Black

Black
Clockwise, from top left: Anubis statue; American black bear; Galaxy NGC 406; The Supreme Court of the United States in October 2022; Portrait painting of Queen Victoria.
Color coordinates
Hex triplet	#000000
sRGBB (r, g, b)	(0, 0, 0)
HSV (h, s, v)	(0°, 0%, 0%)
CIELChuv (L, C, h)	(0, 0, 0°)
Source	HTML/CSS[1]
B: Normalized to [0–255] (byte) H: Normalized to [0–100] (hundred)

Black is a color that results from the absence or complete absorption of visible light. It is an achromatic color, without hue, like white and grey.^[2] It is often used symbolically or figuratively to represent darkness.^[3] Black and white have often been used to describe opposites such as good and evil, the Dark Ages versus Age of Enlightenment, and night versus day. Since the Middle Ages, black has been the symbolic color of solemnity and authority, and for this reason it is still commonly worn by judges and magistrates.^[3]

Black was one of the first colors used by artists in Neolithic cave paintings.^[4] It was used in ancient Egypt and Greece as the color of the underworld.^[5] In the Roman Empire, it became the color of mourning, and over the centuries it was frequently associated with death, evil, witches, and magic.^[6] In the 14th century, it was worn by royalty, clergy, judges, and government officials in much of Europe. It became the color worn by English romantic poets, businessmen and statesmen in the 19th century, and a high fashion color in the 20th century.^[3] According to surveys in Europe and North America, it is the color most commonly associated with mourning, the end, secrets, magic, force, violence, fear, evil, and elegance.^[7]

Black is the most common ink color used for printing books, newspapers and documents, as it provides the highest contrast with white paper and thus is the easiest color to read. Similarly, black text on a white screen is the most common format used on computer screens.^[8] As of September 2019,^[update] the darkest material is made by MIT engineers from vertically aligned carbon nanotubes.^[9]

Etymology[edit]

The word black comes from Old English blæc ("black, dark", also, "ink"), from Proto-Germanic *blakkaz ("burned"), from Proto-Indo-European *bhleg- ("to burn, gleam, shine, flash"), from base *bhel- ("to shine"), related to Old Saxon blak ("ink"), Old High German blach ("black"), Old Norse blakkr ("dark"), Dutch blaken ("to burn"), and Swedish bläck ("ink"). More distant cognates include Latin flagrare ("to blaze, glow, burn"), and Ancient Greek phlegein ("to burn, scorch"). The Ancient Greeks sometimes used the same word to name different colors, if they had the same intensity. Kuanos' could mean both dark blue and black.^[10] The Ancient Romans had two words for black: ater was a flat, dull black, while niger was a brilliant, saturated black. Ater has vanished from the vocabulary, but niger was the source of the country name Nigeria,^[11] the English word Negro, and the word for "black" in most modern Romance languages (French: noir; Spanish and Portuguese: negro; Italian: nero; Romanian: negru).

Old High German also had two words for black: swartz for dull black and blach for a luminous black. These are parallelled in Middle English by the terms swart for dull black and blaek for luminous black. Swart still survives as the word swarthy, while blaek became the modern English black.^[10] The former is cognate with the words used for black in most modern Germanic languages aside from English (German: schwarz, Dutch: zwart, Swedish: svart, Danish: sort, Icelandic: svartr).^[12] In heraldry, the word used for the black color is sable,^[13] named for the black fur of the sable, an animal.

Art[edit]

Prehistoric[edit]

Black was one of the first colors used in art. The Lascaux Cave in France contains drawings of bulls and other animals drawn by paleolithic artists between 18,000 and 17,000 years ago. They began by using charcoal, and later achieved darker pigments by burning bones or grinding a powder of manganese oxide.^[10]

Ancient[edit]

For the ancient Egyptians, black had positive associations; being the color of fertility and the rich black soil flooded by the Nile. It was the color of Anubis, the god of the underworld, who took the form of a black jackal, and offered protection against evil to the dead. To ancient Greeks, black represented the underworld, separated from the living by the river Acheron, whose water ran black. Those who had committed the worst sins were sent to Tartarus, the deepest and darkest level. In the center was the palace of Hades, the king of the underworld, where he was seated upon a black ebony throne. Black was one of the most important colors used by ancient Greek artists. In the 6th century BC, they began making black-figure pottery and later red figure pottery, using a highly original technique. In black-figure pottery, the artist would paint figures with a glossy clay slip on a red clay pot. When the pot was fired, the figures painted with the slip would turn black, against a red background. Later they reversed the process, painting the spaces between the figures with slip. This created magnificent red figures against a glossy black background.^[14]

