Title:
Bright Earth – The Invention of Colour
Author:
Philip Ball
Publisher:
Penguin, 2002 (First published 2001)
ISBN:
9780140296624
Pages:
434
An
elephant is noted for its muscle power, a cheetah for its speed and a dog for
the extraordinary ability to smell. What is man worth? Undoubtedly, he is the
most intelligent among all creatures, but intelligence is an abstract faculty
that is not always obvious – at least for a few among us. The facility of
colour vision makes up for a lot of disadvantages in other departments. The
ability of the human eye to perceive colour in its rich variety and multitude
of hues makes it a truly versatile one. Only a few bird species possess even
better capacity to perceive colour than us. Awash in varied colours in our day
to day lives, men naturally wanted it to be preserved in art forms civilized
societies cultivated. Even primitive tribes are noted for the deft attention to
colour they spent on cave paintings on scenes such as the hunt. As art
developed into pictures drawn on walls, canvas and paper, artists faced a
daunting task as to reproduce the originals according to the artistic mores of
the time. This book narrates the development of colour reproduction over the
ages and progress of technologies from canvas to the digital computer. The book
makes a survey of art in general and concentrates on how the magic of colour
was faithfully copied to a medium of expression. Philip Ball is a science
writer who has several books to his credit. He regularly contributes to science
journals such as Nature and New Scientist. His talent at art
appreciation is evident from the fact that he had curated for an exhibition on
science and art at the Victoria and Albert Museum in London.
Even
though this book was found in the chemistry shelf of the library, it has more
of a claim to be in the ‘art’ category. Ball’s description of the famous
paintings noted for the ingenuous application of novel pigments and colouring
styles are essential reading to students of art and painting. Until the advent
of modern synthetic pigments in the nineteenth century, artists’ colours were
finely ground minerals. Most of them were later found to be metal-containing
compounds. Natural dyes didn’t come in plenty. Hardly a dozen or so pigments
were available from nature then, which had exploded to nearly 9000 synthetic
dyes as of now. Colour is the medium of painters for expression and
communication. As a result, they had diversified the range of colours by
careful and skilled mixing of dyestuffs. The book incorporates an excellent
narrative on famous paintings and elucidation of the peculiarities of each. All
this is backed up with a lot of colour plates depicting those very pictures in
detail. Novices in art also find this section extremely helpful, as the author
stoops to keep them also on board for his informed appreciation of the
pictures. A case in point is the difference that exists between Renaissance
paintings with the earlier ones. The painters in the middle ages were equally
adept, but the norms that limited their creativity were rather narrow and
utilitarian. Painting was a way of telling a story without words. Important
characters in the frame should be clearly identified and portrayed in colours
that encoded symbolic meanings and redounded to the splendour of the Lord.
Renaissance changed all that. The observer’s presence on the scene became
implied. The light and shadows and realism of the scene mandated the
perspective of the observer to be maintained in the picture. The portrayal
became real and effectively tangible. Painting really arrived with the glorious
artists of Italian Renaissance. Ball also mentions the characteristic features
of later techniques like impressionism, pointillism, fauvism and Orphism.
The
twentieth century belonged to physics, but the nineteenth marked the high tide
of chemistry. Scientists quickly discerned the intricacies of chemical
reactions and the molecular structure. New elements were discovered, after
casting out the four ancient elements of earth, air, fire and water. It is with
this background that Ball proudly declares that “there will never be another
fifty years in chemistry like those that began in the 1770s”. By 1820, chemists
spoke much the same language as they do today. For the first time in history,
experimenters could somehow predict the outcome and physical properties of
their trials, including its colour. A wide range of synthetic dyes soon flooded
the market. The pride of place belonged to purple, as all earlier efforts to
synthesize this colour of the royalty had failed. The Roman aristocrats used a
rich tint of it called Tyrian purple which was extracted from an internal gland
of a kind of shell fish found in the ancient city of Tyre. Extraction of the
dye was painfully time consuming and the cost of it was astronomical. Each
shell fish yielded just a drop and one ounce of the dye could be collected only
after sacrificing an astounding 250,000 shell fish in the bargain. It is no
wonder then that a pound of purple-dyed wool cost around three times the yearly
wage of a baker. This made the colour a monopoly of the rich and powerful in
the empire. Later emperors restricted its use among the reigning coterie. This
discrimination was overcome not by war or reforms. A revolution of a different
kind was needed to democratize the privileges traditionally enjoyed by the
wealthy. The spurt in the development of science and technology offered the
masses some of the luxuries that couldn’t even be dreamed about by great
monarchs – however powerful their stature was. Alexander couldn’t communicate
in real time with his governor sitting thousands of miles away however hard he
tried, Akbar didn’t receive the quality of medical care when he died at 56
which even a layman now takes for granted. The examples are endless. Similarly,
as new chemical processes developed, new dyes of huge range of tints in aniline
derivatives appeared by 1850s. Purple came within the reach of ordinary people.
Major European corporations like Bayer, Hoechst and BASF were born around this
time, mass-producing the colours.
Any
treatise on colour won’t be complete without touching upon how colours are
preserved or restored after they had aged due to action by light and corrosive
gaseous chemicals. This book includes a chapter on preservation techniques. The
author being a science writer, the book is up to date with nuances of colour
reproduction in the photographic arena as also digital media such as a computer.
The author’s comment on the slow development of photography that “many
technologies blossom not when the technical means are available, but when a
conceptual advance unlocks their potential” is thought provoking.
The
book is not at all designed for easy reading, but more than compensates for it
by the entry it affords to the reader in the realm of pure art. The experience
of glancing over and enjoying the works of masters of painting is exhilarating.
It also contains detailed descriptions of chemical processes and materials,
which is a little tiresome. A long list of various pigments in its natural form
is good for comprehensiveness but unsuited for smooth reading. The book
includes a long section on Notes and offers a good bibliography. The index is comprehensive,
but a separate list of the paintings would’ve added much more utility. I would
have normally rated this book 3-star, but owing to the deep artistic knowledge
of the author and for the great opportunity it provided me for getting
familiarized with some of the grand representatives of it, I would place it a
notch higher.
The
book is highly recommended.
Rating:
4 Star