| Record ID | marc_columbia/Columbia-extract-20221130-009.mrc:315115461:2867 |
| Source | marc_columbia |
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LEADER: 02867pam a2200349 a 4500
001 4275600
005 20221102193331.0
008 020918r20032001iluaf b 001 0 eng
010 $a 2002035981
020 $a0226036286 (paper)
035 $a(OCoLC)ocm50669206
035 $a(NNC)4275600
035 $a4275600
040 $aDLC$cDLC$dNNC$dOrLoB-B
042 $apcc
050 00 $aN7432.7$b.B35 2003
082 00 $a701/.85$221
100 1 $aBall, Philip,$d1962-$0http://id.loc.gov/authorities/names/n93097576
245 10 $aBright earth :$bart and the invention of color /$cPhilip Ball.
260 $aChicago :$bUniversity of Chicago Press,$c2003.
300 $aix, 382 pages, 24 unnumbered pages of plates :$billustrations (chiefly color) ;$c23 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
505 00 $g1.$tThe Eye of the Beholder: The Scientist in the Studio -- $g2.$tPlucking the Rainbow: The Physics and Chemistry of Color -- $g3.$tThe Forge of Vulcan: Color Technology in Antiquity -- $g4.$tSecret Recipes: Alchemy's Artistic Legacy -- $g5.$tMasters of Light and Shadow: The Glory of the Renaissance -- $g6.$tOld Gold: The Revival of an Austere Palette -- $g7.$tThe Prismatic Metals: Synthetic Pigments and the Dawn of Color Chemistry -- $g8.$tThe Reign of Light: Impressionism's Bright Impact -- $g9.$tA Passion for Purple: Dyes and the Industrialization of Color -- $g10.$tShades of Midnight: The Problem of Blue -- $g11.$tTime as Painter: The Ever-Changing Canvas -- $g12.$tCapturing Color: How Art Appears in Reproduction -- $g13.$tMind Over Matter: Color as Form in Modernism -- $g14.$tArt for Art's Sake: New Materials, New Horizons.
500 $aOriginally published: Great Britain : Penguin, 2001.
504 $aIncludes bibliographical references (p. 355-360) and index.
520 1 $a"Bright Earth provides a glimpse into a little-explored avenue in the history of art and science: the creation of pigments and dyes and their influence on painting, as well as on fashion, merchandising, and the textile and chemical industries. For as long as artists have turned their dreams into images, they have relied on technical knowledge to supply their materials. Today almost every shade imaginable is easily available in off-the-shelf tubes; every hue and tincture is manufactured and ready for immediate use by the painter. But up until the eighteenth century, most artists ground and mixed their own pigments, and by necessity had considerable skill as a practical chemists."--BOOK JACKET.
650 0 $aColor in art.$0http://id.loc.gov/authorities/subjects/sh85028596
650 0 $aColoring matter$xHistory.
650 0 $aDyes and dyeing$xChemistry.$0http://id.loc.gov/authorities/subjects/sh85040284
650 0 $aArt and industry.$0http://id.loc.gov/authorities/subjects/sh85007961
852 80 $bfax$hND1260$iB1991