Colourised Photographs
Sofiia (Rugby School, Year 13)
In this blog post, Rugby School pupil Sofiia (Year 13), guides readers through how she colourised a selection of historic photographs from a 1902 album preserved in the archive.
Street view
Here we see the lively streets of Rugby town on a school day. We can see the contemporary fashion of passing boys, especially straw hats. The hanging foliage on the wall on the left-hand side of the photograph breaks down urban stratification and creates a more welcoming atmosphere. The trees are especially green and appealing, providing a sense of tranquility. It was challenging to pay equal attention to all leaves, therefore the lower leaves are dark. In the first picture, the green even goes beyond the trees, casting mild hues. On the top left of the image, one sees the tip of the chapel, coloured brown, grey and red. The peculiar strips on the hexagonal spire are visible. This picture is unique due to the extremely dark shading and contrasting.
Case in the School’s Natural History Museum
In this picture we can see a reproduction of an environment of local types of birds. My intention was to use colours not only to convey historical accuracy, but also attempt to create a microcosm of free-flying creatures, which were captured behind the glass and carry with them the past of Rugby’s natural history. I have chosen hues of green, red, yellow, and blue, which are both close to the natural and its ephemeral aspects. The colours turned out to be saturated and rich, while on the initial photo there was not a single bright or “open” shade. The hues flow from one colour to another like in a watercolour painting, transmitting softness, delicacy, and immediacy. Some birds are in a position to fly, which adds to the photo`s naturalness, realism, and dynamism. The kaleidoscopic gradation of pigments reflects the vivacity of the natural.
Case in the School’s Natural History Museum
Instead of the boxes with dead animals and destroyed ecosystems, I tried to use colours to encapsulate life. The animated, vivid hues of brown, sky blue, and blended yellow convey a clear scientific passion and academic perseverance, embedded in the core of Rugby School museum.
Case in the Art Museum – Antique Vase
This picture depicts two shelves of ancient vases from different epochs. The exhibition case is not composed chronologically, but seems to reflect an aesthetic interest of the curator. Most of them I colourised with the array of hues of grey, light brown and yellow. The plethora of monochromatic pottery reinforces the idea of white marble as the epitome of beauty and purity. Moreover, I tried to use colours that could have been naturally derived, such as red, yellow, blue, and green, which were commonly used. The most striking one is the copy of the ancient Greek sculpture, which is painted with bright red and radiating gold. It reflects the accurate colour, instead of the common perception of marble colours as originals (Archaic and Classical periods, around 800 BCE to 323 BCE). Gold paint on the central figure adds a luxurious and divine quality to the jug. In comparison, the central sculpture, even though the biggest in the case, unexpectedly seems fragile and cracked, despite its firm base, uncommon for other pieces, creating a captivating juxtaposition. The marble reveals a mesmerizing variety of colours, from subtle icy blue that meanders through the pristine white surface to hints of warm, amber hues.
The Art Museum and Library with Residence for the Curator, Mr. J. M. Lindsay
This photo depicts the library and art museum. The colourization strives to present the novelty, freshness and artistic grandeur of the building. The focus is drawn to the three symmetrical windows which divide the composition of the photo equally. Little perspective is observed, thus making the chiaroscuro unnoticeable. There is a repetition of the triangles on windows, roof, and wall ornaments, which may have been inspired by the ascent of the gothic style. The important difference is the lack of ivy, which distinguishes it from the other, longer-standing buildings of the School. It thus appears rather bald and vulnerable to see it without foliage, which usually make it more welcoming.
Another View of the Art Museum (interior)
This photo depicts the first floor of the art museum, showcasing a set of ancient helmets, statues, as well as a collection of prints, photos, and drawings. Compositionally, the photo is divided into three unequal parts, which makes chiaroscuro especially challenging. The sides of the shelves that face the camera are in shadow, as well as bronze sculptures on the left side. The brown and yellow palette evokes a sense of historical richness and antiquity. Light brown resembles oak, potentially used in the construction of arches, while medium brown, colourised in the exhibition cases, is akin to chestnut; dark brown on the frames of drawings and the bust on the wall exudes sophistication and fading echoes of intellectual pursuits. I have also used bright golden colour from both sides of the room to engender a vibrant, rich warmth.
Rugby School Volunteer Corps and Band
This picture shows a volunteer corps and band consisting of Rugby School students. The photo must have been taken in autumn, as the ivy on the building in the background has already faded, while the main facade is still flourishing with fresh green leaves. The red vibrant uniforms are reflected in the upper part of the School House building. Golden instruments reflect the glimmering light, despite the cloudy sky. The composition is diagonal with the rising angle. What is also interesting are the two men on the left lower angle who are looking straight into the camera, making it appear closer, more direct and intimate to the viewer.
Interior of the School Library (central)
The main challenge while colourising this picture was to project perspective without deviating the focus from the richness of colour and details on the books. The colossal pillars expand the perspective into vertical dimensions and almost confine the bookshelves in their frames. The composition is symmetrical, similar to other interior photos in the 1902 photo album. In the centre, we can see the bust of a man, Lord Bowen of Colwood, lord of appeal and trustee of the British Empire. It is accompanied with the hanging portrait drawings around it.
