History of Colors

At the turn of the twentieth century, the sampling market is moving from a trade-based industry to a service-oriented contemporary of the rise of the consulting and advertising businesses. The Parisian economy in the clothing industry is in accelerated motion and samplers belong to this core group of small apparel companies that ensure the complementarity between trade and technology.
As early as 1908-1910 the first fashion « défilés » are part of this growing segment of the the fashion industry which becomes more and more service-oriented In 1912 and 1914 the sampler Jean Claude Frères sends two letters to a silk fabric in the Lyon region. The samplers are no longer exclusively intermediaries that select, cut and serve. They gradually become mediators, observers or later prescribers to enhance the process of transmission of information.
This process of mediation will continue during the war to the measure of the availability of the raw material in Paris. The year 1915 will be complicated and samplers interrupt deliveries they will resume after 1916 smoothly. The war disrupted the process of mediation in the Paris fashion industries but it dot stop it. Samplers kept their relationships with their fabric suppliers established in the provinces or abroad.

Bu çalışmada performans sanatı ve yeni gerçekçilik akımında eserler vermiş olan, Yves Klein’nın hayatı ve eserleri hakkında bilgi sunmayı amaçlamaktayım.1960’lar sonrası gerek bilim ve teknoloji gerek ise toplumsal konuların bir değişime uğradığı aşikardır. Bu dönemde sanatla ilgili düşünceler de değişmeye aşlamış ve klasikleşmiş sanat değerlerin dışına çıkılmaya başlanmıştır. Değişen zamanla birlikte artık günlük tüketim eşyaları sanat eserlerine dönüşmeye başlamış ayrıca artık sanat eserinin oluşumundaki düşünce de sanat eserinin bir parçası olarak görülmeye başlamıştır. Popart, Opart, özellikle sanat eserinde
düşüncenin ön plana çıkmış olduğu kavramsal sanat ve klein’ın da içinde bulunmuş olduğu performans sanatı ve yeni gerçekçilik akımı tüm bu gelişimlerin görüldüğü ve artık klasık sanat dan çıkılıp daha çağdaş, modern bir sanat anlayışına geçildiğinin göstergesidir. Klein performans sanatının temsilcilerindendir. Fakat onu tek bir sanat akımı içine almak pekte doğru olmaz. Çünkü gerçekleştirmiş olduğu monoton senfoni çalışması ile bir performans çalışması gerçekleştirmiş olsa da ırıs clair galerisinde gerçekleştirmiş olduğu le vide yani boşluk sergisi ise yeni gerçekçilik akımı bağlamında yapmış olduğu bir çalışmadır. Aynı
zamanda bu çalışma ile aslında saf düşünce kavramını harekete geçirmeyi amaçlamasından dolayı bir açıdan da kavramsal sanata da öncülük etmiştir lakin yinede bu çalışma yeni gerçekçilik akımının kilometre taşlarından biridir tıpkı Arman’ın da aynı galeriyi klein' ın aksine doldurarak yaptığı doluluk çalışması gibi. Kısacası klein’nı tek bir akıma bağlı olarak incelemek mümkün değil lakin ağırlıklı olarak performas sanatı ve yeni gerçekçilik akımı içerinde klein’ın sanatının doğuşu ve vermiş olduğu eserleri incelemek bu çalışmanın ana amacıdır.

