- Gebundene Ausgabe: 448 Seiten
- Verlag: Ballantine Books (1. Januar 2003)
- Sprache: Englisch
- ISBN-10: 0345444302
- ISBN-13: 978-0345444301
- Größe und/oder Gewicht: 21,4 x 15,2 x 3,8 cm
- Amazon Bestseller-Rang: Nr. 16.678 in Englische Bücher (Siehe Top 100 in Englische Bücher)
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Produktbeschreibungen
From Booklist
Journalist Finlay travels the world in search of ancient sources of natural colors, recounting along the way the surprising chemical processes by which everything from stones to insects to mummies have been transformed into precious pigments for paint, dyes, and varnish. In pursuit of art's first color, ochre, Finlay goes to Australia, offering, as she does in each location, an agile and entertaining then-and-now look at a place, a people, and a color and its uses and acquired meaning. Explication of red made from cochineal beetles inspires a compelling tale that stretches from Central America to Scotland, and wry humor abounds in her search for a yellow allegedly once made in India from the urine of mango-leaf-eating cows and coverage of sundry poisonous pigments. Her quest for blue brought Finlay to Afghanistan in 2000, where she was the first woman ever to tour a 7,000-year-old lapis lazuli mine, and one of the last Westerners to see the giant Buddhas of Bamiyan. Curious social mores, serendipitous science, and lots of skulduggery are all part of the rich spectrum Finlay so cheerfully illuminates. Donna Seaman
Copyright © American Library Association. All rights reserved
Copyright © American Library Association. All rights reserved
Pressestimmen
“This is a rare and wonderful book–a model of erudition and charm, the writing elegant and precise, and with at least one new and fascinating revelation on every single page. I could not be more enthusiastic.”
–SIMON WINCHESTER
Author of The Professor and the Madman
“Until I read this book, I was colorblind.”
–CYNTHIA ROWLEY
–SIMON WINCHESTER
Author of The Professor and the Madman
“Until I read this book, I was colorblind.”
–CYNTHIA ROWLEY
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61 Rezensionen
95 von 107 Kunden fanden die folgende Rezension hilfreich
Definitve popular history of colour
2. Januar 2003
Format:Gebundene Ausgabe
I thoroughly enjoyed this reportage, where Victoria tracks down the origns of so many colours I knew from my childhood paintbox and later days with an aniline dyestuff manufacturer. However good the book is, and I highly recommend this to anyone interested in colourants and their origins, I was left wanting more......an upto date Part 2 please, to answer the questions that were left unanswered such as, "Is the lack of vivid bright orange just a reaction to the 60' & 70's overuse or is it still the case that cadmium orange (which does not get a mention) has not been replaced with anything quite as powerful? and what are the colours we now use in our paint boxes, wallpapers and so on?"
Why am I posing these questions, well Victoria is just the person to tell us auhtoritatively & accurately. I only had a few quibbles with the entire 400+ pages, one was an editor's slip that allowed India to be separated into Bangladesh, India & Pakistan in 1947! Which I am sure the author knows was not quite the instant route it seems (first it was the eastern half of the division known as Pakistan i.e. East Pakistan which then separated in 1971 I believe from West Pakistan and became Bangladesh). Another was the rather simlplistic way she refers to chemical formulas, yes of course AsS is a combination of 1 molecule each of arsenic & sulphur whereas As2S3 combines in the ratio of 2:3, however whether this means in fact the latter is any more poisonous than the former can not be assumed from the chemical formula....if I remember my chemistry correctly you need to understand which is more soluble in water or most readily adsorbed in the stomach (a solution of HCl I believe). If the author has confirmed this it was not clear from the text and copiuous and excellent notes. Lead as usual gets a poor press, it would have been nice to see it labelled as harmless until compounds are airborne and/or actually disolved. Lastly I really enjoyed reading about FDA "enforced inks" (as in tattoo inks. In my days of permitted food & cosmetic colours the term was "FDA Approved", however the process of approval and batch certification would no doubt be viewed as enforcement by many I suspect!
Please don't let my minor quibbles spoil a interesting, unique and very accurate book which I found a delight to read and one I look forward to re-reading, somehting I hardly ever do - life is too short!
