PTuefTv+rTuerUuOjUuu/WuPDWvvDZufHbu/TbvgAAAAAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUY4BJtDFFAGkchgLRl1XRcmPU0huIEQjKEADs=)](https://www.artic.edu/artworks/186049/the-first-part-of-the-return-from-parnassus)\n\n[The First Part of the Return from Parnassus, 1961](https://www.artic.edu/artworks/186049/the-first-part-of-the-return-from-parnassus)\n\n \n\nCy Twombly \n\nThe title refers to Mount Parnassus, mythical home of the Muses. Twombly’s inscriptions trace back to literary sources, revealing a layered language. His numbers, colors, and scrawled poetry fragments form a code—one that resists decoding.\n\nHis yellow calls to me as mystery, as warning against the urge to understand. That unknowing draws me in. \n\n![G25565 int](https://artic-web.imgix.net/b32b4d17-6f0c-4475-9d18-b21562781f4b/G25565-int.jpg?rect=2749%2C0%2C1973%2C1327&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=504&blur=1200&sat=20)\n\n[The First Part of the Return from Parnassus (detail), 1961](/artworks/186049/the-first-part-of-the-return-from-parnassus)\n\n \n\nCy Twombly\n\nIn her poem “Ripe Peach,” Louise Glück writes:\n\n“There was a time \nonly certainty gave me \nany joy. Imagine — \ncertainty, a dead thing.”\n\nThat line echoes Twombly’s refusal to fix meaning. His work, and this yellow, hum with aliveness that certainty can’t hold. Maybe that’s the point: to stand in the presence of something alive, still becoming. Not to solve the mystery, but to witness. \n\nTwombly offers no answers—only presence. And in that corner, yellow becomes more than color. It becomes a way of seeing, of bearing the unknown. \n\n—Veronica Cajigas, retail manager, Retail \n\nperfecting the monster\n----------------------\n\nJohn Chamberlain, like Doctor Frankenstein, knows that most things considered dead merely need to be jolted to life. For this piece, I picture him visiting a graveyard of steel, collecting lifeless parts, and then welding them all to a frame. Yet something is missing.\n\nI see John as he walks through the neighborhood on a summer’s day, when, suddenly, there it is on a lawn, a strip of wet yellow plastic fun, filled with children slipping and sliding. When John grabs the end and yanks, the children careen off into the grass. He drapes it over his shoulder and runs, the kids screaming, the yellow dragging behind him like a majestic robe. Once back in the lab, the mad doctor molds the Slip ‘n Slide into what strangely resembles a brain. With a lightning bolt of genius you can hear him yell out, “It’s alive!” \n\n[![A work made of steel, paint, and plastic.](data:image/gif;base64,R0lGODlhBAAFAPQAAD46NkFJIlxBInl+bd/IDePTWuHOZqmhorS0sOHSgsrFuMnHvcfGxcnJxOHi5ujn5+3r4PDu6unq8fLz/QAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAEAAUAAAURIHM0zyIASDQEylQQkJQYTggAOw==)](https://www.artic.edu/artworks/32587/toy)\n\n[Toy, 1961](https://www.artic.edu/artworks/32587/toy)\n\n \n\nJohn Angus Chamberlain \n\nIt was the exact object needed to make this the perfect monster. John knew it. Without the plastic yellow brain, it would be a lifeless metal corpse. I believe that is why he also calls his creation “toy.” \n\nI could be totally wrong about all of this, but I honestly do not think that I am that far off.\n\n—Nicholas Barron, senior specialist, Modern and Contemporary Art \n\nthe soothe of serenity\n----------------------\n\nThere it is, glowing in the upper-right corner, a golden yellow clustered together: Monet’s sun, just rising above the horizon. It feels like waking up early to a foggy day. \n\n[![A work made of oil on canvas.](data:image/gif;base64,R0lGODlhBwAFAPUAAL6teYODg4mJgY6OgImIhImMhoyOhoWHioeJjo2KiImMioyOiZKNiZCNjpCQgpCShpKVhJWUhJWYhpqag5GUi5uTi5eZiZOZjJ6bj4uLk5aXlJKZk6mhjaSlkaejlqikkqqpkrWulcCzgQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACH5BAAAAAAALAAAAAAHAAUAAAYhwMED0wGFRAlGheP5ABCZhmYjgQQOC8rFoiAYHJNIQRAEADs=)](https://www.artic.edu/artworks/16544/charing-cross-bridge-london)\n\n[Charing Cross Bridge, London, 1901](https://www.artic.edu/artworks/16544/charing-cross-bridge-london)\n\n \n\nClaude Monet \n\nThe sunlight reflects off the water and the sky, making the eyes restless with its wandering and begging them to look longer. Painted yellow sunlight often suggests liveliness, but here, mingling with muted greens and purples, it’s serenely warm, a soft glow that feels like hope and anticipation for a new day. This pastel yellow soothes; you become one with this indistinct landscape.\n\nListen: the tranquil water, the train in the distance, the silhouette of the city, pushing its way through the morning haze.