Colour and knowledge-Thoughts on a history of perception or evolution of colors In his book The Appearances of Colors (1911), David Katz states that the causes of the existing distortions within the science of colors are primarily "the variety of viewpoints from which one can approach the problem of color (the physical, technical, physiological, psychophysical, psychological, aesthetic perspective) " 1 Katz thus names a problem that was not only known at the beginning of the 20th century, but a dilemma that continues to this day, namely the apparent blurring of the subject area "color", which means that up to our time no clearly defined color science with clear Could develop scope and well-founded methodology. Would you be able to imagine one for a moment-what would it look like? Would it be more oriented towards physics or physiology, psychology or even ecology? Would it be a pure science at all or would a science of color not have to integrate concepts from the humanities, art, culture and language sciences as well? Wouldn't it be an impossibility at the same time, a homeless chimera of unclear affiliation and methodology, a disciplinary bastard whose epistemological approaches would have to question the sovereignty of the sciences that produced it? Yes! The essay at hand attempts to characterize the seemingly inherent disobedience, which to this day prevents a firm disciplinary attribution, as a human-related, twofold anthropological illusion and thus to resolve it. The colors, understood as human experiences, penetrate to the very foundations of epistemology and thus the sciences, because they literally show us the evolutionary-ecological condition of our sensual approaches to the world. Just as no biologist would come up with the idea today of wanting to explain the form and function of an organism without using its evolutionary and ecological history, it makes little sense to make human perceptions independent of the both sensory-physiological and ecological roots of their development consider. Accordingly, the essay wants to understand perceptions and thus also color as an inner phylogenetic echo of certain information from an external environment and includes in this conception the evolutionarily proven ways of acting of living beings. In a second step, this approach of perception-specific limitation to the question of what is possible for us to understand is to be applied before the consequences of this can be illustrated by some scientific-historical considerations. I. Information, Environment, Perception "How is it that we know this world?" 2 Gerhard Vollmer in his article ‚Between biology and philosophy' and answers this question with reference to the ‚Evolutionary epistemology'. Accordingly, "thinking and recognizing are achievements of the human brain, and this brain originated in biological evolution." 3 As simple and obvious as this consideration may be, it is difficult, indeed impossible for us, the limitations of our own perception and thereby also recognizing what is possible for us to recognize. If thinking and knowing should have arisen in a historically unique and different process for each species, we still have to ask ourselves what we can actually perceive from the world around us and how "true", in the sense of objective, we allowed to hold this perceived? From an evolutionary perspective, the question of "what" inevitably leads to the question of "why" we perceive the world in this way and not in a different way, thereby emphasizing the importance of the information we perceive for our species? In perceptual psychology, perception means "the activity of taking up (and processing) information about objects and events in the environment into the brain of a living being" 4. However, this inconspicuous definition harbors one of the basic epistemological problems of philosophy since

The high interpretative value of chromatic symbolism has rightfully been underlined in multiple occasions, mostly in order to explain some of the many political identities who defined themselves through auto-representations and exclusivist stereotypes. During the course of Italian history, colors have become interpreters of collective consciousness: their role apply to politics, science, religion, arts, star system, and their combinations sum up values and ideals. The structure which they acquire one next to another in a never accidental order (whether this happens on a flag or into a liturgy - religious or political) lights up a phenomenon and its context (spatial, temporary, cultural)...

RESUMEN Este artículo investiga algunos de los valores plásticos y estéticos que presidieron la selección y la preparación de las materias colorantes empleadas para iluminar los códices creados por los nahuas del México Central durante el Posclásico Tardío. Estos códices son interesantes porque análisis arqueométricos y exámenes co-dicológicos recientes han permitido conocer la materialidad de su capa pictórica, así como las características formales y el comportamiento de los colores en estas obras. Uno de los aportes trascendentales de estos estudios ha sido averiguar que la paleta cromática que sirvió para pintar los códices del México Central era principalmente de origen orgánico, lo que contrasta con la naturaleza de los pigmentos detectados en restos de pintura mural y en esculturas creadas por los nahuas que son sobre todo minerales. El objetivo de este artículo es reflexionar sobre las razones de esas diferencias y demostrar que el uso de los colorantes orgánicos en los códices respondía a un fin plástico específico que concordaba con el canon estético imperante en la sociedad náhuatl.

Bbu çalışmada yeni-gerçekçi Fransız
ressam Yves Klein (iv  ƙlayn) 'ın hayatı, eserleri hakkında temel bilgiler
verilmiştir. Yeni gerçekçilik, II. Dünya Savaşı sonrası ortaya çıkmış
çağdaş bir sanat akımı olarak dünyaya bakış açısı, basmakalıp fikirlere
karşı duruş, gelip geçiciliğin bilincinde olarak, yaşanılanı sahiplenme ve
günlük yaşantının şiirselliği konularını işlemiştir. Klein de bu
sanatçılardan birisidir.

Rezension von Christoph Orth, in: Frühneuzeit-Info, Jg. 34/2023. <https://iefn.univie.ac.at/publikationen/fruehneuzeit-info-34-2023-less-than-br-greater-than-reich-recht-religion/FNZ_2023_TOC.pdf> Letzter Zugriff 30.04.2024..

