This book will appeal to scholars and students of art history, literature, cultural studies, and the history of science in the long eighteenth-century, as well as curators, conservators, and readers fascinated by the histories of colour and material culture.
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Charlotte Ribeyrol is Professor of 19th-century British Literature at Sorbonne Université in Paris and honorary curator at the Ashmolean Museum in Oxford. Her main field of research is Victorian Hellenism and the reception of the colours of the past in 19th-century painting and literature. Her first monograph entitled
Matthew Winterbottom is Curator of Western Art Sculpture and Decorative Arts at the Ashmolean Museum, Oxford. He has over 35 years’ experience working with and researching European decorative arts. His research interests cover a wide range of European decorative arts from the late medieval to the early twentieth centuries. He has extensive knowledge of metalwork, furniture, ceramics, glass and textiles and sculpture. He is committed to exploring ways of making this material more engaging and accessible to museum visitors. Most recently, Matthew co-curated the exhibition
Stefano Evangelista is Professor of English and Comparative Literature at Oxford University and Fellow of Trinity College. He works on nineteenth-century literature and is especially interested in Aestheticism and Decadence, the relationship between literary and visual cultures, and the reception of Japanese and European classical culture. His latest monograph is
Charlotte Ribeyrol is Professor of 19th-century British Literature at Sorbonne Université in Paris and honorary curator at the Ashmolean Museum in Oxford. Her main field of research is Victorian Hellenism and the reception of the colours of the past in 19th-century painting and literature. Her first monograph entitled
Matthew Winterbottom is Curator of Western Art Sculpture and Decorative Arts at the Ashmolean Museum, Oxford. He has over 35 years’ experience working with and researching European decorative arts. His research interests cover a wide range of European decorative arts from the late medieval to the early twentieth centuries. He has extensive knowledge of metalwork, furniture, ceramics, glass and textiles and sculpture. He is committed to exploring ways of making this material more engaging and accessible to museum visitors. Most recently, Matthew co-curated the exhibition
This chapter brings together different developments which occured in conjunction in the second half of the nineteenth century: the expansion of European Empires, which fuelled an appetite for colourful exotic feathers and broadened the chromatic expectations and tastes of western consumers; the development of aniline dyes and the impact of their vibrant, fast colours on feather dyeing; and a growing environmental consciousness, leading to the condemnation of the destructive use of the colourful plumage of wild birds. Combining research into dye recipes, company archives from both sides of the Atlantic, patents taken out by feather dyers and material sources in museums, the chapter contextualises nineteenth-century feather dyeing practices within the longer history of feather dyeing and the construction of empires. In the process, it positions late nineteenth-century feather dyeing as a rich conundrum that allows us to explore the entangled histories of nature and artifice in the age of empires.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Ariane", "lastName": "Fennetaux", "fullName": "Ariane Fennetaux", "biographies": [ { "biographyId": "9fbf6000-9983-4caf-85a0-c5dca242c28e", "contributionId": "8418c327-d7ce-4e14-acb4-86da6264296b", "content": "Ariane Fennetaux is Professor of British History at Université Sorbonne Nouvelle. She is a specialist of the history of textile and sartorial practices in Britain and its empire in the long eighteenth century. She is the author, with Barbara Burman, of
Chrome yellow (PbCrO₄) was one of the most important colorants of the nineteenth century. This article illuminates its early American origins and its role in the decorative arts movement known as ‘American Fancy’. New research shows that American chrome yellow first appeared as a short-lived collaboration between the American Rubens Peale (1784-1865) and the French minerologist Silvain Godon (ca.1774-1840), who discovered sources of ‘cromate of Iron’ during mineralogical excursions in the Baltimore-Philadelphia region. However, their 1809 business venture to establish a ‘Manufactory of Crome Colours’ failed dramatically. The prohibitive cost of chrome yellow in the two decades that followed contributed to its slow acceptance, resulting in continued dependence on traditional inorganic yellows. This changed in 1827, when Isaac Tyson (1792-1861) re-discovered the significant chromium ores in the Baltimore-Philadelphia area and industrialized its production. The materiality of chrome yellow was explored through scientific analysis of early American artworks at the Colonial Williamsburg Foundation. Taken together, these findings elucidate chrome yellow’s early history of use and how this pigment found its place in the painted finishes of the New Republic and eventually, the world.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Kirsten", "lastName": "Travers Moffitt", "fullName": "Kirsten Travers Moffitt", "biographies": [ { "biographyId": "38d117fa-26b0-46e2-ad44-11c1fadf5dd7", "contributionId": "92707bdc-def9-47a5-9eb0-79eb9f6d1f66", "content": "Kirsten Travers Moftt is the Senior Conservator and Materials Analyst at the Colonial Williamsburg Foundation, USA. She received a Master of Science degree from the Winterthur/University of Delaware Program in Art Conservation, where she serves as afliated faculty, instructing graduate students in polarized light and cross-section microscopy. She leads paint analysis workshops for museum professionals and operates an independent heritage microscopy practice from her home in Williamsburg, Virginia. She has lectured and published widely. Her research explores decorative fnishes and pigments including imitation wood-graining, tinted limewashes, verdigris, zinc white, orpiment, patent yellow and chromium colors.