In the social hierarchy of ancient Rome, purple was reserved for the emperor; red was the color worn by soldiers (red cloaks for the officers, red tunics for the soldiers); white the color worn by the priests, and black was worn by craftsmen and artisans. The black they wore was not deep and rich; the vegetable dyes used to make black were not solid or lasting, so the blacks often faded to gray or brown.^[15]

In Latin, the word for black, ater and to darken, atere, were associated with cruelty, brutality and evil. They were the root of the English words "atrocious" and "atrocity".^[16] For the Romans, black symbolized death and mourning. In the 2nd century BC Roman magistrates wore a dark toga, called a toga pulla, to funeral ceremonies. Later, under the Empire, the family of the deceased also wore dark colors for a long period; then, after a banquet to mark the end of mourning, exchanged the black for a white toga. In Roman poetry, death was called the hora nigra, the black hour.^[10]

The German and Scandinavian peoples worshipped their own goddess of the night, Nótt, who crossed the sky in a chariot drawn by a black horse. They also feared Hel, the goddess of the kingdom of the dead, whose skin was black on one side and red on the other. They also held sacred the raven. They believed that Odin, the king of the Nordic pantheon, had two black ravens, Huginn and Muninn, who served as his agents, traveling the world for him, watching and listening.^[17]

Postclassical[edit]

In the early Middle Ages, black was commonly associated with darkness and evil. In Medieval paintings, the devil was usually depicted as having human form, but with wings and black skin or hair.^[18]

12th and 13th centuries[edit]

In fashion, black did not have the prestige of red, the color of the nobility. It was worn by Benedictine monks as a sign of humility and penitence. In the 12th century a famous theological dispute broke out between the Cistercian monks, who wore white, and the Benedictines, who wore black. A Benedictine abbot, Pierre the Venerable, accused the Cistercians of excessive pride in wearing white instead of black. Saint Bernard of Clairvaux, the founder of the Cistercians responded that black was the color of the devil, hell, "of death and sin", while white represented "purity, innocence and all the virtues".^[19]

Black symbolized both power and secrecy in the medieval world. The emblem of the Holy Roman Empire of Germany was a black eagle. The black knight in the poetry of the Middle Ages was an enigmatic figure, hiding his identity, usually wrapped in secrecy.^[20]

Black ink, invented in China, was traditionally used in the Middle Ages for writing, for the simple reason that black was the darkest color and therefore provided the greatest contrast with white paper or parchment, making it the easiest color to read. It became even more important in the 15th century, with the invention of printing. A new kind of ink, printer's ink, was created out of soot, turpentine and walnut oil. The new ink made it possible to spread ideas to a mass audience through printed books, and to popularize art through black and white prints. Because of its contrast and clarity, black ink on white paper continued to be the standard for printing books, newspapers and documents; and for the same reason black text on a white background is the most common format used on computer screens.^[8]

• 
  The Italian painter Duccio di Buoninsegna showed Christ expelling the Devil, shown covered with bristly black hair (1308–11).
• 
  The 15th-century painting of the Last Judgement by Fra Angelico (1395–1455) depicted hell with a vivid black devil devouring sinners.
• 
  Portrait of a monk of the Benedictine Order (1484)
• 
  The black knight in a miniature painting of a medieval romance,Le Livre du cœur d'amour épris (about 1460)
• 
  Gutenberg Bible (1451–1452). Black ink was used for printing books, because it provided the greatest contrast with the white paper and was the clearest and easiest color to read.

14th and 15th centuries[edit]

In the early Middle Ages, princes, nobles and the wealthy usually wore bright colors, particularly scarlet cloaks from Italy. Black was rarely part of the wardrobe of a noble family. The one exception was the fur of the sable. This glossy black fur, from an animal of the marten family, was the finest and most expensive fur in Europe. It was imported from Russia and Poland and used to trim the robes and gowns of royalty.