OUT NOW! I am pleased to announce the book on colour in drawings that I have prepared with students from the Freie Universität Berlin. On the basis of the rich collections in the Kupferstichkabinette of Berlin and Dresden, we have worked out a general history of colour in drawings with a view to art theory as well as technological analysis.

Das Buch widmet sich dem Aspekt der Farbe in Handzeichnungen der Frühen Neuzeit. Struktur und Erscheinungsform, Funktion und Ästhetik farbiger Zeichenmittel werden punktuell wie prinzipiell in dem für unbunt gehaltenen Medium untersucht. Insofern Farbe über Naturnachahmung hinaus in kunstkritischen Schriften mit Kostbarkeit oder gar Überschwänglichkeit konnotiert ist, wird diese „optionale“ Zutat auf Handzeichnungen zu einer spannungsgeladenen Darstellungskomponente: Synergie und Divergenz. So sind Interpretationszusammenhänge von gesteigertem Realitätsniveau versus Abstraktion, Evokation versus Distanzierung, Medienreferenz versus Faktur zentral in den Beiträgen, die damit methodisch aktuelle Positionen des kunstwissenschaftlichen Diskurses verfolgen.
In den reichen Beständen der Kupferstichkabinette Berlin und Dresden konnten im Rahmen eines Projektseminars an der Freien Universität Berlin einschlägige, zum Teil bislang unpublizierte Fallstudien ermittelt werden. Die getroffene Auswahl kann damit exemplarisch für eine allgemeine Koloritgeschichte der Zeichnung südlich wie nördlich der Alpen vom 15. bis ins 17. Jahrhundert hinein stehen.

Introduction At present our historical studies of Renaissance color philosophy and science resembles the pieces of a mosaic, only some of which have been assembled to form a larger picture. The task is difficult: the sixteenth century saw an explosion in Aristotelian commentaries and textbooks, most of which have not been carefully examined by modern scholars. The medical tradition saw a similar deluge in printed works, including new commentaries on Avicenna, the revival of Hippocratic and Galenic medicine and philosophy, the ascendency of the discipline of anatomy, and new challenges to traditional medicine – all of which were opportunities for reexamining the importance of color in health, disease, theories of complexion and the four humors, anatomy, and natural processes generally. New philosophical systems came to the fore, notably the alchemical philosophies inspired by Paracelsus; the Neoplatonic, Hermetic, and magical directions inspired by Marsilio Ficino and others; the revival of ancient Scepticism; the Christianized Epicureanism of figures such as Pierre Gassendi; and eclectic philosophies that combined Aristotelian, Stoic, Platonic, and Hermetic, ideas with Renaissance animism – often, as in Bernardino Telesio or Francis Bacon, cast as anti-Aristotelian philosophy. The European conception of the natural world affected by the projects of exploration and colonization, and devising new methods of getting a handle on this wealth of new information became paramount. The science of mechanics developed dramatically, and during the first half of the seventeenth century the mechanical philosophy was ascendant, effecting radical changes to the notions of density, rarity, transparency, and opacity – concepts that were fundamental to how color was theorized. The status of painters and painting rose significantly. Intellectual reflections on painting, including color, became common, both because training in drawing and painting became widespread among the learned, and because painters themselves entered the orbit of the litterati. Mining and minerology was increasingly important in Europe, and works (such as Georg Agricola's De re metallica) on metals, stones, and gems were written that combined the philosophical and the practical (see chapter 10). The increasing popularity of Kunstkammer, or cabinets of curiosity, offered a new locus for knowledge transfer among different groups. The science of optics was, moreover, transformed by advances in ocular anatomy together with the quest to mathematically comprehend devices such as the telescope and camera obscura; alongside this, philosophers began to rethink what the act of seeing entails. For all of the above, particularly its relevance to color, our current knowledge is incomplete. One way to make sense of these myriad changes is to focus on the fact that the color worlds – consisting of practices, concepts (including language), and objects – of various artisans and intellectuals began to overlap during this period, with major consequences for philosophical and scientific reflections about color (Baker et al, 2016). Social and disciplinary boundaries became increasingly porous, even while many disciplines themselves underwent transformations.

H. Meller/F. Knoll/J. Filipp, Rot − vom Leben bis zum Tod. Prähistorische Rötel- und Hämatitfunde aus Mitteldeutschland. In: H. Meller/C.-W. Wunderlich/F. Knoll (Hrsg.), Rot − Die Archäologie bekennt Farbe. 5. Mitteldeutscher Archäologentag vom 4. bis 6. Oktober 2012 in Halle (Saale). Tagungen Landesmus. Vorgesch. Halle 10 (Halle [Saale] 2013).

