Pipeline - Issue 48
Pipeline - Issue 48
Magzter GOLDã§èªã¿æŸé¡ãå©çšãã
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I received disparate reactions when I mentioned colours as a theme for this issue of Pipeline. Many of the artists I probed and tested stared past me disappointingly. Some told me straight out not to care about colours: âThey are not important,â I kept hearing. It would appear that colour is the degenerate distant cousin of concept, archaic â colour had moment of its glory when painting as a medium did â and too shallow to talk about. And yet. In the very technical overview of colours A History of Color by Manlio Brusatin, from very scientific explanations of colour to Goetheâs theory of colour, we learn how its history is intricately intertwined with that of textiles; that until the mid-19th century, in Europe, wedding dresses used to be red; that palettes varied by religion: the discreet tones of protestant Rembrandt, the colourful ones of catholic Rubens; and about the chemical instability of green, which was made directly, and not as a mixture of yellow and blue, until the 17th century. The writings of Michel Pastoureau did much to flesh out and romanticise the subject. Dubbed the historian of colours by The New York Review of Books, he allocated individual volumes to Blue, Green, Black and so on. He points out, for instance, that blue was once considered a warm colour.
Pipeline Magazine Description:
åºç瀟: Double Pipe Publishers Limited
ã«ããŽãªãŒ: Art
èšèª: Chinese - Traditional
çºè¡é »åºŠ: 45 Days
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