Kindle [Bright Earth Art and the Invention of Color] È Philip Ball

  • Paperback
  • 382
  • Bright Earth Art and the Invention of Color
  • Philip Ball
  • English
  • 02 August 2019
  • 9780226036281

Philip Ball ☆ 0 CHARACTERS

READ Bright Earth Art and the Invention of Color CHARACTERS Æ PDF, DOC, TXT or eBook ☆ Philip Ball Philip Ball ☆ 0 CHARACTERS From Egyptian wall paintings to the Venetian Renaissance impressionism to digital images Philip Ball tells t. This review originally appeared in the San Jose Mercury News Whenever I tell people that I m colorblind they want to talk about it which can be frustrating What s it like they ask What s it like not being colorblind I reply The best I can do is to explain that no the world doesn t look like a black and white movie to me I m mildly red green deficient For me some pinkish beiges are identical to greenish ones some purples are indistinguishable from bluish gray You can see what I see if you go to wwwcolorfieldcomFilterGallery1ahtml and put your cursor over the word deutan between the pictures But there s no way we can talk about what I see or from your point of view don t see Language has always been a feeble instrument when it comes to color Take Homer s famous image the wine dark sea No wine I know of is the color of Homer s Aegean unless it s some blueberry flavored concoction from Boone s Farm Further linguistic confusion If you look up the etymology of the word blue you ll find that it derives from the Latin flavus which meant yellow Moreover Philip Ball tells us The Japanese awo can mean green blue or dark depending on the context Vietnamese and Korean also decline to distinguish green from blue Some languages have only three or four color terms Clearly language isn t the medium for color that belongs to art In Bright Earth Art and the Invention of Color Ball brilliantly traces the history of color from cave painting to abstract expressionism and beyond Ball isn t an artist he s a scientist with an undergraduate degree in chemistry and a PhD in physics From his point of view art is chemistry and the history of art is the history of the technology of making color Until the 19th century virtually all the pigments used by artists came from nature from minerals plants and animals even from insects And the technology early artists used to make these pigments was highly sophisticated In 2500 BC the Egyptians were concocting a blue pigment by firing lime copper oxide and sand in kilns whose temperatures were carefully maintained at between 1470 and 1650 degrees Fahrenheit The creation of these pigments grew out of the technologies devised for making practical things such as soap glass and pottery but the process works both ways Ball explains It seems likely that the developments in kiln technology afforded by the early manufacture of blue glazed objects led to the discovery of copper smelting from its ore A love of color ushered in the Bronze Age In the Middle Ages alchemists added to the palette with new discoveries Medieval artists prized some colors less for their faithfulness to nature than for their preciousness the precious the likely they were to be used in sacred contexts Thus blue became the color associated with Mary the mother of Jesus not because it was the color of the sky or for any symbolic reason Ball says but because it was expensive Ultramarine so called because it came from across the sea was made by a difficult process that involved pulverizing lapis lazuli the chief source of which was Afghanistan In the Renaissance the focus of art shifted from the worship of God toward fidelity to the observed world And because nature had hues than the artist there was a demand for new color technologies One innovation caught on like crazy the use of oil as a medium for pigments Medieval and early Renaissance artists worked in tempera a tricky medium some colors could not be used next to one another because they would react chemically In the 15th century Flemish painters particularly Jan van Eyck perfected a method of working with oil paints which give a richer less hard edged finish to the painting allowing for the illusion of depth and subtleties of shading And the medium of oil Ball explains insulates the pigments from one another so that pigments that react chemically with one another in tempera might be stably combined in oil The age of exploration expanded the search for new pigments leading to such oddities as Indian yellow which became popular in Europe in the late 18th century The raw pigment was sold in hard dirty colored ill smelling balls but its source was mysterious until 1883 when it was traced to a village in India A group of cattle owners had created the pigment by feeding their cows solely on mango leaves collecting their urine and heating it to precipitate a solid that was pressed into balls and sold Indian yellow disappeared from the market not because people found the substance disgusting but because the practices of the milkmen were denounced as inhumane and laws were passed to prohibit them The technology of color expanded further with the Industrial Revolution in the late 18th and early 19th centuries The great experiments with color by Turner and Whistler the Pre Raphaelites the Impressionists Matisse the Fauves and other 19th and 20th century artists were made possible by the discovery that vivid colors could be made from coal tar derivatives And just as the desire for color may have helped usher in the Bronze Age the demand for new colors helped create the modern chemical industry The giant European chemical and pharmaceutical companies Bayer Hoechst BASF and Ciba Geigy all have their origins in the demand for aniline dyes Out of bright purples and lustrous reds shocking pinks and brilliant yellows Ball comments emerged all that is good and bad in this most mercurial of modern technologies cures for devastating diseases cheap and lightweight materials mustard gas and Zyklon B enough explosives to fuel two world wars and liuid crystals and ozone holes The modern age in other words The downside for artists was that many of the new pigments proved unstable Turner was one of the most avid users of the new colors but Ball tells us by the end of the nineteenth century the poor stability of some of the new pigments left several of Turner s works in sorry repair Similarly Van Gogh s sunflowers no longer have the brilliance originally promised by the pigment chrome yellow which has deteriorated Bright Earth is a treasure of anecdote and information surveying not only the history of art the growth of industries it has created and the lives of the artists who have served it but also the physics of light and the physiology of the eye It also glances at the future as new technologies photography color printing digital reproduction widen both the access to materials and the definition of art The book is generously illustrated with 66 color plates but Ball is such an engaging lucid writer that it hardly needs them For once language is up to the task of talking about color