The seventeenth century saw radical changes to theories of vision, light, color, matter, and knowledge about animal bodies. Understanding vision in the sixteenth century is essential to grasp these changes, but here many lacunae exist. Histories of vision have focused on mathematical optics and neglected color in natural philosophy and medicine. Historians of medicine have not sufficiently analyzed works on vision and color by physicians. Finally, historians of philosophy have produced few analyses of color theory from antiquity until 1600.

My dissertation analyzes two highly important works on vision that have yet to be examined in detail by modern scholars: the natural philosopher Jacopo Zabarella's De visu, first published in his natural philosophy textbook De rebus naturalibus in 1590, and the physician and anatomist Hieronymus Fabricius ab Aquapendente's De visione, first published in 1600. Both taught at the University of Padua, at the time Europe's most prestigious medical school, and their stature and influence was considerable.

Chapter 1 provides the history of one widely held theory of what color is and how it arises, which I dub the condensation theory of the origin of color. This theory arises from the Aristotelian commentary tradition with significant influences from astronomy, optics, and anatomy. This theory of color was closely intertwined with an Aristotelian cosmology, and is found in fully developed form in Averroës. Chapter 2 analyzes book 1 of Zabarella's De visu, where we find the most rigorous and complete explication of this theory in its history. Chapter 3 is an analysis of Fabricius's De visione, which combines anatomy, natural philosophy, and mathematical optics. Chapter 4 examines the shared, novel theory of vision held by Zabarella and Fabricius, and argues that they interacted across disciplinary lines in forming it. Chapter 5 demonstrates Zabarella’s and Fabricius’s influence on highly important figures for seventeenth-century optics and visual theory, such as Johannes Kepler, François Aguilón, and Christoph Scheiner; it argues for a revision to current narratives about the reception of the retinal theory of vision; and it addresses some major misconceptions about transformations to theories of vision and sensation in the seventeenth century.

The vast examination and analysis of Abbot Suger and the choir of Saint-Denis have mainly focused on the role and importance of the light coming through the stained-glass windows, neglecting the role of color in defining the cathedral's interior space. The same can be said of the references in Suger's writings to the colors of the stained-glass windows as well as of other early medieval goldsmithery objects once held in the basilica. This article analyzes mentions of color in Suger's writings in connection with related works of art. Considerations include the different ways in which color was understood in medieval culture, possible interpretations of the expression materia saphirorum and the vexata quaestio of the links between Suger and the metaphysics of light in Dionysius the Areopagite. Altogether, these considerations show how a full understanding of color-related issues is necessary for a correct interpretation of both Suger's writings and the stained-glass windows in the basilica's choir.

31. 3. 2022 StředověC JinaX Lecture - Hans Belting Library, Deaprtment of Art History, MUNI Brno

Abstract:
Color appears to us as something whose most intimate nature definitely eludes us. In the society of images, color informs, as in maps, it seduces, as in advertising, it narrates, as in cinema, it organizes, as in infographics, it prohibits, as in road signs, it shows off, as in sample collections. Yet still today, color is commonly perceived as something that belongs to colored things, as a material element. Very rarely, outside the scientific sphere, is color understood as the visual perception of the various electromagnetic radiations included in the visible spectrum.
In pre-industrial times, and in particular, in the Middle Ages, color was considered mainly in its material aspects, but, at the same time, it was intimately linked to the symbolic meanings attributed to it. These meanings varied according to historical moments, social situations, religion, etc., and they were never fixed: depending on the context of use, the same color could be given very different meanings.
This lecture aims to show some of these aspects related to the perception and role played by color in medieval societies with particular reference to the art of the central Middle Ages (twelfth-thirteenth century) and to the medium that perhaps more than any other focused on the visual power of colors: stained glass. The role played by color in the Middle Ages, medieval color-theories and other aspects related to colors’ materiality will be also retraced.

