Color: A Natural History of the Palette (62 page)

Read Color: A Natural History of the Palette Online

Authors: Victoria Finlay

Tags: #History, #General, #Art, #Color Theory, #Crafts & Hobbies, #Nonfiction

BOOK: Color: A Natural History of the Palette
4.16Mb size Format: txt, pdf, ePub

Paludan, Ann.
Chronicle of the Chinese Emperors
. London: Thames and Hudson, 1998.

Parkinson, John, herbalist to the King.
Theatrum Botanicum or the Theatre of Plants, or An Herbal of a Large Extent
. London: Thomas Coates, 1640.

Perilla, Francesco. Chio L’lle Heureuse. Paris, 1928.

Peterson, Nicholas, and Ronald Lampert. “A Central Australian Ochre Mine.” In
Records of the Australian Museum
, vol. 37 (1). Sydney: The Australian Museum, 1985, pp. 1–9.

Petit. The Manufacture and Comparative Merits of White Lead and Zinc White Paints. Trans. Donald Grant. London: Scott, Greenwood & Son, 1907.

Petroski, Henry.
The Pencil: a history of design and circumstance
. New York: Alfred A. Knopf, 1989.

Pinckney, Elise.
The Letterbook of Eliza Lucas Pinckney 1739–1762.
Ed. Elise Pinckney. Chapel Hill: University of North Carolina Press, 1972.

Pinkerton, John.
Collection of the Best and Most Interesting Voyages and Travels in All Parts of the World
, volume XIII. London: Longman, Hurst, Rees and Orme, 1812.

Plesters, Joyce. “Ultramarine Blue, Natural and Artificial.” In
Artists’ Pigments
, vol. 2, pp. 37–66.

Pliny the Elder.
The Natural History
. Trans. John Bostock and H. T. Riley. London: Henry G. Bohn, 1842.

Ponting, K. G. A Dictionary of Dyes and Dyeing. London: Bell & Hyman Ltd, 1980.

Rao, Amiya.
The blue devil: indigo and colonial Bengal, with an English translation of Neel darpan by Dinabandhu Mitra
. Delhi: Oxford University Press, 1992.

Rashid, Ahmed.
Taliban, Islam, Oil and the New Great Game
. London: I. B. Tauris & Co, 2000.

Reade, Charles.
Cremona Violins. Four letters descriptive of those exhibited in 1873 at the South Kensington Museum
. Gloucester: John Bellows, 1873.

Riddell, W. H. Altamira. Edinburgh: Oliver and Boyd, 1938.

Rosetti, Gioanventura.
Plictho de Larte de Tentori che Insegna Tenger Pani Telle Banbasi et sede si per Larte Magiore Come per la Comune
. Venice, 1548.

Rowlands, John.
The Age of Dürer and Holbein, German Drawings 1400–1550
. London: British Museum, 1988.

Roy, Ashok, (ed.).
Artists’ Pigments: A Handbook of their History and Characteristics
, vol. 2. Washington: National Gallery of Art, 1993.

Rudenko, Sergei.
Frozen Tombs of Siberia
. London: J. M. Dent & Sons, 1970.

Rumphius, Georgius Everhardus.
The Ambones Curiosity Cabinet
. Trans. E. M. Beekman. Yale: Yale University Press, 1999.

Sagona, A. G. (ed.).
Bruising the Red Earth: ochre mining and ritual in aboriginal Tasmania
. Carlton, Victoria: Melbourne University Press, 1994.

Sandberg, Gosta. Indigo Textiles: technique and history. London: A. & C. Black, 1989.

Sargent, Walter.
The Enjoyment and Use of Color
. New York: Scribner, 1923.

Schama, Simon.
Rembrandt’s Eyes
. London: Penguin, 2000.

Schweppe, Helmut. “Indigo and Woad.” In
Artists’ Pigments
, vol. 3, pp. 81–109.

Schweppe, Helmut, and Heinz Roosen-Runge. “Carmine.” In
Artists’ Pigments
, vol. 1, pp. 255–79.

Schweppe, Helmut, and John Winter. “Madder and Alizarin.” In
Artists’ Pigments
, vol. 3, pp. 109–42.

Seale, William.
The President’s House: A History
. Washington: White House Historical Association, 1986.

Shackleford, George. “Van Gogh in Paris: Between the Past and the Future.” In Van Gogh face to face: the portraits. London: Thames & Hudson, 2000.

Sloane, Patricia. Primary Sources: selected writings on color from Aristotle
to Albers
. New York: Design Press, 1991.