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READ Bright Earth Art and the Invention of Color CHARACTERS Æ PDF, DOC, TXT or eBook ☆ Philip Ball Philip Ball ☆ 0 CHARACTERS Orgeous hues we admire on our walls and in our museumsFinalist for the 2002 National Book Critics Circle Awa. Fascinating exploration of the chemistry of color in Western art which examines the relationship between science and technology on the one hand and art and aesthetics on the other I m intrigued by the physicality of the media artists have used through the centuries and how the embodied nature of paints dyes and pigments have influenced artistic expression This book although a bit too technical and dry at times gives a wonderful overview of this topic and a decent general history of Western art to boot

CHARACTERS Æ PDF, DOC, TXT or eBook ☆ Philip Ball

READ Bright Earth Art and the Invention of Color CHARACTERS Æ PDF, DOC, TXT or eBook ☆ Philip Ball Philip Ball ☆ 0 CHARACTERS He fascinating story of how art chemistry and technology have interacted throughout the ages to render the g. The subtitle of this book is Art and the Invention of Color It s a book that I ve been looking for for years I saw it once in the bookstore at a museum many years ago and didn t buy it When I saw it again it was an instant purchase The book pretty much answers the very basic uestion Where does color come from From the early Greeks and their very basic palette to the Renaissance and beyond Out of the birth of Chemistry came vibrant colors used by the painters of the time Vibrant yes but rather toxic as well From the brown and red ochres to the story of blue to purple and the story of chemical dye industry A fascinating readPigments are not not simply and solely colour but substances with specific properties and attributes not the least among them cost How is your desire for blue affected if you had just paid for it than its euivalent weight in gold That yellow looks glorious but what if its traces on your fingertips could poison you at your supper table This orange tempts like distilled sunlight but how do you know that it will not have faded to dirty brown by next year What in short is your relationship with the materials Pink was a pigment of diverse provenance recipes identify it as an extract of weld broom or unripe buckthorn berries but often of an indisputably yellow hue Pinks were in fact defined neither in terms of their ingredients nor of their color for there were also green pinks brown pinks and rose pinks It appears that the noun refers instead to the method of synthesisAbout Tyrian purple Each shellfish yielded just a drop of the dye which was why the stuff was so fiendishly precious and why a significant proportion of the Phoenician population was employed in its manufacture One ounce of the dye reuired the sacrifice of around 250000 shellfish The shell piles of the Phoenicians still litter the eastern shore of the Mediterranean910S 41215 F 43015 19 Days