Ortaçağ’da renklerin tarihi ülkemiz akademik
çevrelerince çalışılmış bir konu değildir. Bu
konunun doyurucu bir şekilde çalışılmamış olmasının
sebebi, klasik bir tarih anlayışı ile yapılamayacağından
kaynaklanmaktadır. Çünkü renkler
bizden sadece Tarih’i istemezler. Tarih ile birlikte
Biyoloji, Ziraat, Kimya, Coğrafya, Sanat, Arkeoloji,
Tekstil, Maden, Ticaret bilgisi kısacası hepsini içinde
barındıran “İnterdisipliner Tarih” anlayışı istemektedir.
Aksi halde; Anadolu köylüsünce toplanıp
satılan Kökboya bitkisinin, İskenderiye’de Şap ile
birleşmesini, Venedik’te dokunmasını, Flandre’de
işlenmesini ve bir Frank kralının kök boya kırmızısı
pelerini üzerine giyme serüvenini başka türlü nasıl
izah edebiliriz. Bu amaç doğrultusunda dönemin
ana kaynakları tarih metodolojisine uygun olarak
incelenecektir. Ortaçağ Akdeniz coğrafyasında Kırmızı
boyarmadde elde edilmesinde kullanılan bitkisel
boyarmaddelerden Kökboya, Havacıva, Safran,
Yoğurtotu bitkileri ile hayvansal boyarmadde elde
edilmesinde kullanılan Kermes, Lak ve Murex’in
Akdeniz coğrafyasında üretildiği ve bulunduğu bölgeler
tarafımızdan çizilen haritalarla gözler önüne
serilecektir. Söz konusu bu haritalarda boyamacılı-
ğın en önemli maddesi olan Şap’ın, çıkarıldığı bölgeler
ve Ortaçağ’ın önemli boyama merkezleri de
tarihsel kaynaklar ışığında gözler önüne serilecektir.
Bunlara ilaveten Ortaçağ Akdenizi’ndeki doğal boyama
yöntemleri, kırmızı rengin anlamı ve kullanı-
mı tarihsel örneklerle bilim dünyasına sunulacaktır.
Ayrıca alana özgü katkı sağlaması açısından, Orta-
çağ’da Kırmızı rengin üretimi ve kullanımı hakkında
çalışma yapan araştırmacıların dikkatini çekmek ve
farklı boyarmaddeler hakkında çalışmalar yapacak
olan araştırmacılara fikir sunacağı düşünülmektedir.

En 1664 Robert Boyle publica Experimentos y consideraciones sobre los colores / Escritos primero, ocasionalmente, / entre otros ensayos, a un amigo; / y ahora dispuestos para divulgarse como / El comienzo de una / Historia Experimental de los colores. En este libro pretende indagar sobre la naturaleza del color y sobre la investigación del mismo; sin embargo se sitúa voluntariamente fuera de la búsqueda de una teoría del color. A cambio, presenta la descripción de múltiples experimentos en los que interviene el color con el propósito de determinar su importancia como hecho empírico y su utilidad para el historiador natural experimentalista a la hora de estudiar ciertos materiales y sus modificaciones.

"Black clothing thus remains fundamental to high fashion in Europe, buttressed by the legacies of Maya palace elites, the austere 14th-century magistrates of Europe, the courtiers of Habsburg Spain and their rival Protestants. Now, the liberal-era triumphs won by little black dresses and business suits have fastened their legacies for a second time to the fabric of global consumer culture...Despite the destruction of tropical forests around the world, which worsens rapidly with each passing year, palo is thriving from global society’s general lack of interest in its numerous properties. In a somewhat sinister turn, due to entrepreneurs’ efforts to cultivate palo de Campeche around the world, the tree has become invasive far from its original habitat. Throughout the tropics, from the Caribbean to West Africa, Southeast Asia, Hawaii and beyond, palo has established a presence in riverine systems not unlike those of its native southern Mexico. Time will tell what the consequences of this species’ spread will be. A plant that made empires, and survived them, is now quietly putting down the roots of an empire of its own."