Smith, Joseph.
Safflower
. Champaign, Ill.: AOCS Press, 1996.

Smith, Ramsay.
Myths and Legends of the Australian Aborigines
. Sydney: Angus & Robertson, 1930.

Spalding, Frances.
Whistler
. Oxford: Phaidon, 1979.

Spanier, Ehud (ed.).
The Royal Purple and the Biblical Blue: Argaman and Tekhelet
. Jerusalem: Keter Publishing House, 1987.

Starzecka, D. C. (ed.). Maori Art and Culture. London: British Museum Press, 1996.

Stead, I. M., J. B. Bourke and Don Brothwell (eds).
Lindow Man, the
body in the bog. London: British Museum, 1986.

Strehlow, Theodor. Songs of Central Australia. Sydney: Angus & Robertson, 1971.

Taylor, Hilary. James McNeill Whistler. London: Studio Vista, Cassell Ltd, 1978.

Theophilus.
On Divers Arts
. Trans. John G. Hawthorne and Cyril Stanley Smith. New York: Dover Publications Inc., 1979.

Theroux, Alexander.
The Primary Colours.
London: Papermac, 1996.

Theroux, Alexander.
The Secondary Colors.
New York: Henry Holt, 1996.

Thom, Laine.
Becoming Brave: The Path to Native American Manhood
. San Francisco: Chronicle Books, 1992.

Thompson, Daniel.
The Materials of Medieval Painting
. London: Allen & Unwin Ltd, 1936.

Thompson, James Matthew.
Napoleon Bonaparte
. London: Basil Blackwell, 1988.

Thompson, Jon. “Shellfish Purple: The Use of Purpura Patula Pansa on the Pacific Coast of Mexico.” In
Dyes in History and Archaeology
, vol. 13. York: Textile Research Associates, 1991.

Toch, Maximilian.
Materials for Permanent Painting
. London: Constable and Co. Ltd, 1911.

Townsend, Joyce.
Turner’s Painting Techniques
. London: Tate Publications Ltd (2nd ed.), 1999.

Travis, Anthony. The Rainbow Makers. The Origins of the Synthetic Dyestuffs
Industry in Western Europe
. Bethlehem, Pa.: Lehigh University Press, 1993.

Turner, R. C., and R. G. Scaife. Bog Bodi s, new discoveries and new per
sp ctives
. London: British Museum Press, 1995.

Tweedie, Penny.
Spirit of Arnhemland
. Australia: New Holland Publishers, 1995.

Varley, Helen (ed.).
Colour
. London: Marshall Editions, 1980.

Vasari, Giorgio.
Lives of the Most Eminent Painters, Sculptors and Artists
. Trans. Gaston Duc de Vere. London: Macmillan and the Medici Society, 1976. (1st ed. 1912).

Wang, Kai.
The Mustard Seed Garden Manual of Painting. A facsimile of the 1887–1888 Shanghai Edition
. Trans. Sze Mai-mai. Princeton, NJ: Princeton University Press, 1977.

Warner, Langdon.
The Long Old Road in China
. London: William Heinemann, 1926.

Whitefield, Susan.
Lif along the Silk Road
. London: John Murray, 1999.

Whorf, Benjamin Lee.
Language, Thought and Reality
. London: Chap-man and Hall, 1956.

Willard, Pat.
Secrets of Saffron: The Vagabond Life of the World’s Most Seductive Spice
. Boston: Beacon Press, 2001.

Wilson-Bareau, Juliet, and Manuela B. Mena Marquez.
Goya: Truth and Fantasy, The Small Paintings
. Madrid: Museo del Prado in association with Yale University Press, 1994.

Winter, John. “Gamboge.” In
Artists’ Pigments
, vol. 3, pp. 143–56.

Wood, John.
A Personal Narrative of a Journey to the Source of the River Oxus.
London: John Murray, 1841.

Zollinger, Heinrich.
Color: A Multidisciplinary Approach
. Zurich: Verlag Helvetica Chimica Acta, 1999.

LIST OF ILLUSTRATIONS, MAPS AND PHOTOGRAPHS

Illustrations

Maps

Travels Through a European Paintbox

Travels Through an Australian Paintbox

Travels Through an Afghan Paintbox

Travels Through a Mexican Paintbox

Photographs

Bottles of powdered pigments. Reproduced courtesy of Winsor & Newton, Harrow. © Winsor & Newton.

Artists at Papunya, Australia. Reproduced courtesy of Geoffrey Bardon. © Geoffrey Bardon.