\n\n—Anna Triska, educator, Student Experiences, Ryan Learning Center \n\nThe Inevitability of Entropy\n----------------------------\n\nThrough the use of primary colors and bold flat shapes, Fernand Leger’s _Divers on a Yellow Background_ strikes a balance between (the often opposed) abstraction and figuration. \n\n[![A work made of oil on canvas.](data:image/gif;base64,R0lGODlhBgAFAPQAAF8tPE4xMVw0NFc4OTw7UlhSVWtHR3RkQ39xSWppUmZkWXNoU39yVXZyWmFhZXBrbH1zaWBjcm5ueH1zc45gQIptTqd2Sot8YYJzaIh3b4N6cod/dz1MgFRihQAAAAAAACH5BAAAAAAALAAAAAAGAAUAAAUYIKdRRwJEGfYwgXRBUzMQyuYUQldZC2KEADs=)](https://www.artic.edu/artworks/111082/divers-on-a-yellow-background)\n\n[Divers on a Yellow Background, 1941](https://www.artic.edu/artworks/111082/divers-on-a-yellow-background)\n\n \n\nFernand Léger \n\nYellow at the core of the galaxy. On furloughs during WWI, Léger spoke with Trotsky, often about his ideas for a “polychrome” city that would have included yellow streets in Moscow. At the battle of Verdun, the artist was engulfed in the color, being hospitalized after exposure to mustard gas.\n\nA color once worn only by the emperor, and also an adjective for keeping quiet about their new clothes.\n\nIn 1940, Fernand was struck by the image of swimming dock workers in Marseille as he anticipated passage to America amidst yet another world war. A year later in New York he painted _Divers_ reflecting back on that moment.\n\nA tenuous balance, with a jumbled nest of bodies being pulled toward the abstraction, a free fall into form. Knotted yet unmoored. \n\n—William FitzPatrick, carpenter, Trade Shops\n\nP.S. Here are some choice local yellows I am partial to, being born jaundiced in Chicago: \n\n* No. 2 Pencil (1893 World’s Fair debut)\n* Taxi Cab (1907 Yellow Cab Company)\n* McMaster-Carr Catalogue (1908 1st printed)\n* Rust-Oleum Sunburst (1921 founded) \n \n\n#### Topics\n\n* [Collection](https://www.artic.edu/articles?category=9)\n* [Perspectives](https://www.artic.edu/articles?category=15)\n* [Staff Picks](https://www.artic.edu/articles?category=18)\n* [Modern Art](https://www.artic.edu/articles?category=20)\n* [Contemporary Art](https://www.artic.edu/articles?category=21)\n* [Arts of America](https://www.artic.edu/articles?category=23)\n* [European Painting and Sculpture](https://www.artic.edu/articles?category=28)\n* [Impressionism](https://www.artic.edu/articles?category=33)\n\nShare\n-----\n\nFurther Reading\n---------------\n\n* [![1963.258 Virgil Reading the Aeneid to Augustus, Octavia,...](https://artic-web.imgix.net/7d8c5593-55cc-40a2-89ef-014767bec28c/1963.258-VirgilReadingthe_Aeneid_toAugustus%2COctavia%2C....jpg?rect=0%2C37%2C2886%2C1627&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=422&blur=1200&sat=20)\n \n _Exploring the Collection_ \n **From Comb-Overs to Coiffures: Hairstyles in Ancient Rome** \n \n \n ](https://www.artic.edu/articles/1228/from-comb-overs-to-coiffures-hairstyles-in-ancient-rome)\n* [![IM039585 int Press (300ppi, 3000px, sRGB, JPEG)](https://artic-web.imgix.net/cef3e9f1-3493-40fb-ad8f-9f276d0bb02d/IM039585-int-Press300ppi%2C3000px%2CsRGB%2CJPEG.jpg?rect=0%2C0%2C3000%2C1691&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=422&blur=1200&sat=20)\n \n _One Theme, Multiple Voices_ \n **Six Ways of Looking at Yellow** \n \n \n ](https://www.artic.edu/articles/1217/six-ways-of-looking-at-yellow)\n* [![1925.2567 Gathering spring flowers](https://artic-web.imgix.net/1b39ffeb-7fb8-495e-9c9b-b56316a390c2/1925.2567-Gatheringspringflowers.jpg?rect=824%2C3%2C1960%2C1101&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=422&blur=1200&sat=20)\n \n _Provenance Stories_ \n **Professor Chōyō and the Chicago Craze for Japanese Prints** \n \n \n ](https://www.artic.edu/articles/1225/professor-choyo-and-the-chicago-craze-for-japanese-prints)\n* [![A black-and-white print shows an abstracted human figure facing the viewer, its eyes wide, its mouth open in a scream, and its hands at either cheek. The gaunt figure stands on a bridge with two dark figures receding in the background and a lake and hills in the distance.](https://artic-web.imgix.net/93bf5de3-feda-49c8-8dc4-e2c579286ee0/IM009133-int_CROP.jpg?rect=0%2C0%2C6337%2C3568&auto=format&q=1&fit=crop&crop=faces%2Ccenter&w=750&h=422&blur=1200&sat=20)\n \n _Inside the Exhibition_ \n **Symbolist Geographies** \n \n \n ](https://www.artic.edu/articles/1216/symbolist-geographies)\n\nSign up for our enewsletter to receive updates.\n-----------------------------------------------\n\nEmail address Subscribe\n\nSee all newsletters\n\n1. News and Exhibitions Career Opportunities Families\n\n1. 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