El color negro, cuyos significados simbólicos asistirán a una consolidación en la Corona de Castilladurante los siglos XIII y XV, experimentó una importante promoción a lo largo de la Baja Edad Mediatanto en el plano funerario como en el de la magnificencia. Desde 1502, el negro se presentó de maneraexclusiva como color del luto, consolidando un simbolismo antiguo en el ámbito castellano. Al mismotiempo, el color negro inició a partir de las décadas centrales del siglo XV, fruto de la llegada de lasmodas del norte de Europa, una importante promoción como expresión de la magnificencia cortesana,en una dirección que insistía de forma simultánea en las ideas de humildad y autoridad | Black colour, whose symbolic meanings were consolidated in the Crown of Castile during the 13thand 15th centuries, experienced an important development not only in the funerary context, but alsoin connection with the notion of magnificence, throughout the late Middle Ages. From 1502, blackbecame the only colour of mourning, consolidating an old symbolism in the Castilian area. At thesame time, the use of black as an expression of courtesan magnificence, in a way that simultaneouslyinsisted on the ideas of humility and authority, become widespread since the central decades of the15th century, due to the arrival of fashions from Northern Europe | A cor preta, cujos significados simbólicos assistiram a uma consolidação na Coroa de Castela duranteos séculos XIII e XV, experimentou uma importante promoção durante a Baixa Idade Media, tantono plano funerário quanto no plano da magnificência. Desde 1502 a cor preta constituiu de maneiraexclusiva a cor do luto, consolidando assim um simbolismo antigo no âmbito castelhano. Ao mesmotempo, a cor preta iniciou durante as décadas centrais do século XV, como resultado da chegada dasmodas do norte de Europa, um incremento no seu uso como expressão da magnificência cortesã, numadireção que insistia de uma maneira simultânea nas ideias de humildade e de autoridade.

Proseminární práce, založená především na publikovaných nálezech historické barevnosti. Jen velmi omezene i na vlastním výzkumu. Může to být cenné, přes svou zastaralost, jako jakýsi relativně stručný, shrnující přehled.

Proseminar work, based mainly on published findings of historical color of architecture. Only very limited on their own research. It can be valuable, despite its obsolescence, as a kind of relatively brief, concise overview.

There are few semantic categories as ubiquitous yet elusive as those designating colors. Shiyanthi Thavapalan's The Meaning of Color in Ancient Mesopotamia (based on her 2017 doctoral thesis submitted to the Department of Near Eastern Languages and Civilizations at Yale University) is a major contribution to the study of colors in the ancient Near East, both in terms of philology and material culture. The study is well-conceived and wellwritten, and its insights will enlighten anyone interested in how Akkadian, and language more generally, divides and describes the visible segment of the electromagnetic spectrum.

I deal first with the issue of what was the Greeks and Romans’ chromatic experience as it emerges from the linguistic evidence, showing that colors were actually perceived, and they emotionally affected people, in degrees of light and darkness rather than in terms of hue. Then I claim that this assumption also underlies both ancient theories on color and vision (Democritus, Plato, Aristotle, and the Peripatetic De coloribus) and the various aesthetic judgments to be found throughout ancient literature on the beauty and emotional power of (mainly brilliant) colors. Polychromy in sculpture and the painters’ practices of mixing pigments are taken into consideration as well, along with the  relevant comments by ancient authors.

This article investigates the colors of the Nahua manuscript known as Codex Borbonicus and compares them with the chromatic qualities of the first color reproduction of this docu-ment, a photochrom executed at the end of the 19th century. Based on a detailed examination of the original, the first part of this article describes the physical traits of the Borbonicus, with special emphasis on its color palette. Subsequently, are described the characteristics and the academic significance of the first color edition of the manuscript, published by Ernest-Theodore Hamy in 1899. Finally, the article underlines that even if true facsimile editions of the Borbonicus are now available, the first reproduction of the document still deserves to be consulted by the Americanists, because it grants access to a no longer existing image of the Borbonicus, while its saturated colors recall the chromatics features of the Pre-Columbian Nahua codices.

Intervento al congresso Alma Dante-Ravenna, 29 maggio/1 giugno 2019
L’intervento considera i colori di Purg. VII, 73-75 ed in particolare l’espressione «legno lucido e sereno»; riprendendo e sviluppando l’idea che il sintagma riguardi una gemma e un fiore entrambi detti lychnis, si sostiene l’identificazione della relativa tinta nei termini di un purpureus. Poiché la composita espressione può alludere ai vicini «oro», «argento» e «indaco», tale carattere riepilogativo sembra ricordare la situazione e la comune veste «in porpore» delle donne-virtù dell’Eden, spingendo inoltre a collegare gli altri colori della valle dei principi all’aspetto delle virtù teologali. Per chiarire tutti i parallelismi, si considera l’ipotesi che le serie di colori di Purg. VII e dell’Eden (canti XXIX e XXXI-XXXII) seguano uno schema mnemotecnico legato alla dottrina dei gradi di virtù di Macrobio e alla teologia dei Doni dello Spirito Santo di Tommaso d’Aquino.
Il discorso è corredato da immagini (miniature, pitture e fotografie).

