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4 books match the query 'Color in art'

cover of Bright Earth: Art and the Invention of Color

Bright Earth

Art and the Invention of Color

Philip Ball

University of Chicago Press, 2003

From Egyptian wall paintings to the Venetian Renaissance, impressionism to digital images, Philip Ball tells the fascinating story of how art, chemistry, and technology have interacted throughout the ages to render the gorgeous hues we admire on our walls and in our museums.

Finalist for the 2002 National Book Critics Circle Award.
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cover of Chroma: A Book of Color

Chroma

A Book of Color

Derek Jarman

University of Minnesota Press, 2010

Chroma: A Book of Color is a meditation on the color spectrum by Britain’s most controversial filmmaker. From the explosions of image and color in Edward II, The Last of England, The Garden, and Wittgenstein, to the somber blacks of his collages and tar paintings, Derek Jarman has consistently used color in unprecedented ways. In his signature style, a lyrical combination of classic theory, anecdote and poetry, Jarman takes the reader through the spectrum, introducing each color as an embodiment of an emotion, evoking memories or dreams.
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cover of Monochrome Multitudes: Art of One Color from Albers to Zeisler

Monochrome Multitudes

Art of One Color from Albers to Zeisler

Edited by Orianna Cacchione and Christine Mehring

University of Chicago Press, 2027

A vividly illustrated volume tracing the monochrome as a fundamental yet expansive strategy in twentieth- and twenty-first-century art.

Exploring a fantastic range of monochromatic artworks, Monochrome Multitudes upends traditional accounts of abstraction, revisits modernist ideas, and reveals the creative possibilities and global resonance of a seemingly reductive art form.

Bringing together examples spanning five continents, the book considers how artists such as El Anatsui, Mark Bradford, Lygia Clark, Lucio Fontana, Ellsworth Kelly, Yayoi Kusama, Kasimir Malevich, Gerhard Richter, Betye Saar, Amanda Williams, Haegue Yang, as well as little-known early cartoonists have experimented with monochrome compositions. Scholars of art history, film, music, law, disability studies, astrophysics, neurobiology, mathematics, and more reflect on monochrome artworks that build on foundational components of modernism. Together, they illuminate often overlooked cultural, political, racial, and gendered meanings of artworks; reveal the significance of materials ranging from fiber, wall paint, and videotape, to footballs, pantyhose, and candy; and engage North American art in a global dialog extending into Europe, Asia, Latin America, and Africa. Artworks are presented in monochromatic groupings—yellow, blue, white, red, gray, and black—and thematic sections trace connections across topics such as the body, the environment, urban space, sound, and media.

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cover of The Objective Eye: Color, Form, and Reality in the Theory of Art

The Objective Eye

Color, Form, and Reality in the Theory of Art

John Hyman

University of Chicago Press, 2006

“The longer you work, the more the mystery deepens of what appearance is, or how what is called appearance can be made in another medium."—Francis Bacon, painter
 
This, in a nutshell, is the central problem in the theory of art. It has fascinated philosophers from Plato to Wittgenstein. And it fascinates artists and art historians, who have always drawn extensively on philosophical ideas about language and representation, and on ideas about vision and the visible world that have deep philosophical roots.

John Hyman’s The Objective Eye is a radical treatment of this problem, deeply informed by the history of philosophy and science, but entirely fresh. The questions tackled here are fundamental ones: Is our experience of color an illusion? How does the metaphysical status of colors differ from that of shapes? What is the difference between a picture and a written text?  Why are some pictures said to be more realistic than others? Is it because they are especially truthful or, on the contrary, because they deceive the eye?
 
The Objective Eye explores the fundamental concepts we use constantly in our most innocent thoughts and conversations about art, as well as in the most sophisticated art theory.  The book progresses from pure philosophy to applied philosophy and ranges from the metaphysics of color to Renaissance perspective, from anatomy in ancient Greece to impressionism in nineteenth-century France. Philosophers, art historians, and students of the arts will find The Objective Eye challenging and absorbing.
 
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