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Wavelengths and Potato Starch The (Im)material in Colour Photography", "title": "3. Wavelengths and Potato Starch", "subtitle": "The (Im)material in Colour Photography", "canonical": true } ], "abstracts": [ { "abstractId": "ac4fa2d3-315d-49ea-b410-b5d4170c2fb2", "workId": "b2db1bfc-dbda-482a-ab64-beb3b873e698", "content": "Considered sorely lacking when photography was invented, colour is one of the major advancements in the history of nineteenth-century photography. This paper focuses on the period between the invention of the interferential colour photography process by the French physicist Gabriel Lippmann in 1891 and the invention of the Autochrome technique by the French industrialists Auguste and Louis Lumière in 1907. It discusses the tension between immateriality and materiality in the history of the first colour photographs. While the colours in the interferential process have no materiality, the singularity of the Autochrome technique derives from its use of potato starch grains dyed with red, green and blue aniline dyes. While their ways of recording colour are completely different, however, these processes use a common means of visualization: projection, which produces an immaterial and temporalised image.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Nathalie", "lastName": "Boulouch", "fullName": "Nathalie Boulouch ", "biographies": [ { "biographyId": "9a8873ef-08fd-4f1e-ba9e-9de0e34d3154", "contributionId": "6bcba8de-f340-4db6-aa6a-25667c9e499b", "content": "Nathalie Boulouch is an Associate Professor at Rennes 2 University (France), where she teaches history of contemporary art and history of photography. Her research focuses on the history of colour photography and of projected photographic image in the nineteenth and twentieth centuries. She is the author of
The representation of the white interior of hospitals as cold and dehumanising forms a resurfacing trope in the chromatic history of health institutions well into the twentieth century, but it was first developed when whitewashing walls became the predominant practice in sanitary hospital design during the mid-nineteenth century. Mounting critiques of the white hospital interior precipitated the entry of various colours during the 1870s as part of the wider transformation and diversification of British hospitals. This development was tied to the widening institutionalisation of illness, reflected in a growing number of middle-class hospital patients and expanded typologies of hospital spaces. Hierarchies of class and gender, changing convalescent health cultures and sanitary reform initiatives further shaped the diversification of colour within hospital spaces. By positioning the transformation of hospital interiors within histories of Victorian colour, we can see how colour meanings and language were shaped by experiences of illness and, reciprocally, how experiencing colour informed concepts of health.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Kay", "lastName": "Simpson", "fullName": "Kay Simpson", "biographies": [ { "biographyId": "96d73c2f-5a54-4c86-bdc0-c23c0b4f9056", "contributionId": "8fb66e5e-96aa-4d22-bd4e-525bd84f8bbb", "content": "Kay Simpson is a doctoral student based at the Department of History and Philosophy of Science at the University of Cambridge. She is interested in intersecting histories of art, medicine and modernity, and her doctoral work examines ideas and practices of colour as therapeutic in Britain in the decades around 1900. This project has been generously funded by an Open-Oxford-Cambridge AHRC DTP studentship. She previously completed an MA in Art History at the Warburg Institute (2018-19) and an MPhil in History and Philosophy of Science at Cambridge (2020-21). She has also delivered talks and organised exhibitions on the subject of art-making, illness and the therapeutic environment.