Sally Hacker Prize for Exceptional Scholarship that Reaches Beyond the Academy from the Society for the History of Technology, 2013

American Institute of Graphic Arts, Best of New England Design Award, 2013

Best Business Books of 2012, "Wall Street Journal"

Notable Books of 2012, "Designers & Books"

Top Bookings for the Holidays, "Women's Wear Daily," 2012

You're clearly missing something if you haven't read "The Color Revolution." Available through MIT Press, Amazon.com, and Amazon.com.uk.

Il 27 dicembre 1818 Maria Luisa di Borbone, regina d’Etruria e duchessa di Lucca, firmava il primo Ordine Reale nel quale era nominato Pietro Paoli di Lucca il Direttore di tutti i lavori di abbellimento alla pubblica passeggiata della Muraglia ed altri simil natura. Era il primo importante provvedimento attuato per la città di Lucca e finalizzato ad istituire la Direzione dei Pubblici Abbellimenti che interessava sia il centro storico che le sue mura. Dieci anni più tardi, nell’aprile del 1828, il figlio Carlo Lodovico aboliva la Direzione nata nel 1818 a favore della istituzione della Regia Deputazione degli Edili che aveva funzioni di vigilanza e di direzione generale dei lavori eseguiti sulle principali fabbriche e sul passeggio delle mura.
A distanza di duecento anni (1818-2018) da questo primo importante conferimento istituzionale finalizzato all’abbellimento della città il volume ha inteso analizzare la documentazione conservata presso l’Archivio Storico Comunale della città di Lucca al fine di renderla disponibile a quanti si occupano della conservazione e della valorizzazione del patrimonio urbano. Un esempio quello di Lucca per tornare a riflettere sul valore dell’estetica della città e sui concetti della “bellezza” all’interno di un ambiente la cui multiculturalità negli ultimi anni ha rinnovato canoni e paradigmi di riferimento.

The present study has as central subject Death as a character transposed into an image. The concept and the way of representation of this symbol built around an irrepresentable figure bring into discussion numerous unknown aspects, as the reasons which determined
the artists to include these images in their works but especially the way in which they transposed into image the death spectre (the appearance, the gender or the colour of Death) depending on the area and the historical context they lived and created in. The
answers were sought within the Romanian religious iconography of the 18th-19th centuries,
especially in various areas from the North-West and the centre of the country. Iconographical patterns were identified following a fascinating periplus through the eschatological iconography; these were perpetuated between 1750 and 1830 creating a sort of coherence and visual identity regarding the macabre characters, and the itinerant nature of the painters’ work contributed to the translation of certain images from one
religious monument to another and to the creation of patterns. The details’ analysis regarding the colours in which Death was imagined could prove useful for understanding the context in which it made felt its presence and the way in which the painters from
different areas proposed versions to certify their vision and to relate the routes that were travelled and the influences they felt.

Procesos: revista ecuatoriana de historia 43 (2016): 37-64.
Basado principalmente en documentación inédita, este estudio cubre una gama de materiales, así como modelos artísticos, disponibles para pintores en el mercado local desde comienzos de la colonia. Incluye tanto grabados como pinturas importadas, sus temas, características y precios; los pinceles, soportes, pigmentos, aglutinantes, secantes y otros elementos de confección pictórica; así como las condiciones del mercado en la compraventa de materiales y obras de arte. La evidencia muestra la riqueza de modelos y materiales, tanto locales como importados, que tuvieron a su alcance los primeros pintores quiteños.

Complementary afterimages are often modeled as illusory Hering opponent hues generated by the visual system as a result of adaptation. Yet, the empirical evidence suggests a different picture—Complementary afterimages are localized RGB filtered perception based on complementary color pairs. The article aims to bring to the fore an ongoing ambiguity about red/green afterimages and then to address all cases of complementary afterimages. A simple model of afterimages based both on empirical data and the available literature is reconsidered and discussed: The afterimage color A depends both on the color stimulus S and on the ensuing background color B as estimated by the relation, A = B – kS.