A generously illustrated gathering of many rarely-seen watercolors by a painter best known for his oils who was also a master of the very difficult medium of watercolor. The book includes 150 4-color images, along with an introductory essay and brief section introductions.

Celebrating the great American watercolor, this unique collection of images features the work of Sargent, Homer, LaFarge, Prendergast, Demuth, Marin, Burchfield, and Hopper, among others. Original.

We live in a world that is saturated with color, but how should we make sense of color's force and capacities? This book develops a theory of color as fundamental medium of the social. Constructed as a montage of scenes from the past two hundred years, Organizing Color demonstrates how the interests of capital, management, governance, science, and the arts have wrestled with colour's allure and flux. Beyes takes readers from Goethe's chocolate experiments in search of chromatic transformation to nineteenth-century Scottish cotton mills designed to modulate workers' moods and productivity, from the colonial production of Indigo in India to globalized categories of skin colorism and their disavowal. Tracing the consumption, control and excess of industrial and digital color, other chapters stage encounters with the literary chromatics of Pynchon's Gravity's Rainbow processing the machinery of the chemical industries, the red of political revolt in Godard's films, and the blur of education and critique in Steyerl's Adorno's Grey. Contributing to a more general reconsideration of aesthetic capitalism and the role of sensory media, this book seeks to pioneer a theory of social organization—a "chromatics of organizing"—that is attuned to the protean and world-making capacity of color.

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Offers advice on choosing color combinations for decorating one's home, discusses the psychology of color, and answers decorating questions.

Catalog of an exhibition held at Smart Museum of Art, University of Chicago, Oct. 4, 2012 - Jan. 20, 2013.

A Cultural History of Color in the Modern Age covers the period 1920 to the present, a time of extraordinary developments in colour science, philosophy, art, design and technologies. The expansion of products produced with synthetic dyes was accelerated by mass consumerism as artists, designers, architects, writers, theater and filmmakers made us a 'color conscious' society. This influenced what we wore, how we chose to furnish and decorate our homes, and how we responded to the vibrancy and chromatic eclecticism of contemporary visual cultures.The volume brings together research on how philosophers, scientists, linguists and artists debated color's polyvalence, its meaning to different cultures, and how it could be measured, manufactured, manipulated and enjoyed. Color shapes an individual's experience of the world and also how society gives particular spaces, objects, and moments meaning. The 6 volume set of the Cultural History of Color examines how color has been created, traded, used, and interpreted over the last 5000 years. The themes covered in each volume are color philosophy and science; color technology and trade; power and identity; religion and ritual; body and clothing; language and psychology; literature and the performing arts; art; architecture and interiors; and artefacts. Anders Steinvall is Senior Lecturer in English Linguistics at Umeå University, Sweden. Sarah Street is Professor of Film at the University of Bristol, UK. Volume 6 in the Cultural History of Color set. General Editors: Carole P. Biggam and Kirsten Wolf