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From Hysteria to Healing Félix Vallotton’s Bon Marché and the Ambiguous Nature of Colour in Fin-de-Siècle Culture", "title": "5. From Hysteria to Healing", "subtitle": "Félix Vallotton’s Bon Marché and the Ambiguous Nature of Colour in Fin-de-Siècle Culture", "canonical": true } ], "abstracts": [ { "abstractId": "ccb4927c-6958-436e-8921-6eced574dc9d", "workId": "768e9db6-0dd5-4d69-a8d7-35a1dff1ace5", "content": "This chapter examines the cultural ambivalence surrounding colour in the late nineteenth century, using Félix Vallotton’s
Alessandra Ronetti is an art historian and affiliated researcher at the University of Paris 1 Panthéon-Sorbonne (HiCSA) and the University Sorbonne Nouvelle – Paris 3 (LIRA). She also serves as Scientifc Advisor on Colour at the Institut Français de la Mode in Paris. She previously held positions as Postdoctoral Fellow and member of the ERC project
Tweeds were originally designed and worn almost exclusively for menswear. This chapter investigates the impact of gender, landscape, sport, Romanticism and fashion on the development of the newly colourful Scottish woollen designs for menswear, which by the 1830s had become known as tweeds. It explores for the first time how Scottish mill-based tweed producers engaged with new developments in dye chemistry between 1858 and 1914. By so doing, it extends the published literature on artificial dyes, fashion and colour in the late nineteenth and early twentieth centuries, which has principally focused on womenswear textiles. Based on material culture and interdisciplinary research, this chapter examines the complex and shifting relationships between colour, design, dyeing techniques, masculinities and fashion in Scottish mill-based tweed production. It challenges the lingering acceptance of the Flugellian idea that nineteenth-century textiles for menswear were exclusively dyed in black, or dark colours that were singularly expressive of austere and ascetic masculine ideals.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Fiona", "lastName": "Anderson", "fullName": "Fiona Anderson", "biographies": [ { "biographyId": "1a468269-348d-4f83-ab29-da5d8e0f6d18", "contributionId": "87d10ae2-0036-4c55-a475-2d95e4875965", "content": "Fiona Anderson is a Reader in Design History and Theory at Glasgow School of Art. She was formerly Senior Curator of Fashion and Textiles at National Museums Scotland. Fiona’s principal research interests are in wool textiles, gender and design, and textiles and masculinities. Her published research includes the book
The Sexual Offences Act (1967) was intended to legalise male homosexual sexual acts in England but only when they were carried out in private. It was not expected that ostentatious displays of same-sex affection would suddenly become commonplace. Before this date homosexuality was associated with the behaviour of what were widely seen as sexual deviants. It was supposed that such men were often androgynous and would, if given the chance, dress in colourfully ‘effeminate’ styles. This chapter explores the origins of such stereotypes by focussing on the use of colour in images of so-called ‘aesthetic’ male students at the universities of Oxford and Cambridge. Aesthetic tastes were particularly associated with Roman and Anglo-Catholics on the one hand and some of the universities’ non-white students on the other. Student periodicals display a popular suspicion of ‘queer’ and ‘peculiar’ hues that evoked recondite personal tastes. Bright colours were, by contrast, displayed by masculine ‘hearty’ students in the form of sports uniforms that proclaimed team identities. By the interwar period aesthetes were increasingly linked with socialist and communist ‘reds’ who were often opposed by the sporting elite known as ‘blues’. Race, class and sexuality, thereby, became entangled in debates on the meanings of colour in clothing and skin tone.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Dominic", "lastName": "Janes", "fullName": "Dominic Janes", "biographies": [ { "biographyId": "85a07944-3110-4802-9b90-012bb77bfdff", "contributionId": "0f906fae-e541-4392-baf7-be32750a53d9", "content": "Dominic Janes is a social, cultural and art historian who studies texts and visual images relating to Britain in its local and international contexts since the eighteenth century. Within this sphere, he focuses on the connections between gender, sexuality and religion. He has written for a wide range of publishers including Cambridge, Chicago and Oxford University presses. He is completing a history of queer life at Oxbridge pre-1939 and co-editing (with Howard Chiang) the
I want to begin this chapter with two introductory ‘colour samples’: moments in which we see colour working in different ways, connected through the visual and the pigmented histories of empire and skin colour as playing out on the anthropologist’s and artist’s palettes. Fragmentary yet connected, these samples will help position us in the French colony of Martinique in the year 1883, when slavery had been abolished and indentured labour had taken its place. This will contribute to the subsequent discussion of race, skin colour and empire.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Helena", "lastName": "Neimann Erikstrup", "fullName": "Helena Neimann Erikstrup", "biographies": [ { "biographyId": "1fa1624f-219f-48d3-870d-c0a307ba0850", "contributionId": "a6a945d6-d4b6-4829-9af3-2a38d703deb0", "content": "Dr Helena Neimann Erikstrup received her PhD in the History of Art from the University of Oxford in 2024 with the thesis ‘Colour Concerns: The Palette of Race and Ecology in French-Martinican art, 1847-1887’ Prior to her doctorate, she completed her Master of Arts (Honours) in History of Art at the University of Andrews (2014-2018) and her MSt in History of Art and Visual Culture at Oxford (2020-2021).