Hope this helps
43 von 47 Kunden fanden die folgende Rezension hilfreich
The Travel History of Artist Pigments
17. Juni 2004
Format:Taschenbuch
This is a joy of a book. Victoria Finlay has taken a subject that is very important, but seldom discussed - namely how did we get the colors used by artists for painting - and wove it into a personal account of her travels to find their sources. In the process she introduces the reader to all manner of exotic and little-known, but delightful facts, peoples and places. From cochineal (I might note here that as an entomologist I was somewhat discouraged by her apparent inability to decide whether to call the source a beetle or a bug- it is a BUG! - the one clinker in an otherwise well done book), through madder as a source of orange, saffron for yellow, and on to lapis lazuli for blue, etc. The book is (as noted) also a personal travel narrative with lots of side trips. I found these to be fascinating and to add interest to a book that might have been a dry compendium of facts about chemicals.
"Color: A Natural History of the Palette" is a good book to curl up with at night or to read on an airplane. The reader will find enough local "color" and interesting tidbits to make the hours very pleasant indeed. This is, I think, especially true of artists who may not know much about the colors they use in their work.
"Color: A Natural History of the Palette" is a good book to curl up with at night or to read on an airplane. The reader will find enough local "color" and interesting tidbits to make the hours very pleasant indeed. This is, I think, especially true of artists who may not know much about the colors they use in their work.
28 von 30 Kunden fanden die folgende Rezension hilfreich
Lots of facts and observations in a relaxed presentation.
21. März 2006
Format:Taschenbuch|Von Amazon bestätigter Kauf
In some ways, this little book is hard to explain. Finlay is an excellent writer and thus much of the book is her exotic travels to seek the source of exotic colors from around the world. However, she also explores the history of certain pigments, paints, dyes, and other products. She also gives very interesting details on the production of these pigments,some of which required considerable costs and effort. Finally she gives interesting information about the pigment or product itself, focusing on various chemical properties, such as whether or not it is a poison or is light fast.
I enjoyed her early chapters on the production of paint, ranging all the way from ancient Roman encaustic painting, the hand ground pigments of the Renaissance, and the birth of more standardized paint products during the Industrial revolution.
It is fitting that Finlay starts her discussion with ocre, the most common of the dirt colors, which has given us such a broad range of tones through the centuries.
In her chapters on Black and Brown, we learn the origins of charcoal, pencil, and ink drawing instruements. In her chapter on White, we learn the terrible history of lead poisoing for those who wore White Lead makeup. In the chapter on Red we learn all about the cochineal beetle, that eats cactus, and has brilliant red blood - the color often called Carmen. We learn of other reds, such as Rose Madder, made from rose petals. Oranges may come from various plant sources and show up in varnish. We hear of brilliant yellows from the urine of cows fed mango leaves, or brilliant but poisonous greens - one of which is suspected of poisoning Napoleon with arsnic infused wallpaper.
Finlay goes to Afganistan to seek lapis blue and has some interesting tales to tell about the Taliban. She ends with Indigo and Violet to complete the spectrum.
Interesting reading, relaxed and tangential at times, but well researched and factual; every studio art and art history student should read it.
I enjoyed her early chapters on the production of paint, ranging all the way from ancient Roman encaustic painting, the hand ground pigments of the Renaissance, and the birth of more standardized paint products during the Industrial revolution.
It is fitting that Finlay starts her discussion with ocre, the most common of the dirt colors, which has given us such a broad range of tones through the centuries.
In her chapters on Black and Brown, we learn the origins of charcoal, pencil, and ink drawing instruements. In her chapter on White, we learn the terrible history of lead poisoing for those who wore White Lead makeup. In the chapter on Red we learn all about the cochineal beetle, that eats cactus, and has brilliant red blood - the color often called Carmen. We learn of other reds, such as Rose Madder, made from rose petals. Oranges may come from various plant sources and show up in varnish. We hear of brilliant yellows from the urine of cows fed mango leaves, or brilliant but poisonous greens - one of which is suspected of poisoning Napoleon with arsnic infused wallpaper.
Finlay goes to Afganistan to seek lapis blue and has some interesting tales to tell about the Taliban. She ends with Indigo and Violet to complete the spectrum.
Interesting reading, relaxed and tangential at times, but well researched and factual; every studio art and art history student should read it.
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