New Quad
New Quad is next to the chapel. Given its central location, it has been a defining feature of the Rugby School experience since it was built at the end of the 19th century. The colorization strives to present the hues of red and blue of the Victorian gothic brick which are integral to any appreciation of the polychromatic style employed by the famous architect, William Butterfield.
Science Lecture Room
In this photo we can see an old lecture room in the Science department of Rugby School. Rows of sturdy, well-worn light brown wooden desks with attached chairs are arranged in a traditional lecture hall style, showcasing the enduring quality of vintage craftsmanship, exuding a sense of academic character, carrying a charm that comes with decades of use. In the foreground, we can see vintage technology which lends an air of historical authenticity. For the windows I have used complementary green and light blue colours. The lamps scattered around the room are very bright, which influenced my choice of the light hues one would expect to find in such an academic setting.
Interior of the School Bath
The use of reflected blue on the ceiling emphasizes the vibrancy and movement of water. It renders the image more voluminous and airy. Ultramarine, turquoise, steel, dazzling and white colours help the viewer to feel the smooth surface of the water with emerald sparkles, which are filled with warm light, in a realistic manner. Surrounded by the group of teenagers, the pool reflects their energy and appears as a living organism, which is endowed with a special rhythm and breathing. Unnoticeable tonal transitions make the whole scene iridescent and alive.
Interior of the Chapel (looking east)
Built in 1856, this building represents a typical Victorian architectural eclectic retrospectivity. The strong vertical lines support the clear perspective. The light in this picture is crucial to its composition - its lavish rays illuminate the ornate composition of arches, lamps, candles, and central altar. It comes from the core of the photo, around which the composition is built, and spreads equally toward the viewer. There is a feeling of the overwhelming void of the building that plunges the viewer into deep inner thoughts. Colours unlock the spiritual beauty of unprecedented power. The source of sunlight is enclosed masterfully with a cross vault, which consists of two arcs joined to form a pointed top. The ceiling is coloured with pure black, which distributes weight equally among the other elements. The wooden floor is reminiscent of the eternal path of humans toward grasping the purpose of life. The orange, red, and yellow colours of the stained glass complement the hues of the figures on the altar.
Old Quad
In this photo we can see the Old Quad, which now accommodates the Classics department. The building's façade is colourised with a creamy stone hue, replicating the appearance of aged bricks. I have equally applied sandy tones, resembling the natural colour of soil or gravel, with a slight warmth to reflect the sun's influence for pathways and walkways at the bottom. Moreover, a hint of sepia (3-5%) is used on the whole surface to enhance the vintage look, giving the entire scene a warm and slightly aged appearance. The battlements are given a soft grey-brown colour, resembling the weathered patina of aged roofing materials. The focus is drawn to the central clock, with dark edges crawling from all sides.
Sixth Form room window with portraits of former headmasters
This picture presents a room for sixth form students. The room is well lit with blurred depictions of the headmasters on the stained glass. All the tables are disconnected, emphasizing individual works, rather than cooperation. Desks portray perfect perspective with light from the glass gliding on the smooth surfaces of the upper plates. Moreover, one should note the presence of the podium, which reminds us of the role of the teacher as a pure lecturer, rather than a facilitator of class debate. This interior of the room provides witness to changing pedagogical approaches over centuries. The heavy use of wood in the decoration of the room influenced my selection of brown hues in colourization. The overall impression is vintage aristocracy.
A boxer and a fencer
This picture displays two boys in sports suits. Both are wearing clothing with white tones, which blend them with the background wall. The boxer-boy wears old-fashioned boxing gloves, their red leather worn and creased from countless rounds of training. The fencer, on the other hand, holds a fencing sword with an old-fashioned helmet. Both of them are unprotected for real matches and pose solely for photos. This series tells a silent story of commitment and resilience, which were integral parts of the School’s ethos at the time the photographs were taken.
New Big School (Macready)
This picture shows the Macready theatre and is colorised in dim red colours. It was built at the end of the 19th century. Previously the building was called the New Big School and was used as extra classroom space.
School Gates and Window of Sixth Form Room
This photo is a view of the school gate. The bright blue colour used in the colourization makes it possible to distinguish stained glass on the windows.
Group of Masters
The photo depicts a group of Rugby School masters. The colourisation reveals the harmony in strict blue suits of the teachers, and the green gardens that occupy the territory of the school. The gradation of dark hues stretches across a wide palette from teal and sapphire to azure and aegean. Their clothing is representative of the contemporary fashion: three-piece suits (jacket, trousers, and waistcoat, or vest) with high, round-collared white shirts, neck ties, and hats. This picture required substantive preliminary face restoration. Furthermore, the major challenge was to distinguish and render the light and shadow of every leaf on the trees and the ivy. The position of the figures mirrors Dutch group paintings, such as “Sampling Officials of the Drapers' Guild” by Rembrandt.