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Annotating Syme Nineteenth-Century Marks and Marginalia in Werner’s Nomenclature of Colours (1814/1821)", "title": "9. Annotating Syme", "subtitle": "Nineteenth-Century Marks and Marginalia in Werner’s Nomenclature of Colours (1814/1821)", "canonical": true } ], "abstracts": [ { "abstractId": "337bfc9c-143f-42b8-a2b0-898314e5baec", "workId": "78b3bbb3-af1c-43ce-a807-f3f7508622d3", "content": "In the spring and summer of 1814 one hundred copies of a new colour publication entered the marketplace:
Joyce Dixon is a Research Assistant at the University of Greater Manchester. She holds a PhD in Art History from the University of Edinburgh and an MA in Critical Writing from the Royal College of Art. Her research interests intersect the histories of art, science and colour, and she is currently completing a monograph on the history of
In the decade that followed William Henry Perkin’s discovery of ‘Tyrian purple’ in 1856 and François-Emmanuel Verguin’s invention of ‘fuchsine’ in 1858, dyers and chemists submitted more than one hundred patents for synthetic purples. This article argues that, although the scientific competition which Perkin started is unique in the history of colour, the new purple and violet shades were not created ex nihilo and therefore have to be studied in an already prolific colour context. From the 1840s onwards, in response to demand from the garment industry, dyers, manufacturers and chemists developed processes to enhance the brilliance of natural purple dyes, as well as their yield and light fastness. The aniline revolution was marked by the invention of many new colour names, such as ‘harmaline’, ‘violine’, ‘roseine’ and ‘azaleine’, most of which referred to purplish flowers. But none of those terms had the lasting impact of ‘magenta’, which was linked neither to a natural material or a dyeing process.
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The History, Chemistry, Characterisation and Application of Synthetic Dyes Between 1856 and 1914 (Cham: Springer Nature Switzerland, 2025).", "issn": null, "isbn": null, "journalTitle": null, "articleTitle": null, "seriesTitle": null, "volumeTitle": null, "edition": null, "author": null, "volume": null, "issue": null, "firstPage": null, "componentNumber": null, "standardDesignator": null, "standardsBodyName": null, "standardsBodyAcronym": null, "publicationDate": null, "retrievalDate": null }, { "referenceOrdinal": 27, "doi": "https://doi.org/10.1080/00026980.2016.1246160", "unstructuredCitation": "Whitworth, Isabella and Zvi Koren, ‘Orchil and Tyrian Purple: Two Centuries of Bedfords from Leeds’, Ambix, 63.3 (2016), 244–67, https://doi.org/10.1080/00026980.2016.1246160.", "issn": "0002-6980", "isbn": null, "journalTitle": "Ambix", "articleTitle": "Orchil and Tyrian Purple: Two Centuries of Bedfords from Leeds", "seriesTitle": null, "volumeTitle": null, "edition": null, "author": "Whitworth, Isabella; Koren, Zvi C.", "volume": "63", "issue": "3", "firstPage": "244", "componentNumber": null, "standardDesignator": null, "standardsBodyName": null, "standardsBodyAcronym": null, "publicationDate": "2016-07-02", "retrievalDate": null }, { "referenceOrdinal": 28, "doi": null, "unstructuredCitation": "Wurtz, Adolphe ‘Matières colorantes dérivées du goudron de houille’, in Exposition universelle de Londres de 1862: rapports des membres de la section française du jury international sur l’ensemble de l’exposition, ed. by Michel Chevalier (Paris: Imprimeries et librairies centrales des chemins de fer, 1862).", "issn": null, "isbn": null, "journalTitle": null, "articleTitle": null, "seriesTitle": null, "volumeTitle": null, "edition": null, "author": null, "volume": null, "issue": null, "firstPage": null, "componentNumber": null, "standardDesignator": null, "standardsBodyName": null, "standardsBodyAcronym": null, "publicationDate": null, "retrievalDate": null } ] } }, { "relationType": "HAS_CHILD", "relationOrdinal": 13, "relatedWork": { "edition": null, "doi": "https://doi.org/10.11647/obp.0501.11", "publicationDate": "2026-05-11", "withdrawnDate": null, "workStatus": "ACTIVE", "license": "https://creativecommons.org/licenses/by-nc/4.0/", "copyrightHolder": "Giulia