A natural paintbox at Jumped Up Creek, Australia. © Victoria Finlay.

A pattern book from 1763 © Victoria and Albert Picture Library. A sampler from the 1860s © Victoria and Albert Picture Library.
A Girl with a Baby,
Joshua Reynolds. Reproduced courtesy of the Dulwich Picture Gallery, London. © Dulwich Picture Gallery.

Dunhuang Caves, cave painting, China. Reproduced courtesy of CIRCA Photo Library / © Tjalling Halbertsma.

Manuscript of Pliny’s
Natural History
(1465). © Victoria and Albert Picture Library.

Cochineal bugs on a cactus leaf. © Victoria Finlay.

The Entombment,
Michelangelo (1501). © National Gallery, London.

Saffron poster from Consuegra. © Victoria Finlay.

Red trays. Reproduced courtesy of Winsor & Newton, Harrow. © Winsor & Newton.

Antonio Stradivari. “Parke” violin (1711). Reproduced courtesy of J & A Beare, London. © J & A Beare.

Krishna playing flute to cows, Indian temple (North India). Reproduced courtesy of CIRCA Photo Library / © Martin Palmer.

Sprig of indigo. © Royal Botanic Gardens, Kew.

Santiago de la Cruz in Mexico. © Nell Nelson.

Yellow
cuerda seca
tile (1600s). © Victoria and Albert Picture Library.

Miner from Sar-e-sang in Afghanistan. © Robert Nickelsberg.

Lapis Lazuli for ultramarine paint. Reproduced courtesy of Winsor & Newton, Harrow. ˙© Winsor & Newton.

Window depicting
Notre Dame de la Belle Verriere
in south choir, thirteenth century (stained glass), Chartres Cathedral, Chartres, France. © Bridgeman Art Library.

Indian Yellow nuggets. Reproduced courtesy of Winsor & Newton, Harrow.© Winsor & Newton.

CREDITS

Permission to use copyright material is gratefully acknowledged to the following. While every effort has been made to trace all copyright holders the author apologizes to any holders not acknowledged.

The quotations from
The Dalai Lama’s Secret Temple: Tantric wall paintings from Tibet,
by Ian Baker, 2000 is © Thames & Hudson; the quotations from
The Ambonese Curiosity Cabinet
by Georgius Everhardus Rumphius, translated by E.M. Beekman, 1999 are by kind permission of Yale University Press; the quotation from
Chauvet Cave, the Discovery of the World’s Oldest Paintings
by Jean-Marie Chauvet, Eliette Brunel Deschamps and Christian Hillaire, 1996 is © Thames & Hudson; the quotation from
Looking at Pictures
by Kenneth Clark, 1961 is by kind permission of John Murray; the quotation from
What Painting Is
by James Elkins, 1999 by kind permission of Routledge; the quotation by Harvey Fierstein is by kind permission of Harvey Fierstein; the quotations from
Colour and Culture
by John Gage, 1993 are © Thames & Hudson; all quotations from
Painting Materials: a short encyclopaedia,
1966 by Rutherford Gettens and George Stout are by kind permission of Dover Books, New York; all quotations from
The Art Forger’s Handbook,
by Eric Hebborn, 1997 are © Cassell; the quotation from
The Essential Saffron Companion,
by John Humphries, 1996 is by kind permission of Grub Street, London; the quotation from
Leonardo on Painting
edited by Martin Kemp, 1985, is © Yale University Press; the quotations from
The Artist’s Handbook of Materials and Techniques
by Ralph Mayer, 1991 are by kind permission of Faber & Faber and Viking Press New York; the quotations by Desmond Morris from
The Cambridge Illustrated History of Prehistoric Art
by Paul Bahn, 1988 is by kind permission of Cambridge University Press, Cambridge; the quotation from
Taliban: Islam, Oil and the New Great Game
by Ahmed Rashid, published by I. B. Tauris & Co. is by kind permission of I. B. Tauris & Co.; all quotations from
The Craftsman’s Handbook
by Cennino Cennini and translated by Daniel Thompson, 1933 (1960) are by kind permission of Dover Books, New York; the quotation by J. M. Thompson is by kind permission of Basil Blackwell, Oxford; all quotations from
The Long Old Road in China
by Langdon Warner, 1926 are © William Heinemann.

Other books

Holes by Louis Sachar
If You Dare by Jessica Lemmon
Resenting the Hero by Moira J. Moore
Blood From a Stone by Lucas, Cynthia
Poet by Juli Valenti