In the 14th century, the status of black began to change. First, high-quality black dyes began to arrive on the market, allowing garments of a deep, rich black. Magistrates and government officials began to wear black robes, as a sign of the importance and seriousness of their positions. A third reason was the passage of sumptuary laws in some parts of Europe which prohibited the wearing of costly clothes and certain colors by anyone except members of the nobility. The famous bright scarlet cloaks from Venice and the peacock blue fabrics from Florence were restricted to the nobility. The wealthy bankers and merchants of northern Italy responded by changing to black robes and gowns, made with the most expensive fabrics.^[21]

The change to the more austere but elegant black was quickly picked up by the kings and nobility. It began in northern Italy, where the Duke of Milan and the Count of Savoy and the rulers of Mantua, Ferrara, Rimini and Urbino began to dress in black. It then spread to France, led by Louis I, Duke of Orleans, younger brother of King Charles VI of France. It moved to England at the end of the reign of King Richard II (1377–1399), where all the court began to wear black. In 1419–20, black became the color of the powerful Duke of Burgundy, Philip the Good. It moved to Spain, where it became the color of the Spanish Habsburgs, of Charles V and of his son, Philip II of Spain (1527–1598). European rulers saw it as the color of power, dignity, humility and temperance. By the end of the 16th century, it was the color worn by almost all the monarchs of Europe and their courts.^[22]

• 
  Portrait of Philip the Good, Rogier van der Weyden, c. 1450
• 
  Portrait of a Young Girl , Petrus Christus, between 1465–70
• 
  Charles V, Holy Roman Emperor, Titian, c.1500–1558
• 
  Portrait of Philip II of Spain (1527–1598)

Modern[edit]

16th and 17th centuries[edit]

While black was the color worn by the Catholic rulers of Europe, it was also the emblematic color of the Protestant Reformation in Europe and the Puritans in England and America. John Calvin, Philip Melanchthon and other Protestant theologians denounced the richly colored and decorated interiors of Roman Catholic churches. They saw the color red, worn by the pope and his cardinals, as the color of luxury, sin, and human folly.^[23] In some northern European cities, mobs attacked churches and cathedrals, smashed the stained glass windows and defaced the statues and decoration. In Protestant doctrine, clothing was required to be sober, simple and discreet. Bright colors were banished and replaced by blacks, browns and grays; women and children were recommended to wear white.^[24]

In the Protestant Netherlands, Rembrandt used this sober new palette of blacks and browns to create portraits whose faces emerged from the shadows expressing the deepest human emotions. The Catholic painters of the Counter-Reformation, like Rubens, went in the opposite direction; they filled their paintings with bright and rich colors. The new Baroque churches of the Counter-Reformation were usually shining white inside and filled with statues, frescoes, marble, gold and colorful paintings, to appeal to the public. But European Catholics of all classes, like Protestants, eventually adopted a sober wardrobe that was mostly black, brown and gray.^[25]

• 
  Increase Mather, an American Puritan clergyman (1688).
• 
  Rembrandt, Self-portrait (1659)
• 
  John, Duke of Braganza, later King John IV of Portugal (1628)
• 
  Black painted suit of German armor crafted circa 1600.^[26]

In the second part of the 17th century, Europe and America experienced an epidemic of fear of witchcraft. People widely believed that the devil appeared at midnight in a ceremony called a Black Mass or black sabbath, usually in the form of a black animal, often a goat, a dog, a wolf, a bear, a deer or a rooster, accompanied by their familiar spirits, black cats, serpents and other black creatures. This was the origin of the widespread superstition about black cats and other black animals. In medieval Flanders, in a ceremony called Kattenstoet, black cats were thrown from the belfry of the Cloth Hall of Ypres to ward off witchcraft.^[27]

Witch trials were common in both Europe and America during this period. During the notorious Salem witch trials in New England in 1692–93, one of those on trial was accused of being able turn into a "black thing with a blue cap," and others of having familiars in the form of a black dog, a black cat and a black bird.^[28] Nineteen women and men were hanged as witches.^[29]

18th and 19th centuries[edit]

In the 18th century, during the European Age of Enlightenment, black receded as a fashion color. Paris became the fashion capital, and pastels, blues, greens, yellow and white became the colors of the nobility and upper classes. But after the French Revolution, black again became the dominant color. Black was the color of the industrial revolution, largely fueled by coal, and later by oil. Thanks to coal smoke, the buildings of the large cities of Europe and America gradually turned black. By 1846 the industrial area of the West Midlands of England was "commonly called 'the Black Country'".^[30] Charles Dickens and other writers described the dark streets and smoky skies of London, and they were vividly illustrated in the wood-engravings