Simonini", "generalNote": null, "place": "Cambridge, UK", "firstPage": "269", "lastPage": "292", "pageCount": 24, "pageInterval": null, "landingPage": "http://www.openbookpublishers.com/books/10.11647/obp.0501/chapters/10.11647/obp.0501.11", "titles": [ { "titleId": "f46bf11c-fce0-47f5-906e-586a859d7e27", "localeCode": "EN", "fullTitle": "11. The Hayters and the Controversy on Colour", "title": "11. The Hayters and the Controversy on Colour", "subtitle": null, "canonical": true } ], "abstracts": [ { "abstractId": "c02ac51f-b637-4620-b960-b2aa857c16a1", "workId": "61cb0940-4c2d-43b4-be9f-0516ed1aa06b", "content": "This chapter provides the first attempt to contextualise the painting ‘Portraits of Hayter, Senior, and Three Young Artists’ (1823) by John Hayter in the scientific, philosophical, and artistic debate around colour mixing that took place in Great Britain and Europe from the eighteenth century until the early twentieth century. The painting, which represents Charles, John Hayter’s father, showing a colour-mixing diagram of his invention, was renamed ‘A Controversy on Colour’ in 1917. Nothing in the painting immediately suggests that there is a controversy going on. Yet, the objects displayed on the canvas point to the controversial colour theory of trichromacy, supported by Hayter senior, which was most popular in the 1820s but was later superseded thanks to experiments in optical physics.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Giulia", "lastName": "Simonini", "fullName": "Giulia Simonini", "biographies": [ { "biographyId": "77299216-0d9c-4341-aef5-53c11c4a99e3", "contributionId": "7d8d1f7c-c60d-4e62-b132-3b4193f862fc", "content": "Giulia Simonini is a historian of science and art. She is currently a postdoctoral fellow at the Bibliotheca Hertziana, Rome, as part of the research group ‘Visualizing Science in Media Revolutions’ led by Sietske Fransen, where she works on iridescence in natural history drawings. Her research focuses on the intersection of art and science especially in the broad field of colour studies and in natural history image making. She has published widely on colour, including most recently her book
This chapter explores the impact of industrial progress on the artistic practice of John Ruskin, one of the most prominent art critics, cultural commentators and social philosophers of the Victorian era. Throughout his lifetime, Ruskin observed numerous technological advancements and often voiced his scepticism about their consequences. His critiques of industry, progress and other aspects of modernity sometimes earned him a reputation as a nostalgic figure inclined to idealise the past. Drawing on archival and material evidence, this chapter explores Ruskin’s complex relationship with industrial colour manufacture. I
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Tea", "lastName": "Ghigo", "fullName": "Tea Ghigo", "biographies": [ { "biographyId": "f22d1b16-1df2-4d5c-9434-39963c205774", "contributionId": "a8d91674-df2a-404b-a1eb-80a880a5fa94", "content": "Tea Ghigo is a Lecturer in the History of Art, Materials and Technology at University College London and a Fellow of the Society of Antiquaries of London. She holds a joint PhD in Archaeometry from the University of Rome La Sapienza and the University of Hamburg, and previously worked as a postdoctoral researcher at the Ashmolean Museum, University of Oxford. Her research sits at the intersection of Heritage Science and Technical Art History, focusing on the material culture of Europe and the Mediterranean from Antiquity through the nineteenth century. Grounded in an evidence-based approach inspired by antiquarian traditions, her work combines close material investigation of artefacts with the study of historical texts to interpret the past. Passionate about museum communication, she is committed to expanding the visibility of materials and making techniques in museum narratives—both through her research and in her teaching—ultimately contributing to more inclusive and materially informed histories of art.
