Red—the bold, evocative primary colour, is often linked to danger, anger, and desire. Henri Matisse captured its potency with his observation: "A thimble of red is redder than a bucketful.
Red is a colour of firsts: it’s the first colour babies can perceive (aside from black and white), the first to disappear at sunset, and one of the earliest colours recreated by humans. There is evidence suggesting red ochre was first discovered and used in rituals during the Paleolithic period, with the famous Cueva de las Manos, or the Cave of Hands in Argentina vividly embodying the phrase "caught red-handed".
The Aztecs and Mayans were thought to have produced red around 2000 BCE, using crushed cochineal beetles to create dye for murals and clothing, predating the mass trade of red cloth in Europe by 1570. It produced the rich colour, carmine red, which is widely used in visual art. In Armenia, the pigment from the Armenian cochineal beetle has been used for dying fabrics and painting manuscripts since the 7th century BC. The insect, which lives on the banks of the Aras river, has become increasingly endangered in Armenia due to industrialisation, and in bordering Turkey, the practice of producing the dye is being forgotten.
At the 14th Istanbul Biennial, artist Asli Cavuşoğlu presented Red / Red (2015), a series of carmine red drawings on worn out notebooks, using the pigment’s symbolism to reflect the strenuous ecological and political ties between Armenia and Turkey. In the work, the darker shade of red in the Turkish flag contrasts with the fading Armenian ink, referencing the historical encroachment of the Turkish nation-state upon the Armenian identity.
Red has held symbolic importance across the world for centuries. In ancient Rome, victorious gladiators would be smeared in cinnabar – a vivid powder which would later be used on lacquer in 12th century China– and would parade around the streets in celebration. Red was also the colour connected to Mars, the Roman god of war. In China, red has long been associated with the sun, blood and fire, making it prominent in many ceremonies like the Lunar New Year. During the Ming Dynasty (1368-1644), red was especially revered and influenced the design of ceramics, many featuring the iconic red dragon motif.
Many cultures associate the colour red with royalty and power. Pharaohs in ancient Egypt were often portrayed in red. During the Medieval period in the west, kings wore it to signify their right to rule, drawing on its religious symbolism as the colour of Christ’s blood– Charlegmane was thought to live in a red palace and wear red shoes. This year, artist Jonathan Yeo unveiled an unexpected portrait of King Charles shortly after his coronation, bathed in a striking crimson hue. This choice of blood-like red sparked interpretations connecting the shade to the royal family’s colonial legacy with blood on its hands.
Rubies, prized for their vivid colour, are a symbol of wealth and status, appearing in the crown jewels of both European and Persian royalty. They have also long been associated with providing protection, such as in Myanmar, where warriors historically wore the gemstone as it was thought to give them invincible protection, and in Hindu culture, rubies are honoured as the “king of precious stones” due to their auspicious qualities.
The colour also maintains strong ties to radical left-wing movements. During the French Revolution (1789–1799), the plain red flag became emblematic of workers’ uprisings and the fight against oppression. This symbolism was later adopted by the Bolsheviks during the Russian Revolution in 1917 as they sought to establish a socialist state. Thirty-five years later, red became synonymous with the armed uprisings of the Cuban Revolution that ultimately led to the overthrow of the Batista regime. To this day, the face of Che Guevera is usually depicted against a red background.
For the Arab World, red is a symbol of growth, regeneration, fertility and rebirth, as well as blood, passion, anger and revolution. Dots of red ink to indicate short vowels can be seen in copies of the Quran between the 8th and 11th centuries, in contrast to the black or brown calligraphy. Red is specifically resonant in Palestine, where the red and white keffiyeh is worn by followers of left parties, and the red triangle on the flag connects to the inside of the watermelon, a symbol for Palestine.
Henri Matisse’s The Red Studio (1911) left a lasting impact on Western art for its break from tradition in real-life painting. A venetian red forms a monochromatic backdrop in which objects in the artist’s studio are blended in, flattening the perspective. This groundbreaking work inspired a 2022 exhibition of the same name at MoMA in New York and SMK in Copenhagen, underscoring its influence and controversy.
Red’s emotional intensity was utilised by Mark Rothko in his later works, frequently painting large blocks of vibrant reds, using colour to express "basic human emotions–tragedy, ecstasy, and doom”. Emerging Palestinian artist Mirna Bamieh taps into red’s visceral power to speak on collective loss experienced by Palestinians in her series Grieving in Six Colours (2024). In a poignant Instagram post, she revealed, “Red has been gushing and spilling itself into my artworks lately. I thought it was anger, but with this piece, I realised I was grieving—grieving in red, grieving in rage.”
Renowned British-Indian sculptor, Anish Kapoor, is known for being engrossed with red and is a recurring element in his practice. In My Red Homeland (2003), which showed at the Kunsthaus Bregenz, Austria, Kapoor uses red oil paint and wax, with a motorised block slowly moving around a circular structure to create a concentrated mass of red, almost like bloody flesh. His exploration of red delves into the physical and illusory nature of colour, using its rich symbolism to evoke ideas about the body, and themes of life, death, and regeneration. His use of red, often tied to blood and the earth, reflects his ongoing interest in the tension between materiality and the immaterial.
Japanese artist Chiharu Shiota employs red in her breathtaking installations, webs of entangled threads embodying vitality and human interconnectedness. The Key in the Hand (2015) at the Japanese Pavilion at the 56th Venice Biennale navigates themes of loss and memory. The use of red may even be a nod to the “red thread of fate”, a Chinese myth that suggests destined human connections will always be binded together.
Throughout art history, from ancient civilisations to contemporary practices, artists have employed red to explore complex human experiences, making it a versatile and impactful choice for visual storytelling.
WANT TO STAY UPDATED WITH ITERARTE LATEST ACTIVITES AND NEWS?
Sign up to our newsletter to be one of the first people to access our new art, learn all about our latest launches, and receive invites to our exclusive online and offline art events.