Typically when one begins to look at an illustration or a series of illustrations, color is a great tool for interpretation. While not always a clear indication of intent, it often functions as a sort of secondary facet of the image’s meaning: the use of blue by a Western artist, for example, usually indicates sorrow. ‘A Marriage of Heaven and Hell’ offers no such luxury. While the occasional similarity in color may exist in one or two copies, there are none which are found consistently. Each available copy, though beautifully painted, is colored with an individualized palette.
The only exception to this is a singular edition---copy B, dated to 1790. Instead of having color, copy B lacks any color at all. It is even possible that copy B is an unfinished, as the ink which creates the line work appears to either be purposely light or faded. It is
…show more content…
None of the figures fully show the characteristics of an angry, vengeful spirit. However, what 'The Argument' does do is illustrate a choice. The figures lounging to the left are relaxed, free yet completely in their place. Their submission is both seen in their complacency with having nothing to motivate them to action and in their perfectly coiffed hair. They have no issue with not being in control are completely comfortable to bask in what they have been given. The figures in the foreground are closer to transformation but still show adherence to their given place or a reluctance to leave it. Instead, Rintrah is in the choice that 'The Argument' presents. The lounging figures are okay with complacency as long as they are presented with luxury. The top figure in the tree offers a different state of being, but is shown to have a forced place as well. The woman against the tree is stuck between a life of complete servitude and a life of choice. The argument that 'The Argument' makes is for the choice of becoming