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Introduced in 1834, Chinese white provided watercolour artists for the first time with an opaque, permanent and stable white pigment which could safely be mixed with other colours. In addition, it did not blacken or discolour on contact with the toxic hydrogen sulphide fumes that filled the air in Victorian cities. Available in tubes or bottles, Chinese white was rapidly adopted by many of the leading watercolour painters of the day, who either mixed it directly with other colours (to create opaque bodycolour) or applied it as a luminous initial priming. Such powerful effects were popular with wealthy industrial patrons and progressive new exhibiting spaces but often alarmed critics, who questioned the legitimacy of this technique compared with the gentle transparent washes of traditional methods. Chinese white even became the subject of a fierce dispute between Winsor & Newton and the scientist George Bachhoffner, who sought to discredit the new product.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Fiona", "lastName": "Mann", "fullName": "Fiona Mann", "biographies": [ { "biographyId": "c60a8552-e5f7-4555-b671-a427fc4e9ca3", "contributionId": "955efbfb-fd95-4803-8a20-58e52d78e6ef", "content": "Fiona Mann is an independent art historian specialising in the development of watercolour painting techniques and materials in England, 1850-80. She was Associate Researcher at Oxford Brookes University from 2018 to 2025. Her articles have appeared in the
During the nineteenth century, the production and supply of pigments underwent immense changes on a scale never seen before. The discovery of new, synthetic, inorganic pigments based on chrome, cobalt, cadmium, arsenic and zinc enlarged the supply of mineral pigments. The rapid expansion of coal tar dyes followed in the second half of the century after the young chemist William Perkin accidentally discovered a purple synthetic aniline dye in 1856 from coal tar chemicals, which was named after the French for the mallow wildflower, mauve (on the naming of the new anilines in relation to a longer history of dyes, see Marie-Anne Sarda’s chapter in this volume). Following the increase in the development of new colourants, the coal tar dye industry explored new sales markets in fields including fashion, paper and printing, interior design and food, hugely impacting the visual world of consumers. Art and culture were caught up in a ‘colour revolution’.
", "localeCode": "EN", "abstractType": "LONG", "canonical": true } ], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Kathrin", "lastName": "Kinseher", "fullName": "Kathrin Kinseher", "biographies": [ { "biographyId": "7a5eaa90-b117-48e5-9ee2-288d73584ae4", "contributionId": "ab34adc7-746a-4d10-bc62-35c346b910e9", "content": "Kathrin Kinseher is the head of the Painting Materials and Painting Techniques Workshop at the Academy of Fine Arts in Munich. There, she shares her knowledge of traditional and contemporary painting materials and methods by giving lectures and practical workshops, and providing technical advice on art students‘ projects. Kathrin studied conservation and restoration of paintings and painted wooden sculptures at the Cologne University of Applied Sciences, graduating in 1990. She obtained a PhD from the Technical University of Munich, writing her thesis on the controversy about painting materials in Munich during the late nineteenth and early twentieth centuries.
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Epilogue From Pigments to Pixel", "title": "15. Epilogue", "subtitle": "From Pigments to Pixel", "canonical": true } ], "abstracts": [], "imprint": { "crossmarkDoi": "https://doi.org/10.11647/obp.crossmark-policy", "publisher": { "publisherName": "Open Book Publishers" } }, "contributions": [ { "contributionType": "AUTHOR", "firstName": "Arnaud", "lastName": "Dubois", "fullName": "Arnaud Dubois", "biographies": [ { "biographyId": "f90de7bc-7d69-4c68-a69a-e5fa7ef2a7b8", "contributionId": "06ef9cdc-938f-4c46-87ae-013600f77663", "content": "Arnaud Dubois is a social anthropologist of colour, a research fellow at the French National Centre for Scientifc Research (CNRS) and an associate researcher at the Conservatoire national des arts et métiers (CNAM). Trained in both art and anthropology, he graduated from the École des Beaux-Arts de Paris and holds a PhD in social anthropology from the School of Advanced Studies in the Social Sciences (EHESS). His research develops an anthropological approach to colour grounded in an epistemological perspective that brings together science and technology studies, the study of knowledge and the anthropology of art. Through a comparative anthropological lens, he examines the relationship between colour practices and society. Dubois founded the collective