Bright Earth: Art and the Invention of Color by Philip Ball

John Biggs

It's a thick work full of tangents and an occasional jangle of jargon that pops up like a current of cold water.

Bright Earth

Publisher: Farar, Straus, and Giroux
Length: 392
Subtitle: Art and the Invention of Color
Price: $30 (US)
Author: Philip Ball
US publication date: 2002-02
"There are truths which are not for all men, nor for all times."
-- Voltaire

We have officially left the era of the weepy memoir (Drinking, a Love Story, I Hate Me: Memoir of an Angry Young Man in Canton, Ohio, et. al.) and, thanks to the dot-com days when computer geeks with gimlet eyes and pale skin had the need to sound learned and attractive at website launch parties, we have entered the era of all-encompassing "easy" science. We have books on salt, cod, water, the tank, and cryptography; books on everything except color. Well now we've got a book about color.

Philip Ball is a scientist who writes for laymen, a kind of Crocodile Hunter for the those less interested in reptiles and more interested in the odd effects of mercury poisoning. In his new book, Bright Earth, he delves into the wilds of artistic color and admits that even he, with his quantitative mind and careful prose, gets a kick out of pretty pictures.

Ball begins with a discussion of early colors, the ochres, yellows, reds, and whites that grace Greek pottery. Although the artists of the time believed that those basic colors were all they needed (each symbolized one of the elements, earth, wind, water, fire), the real reason Greek art was so boring is that they had not yet perfected blue, purple, or plaid.

It was the Romans who later mined azurite which allowed for the manufacture of cheap blue. Byzantine art used the blue to a rich advantage, clothing saints in blue (the color of Mary), bright red (suffering, blood, summer fun) and gilt which was beaten into thin sheets out of Italian ducats. Ball meanders through this history at an easy clip, dedicating much of the half of the book to pre-industrial colors.

Then came purple. Originally almost impossible to manufacture naturally, purple had long been the color of kings. Most early purple was made by squeezing Italian shellfish. However, in 1909, the same chemical in the shellfish dye was discovered in India clinging to the roots of reeds. The substance, called indigo, was used to a create a rich blue in the early years of color, but the chemists of the early 20th century derived a purple that was easy to mass produce. Other industrial dyes and paints followed, allowing for the democratization of color. Generally, anyone who wanted to complete a paint-by-numbers Last Supper wouldn't have to grind up shellfish and dirt. Instead, they could pick up a smorgasbord of color from the local five-and-dime.

Bright Earth expects a lot of its readers. It's a thick work full of tangents and an occasional jangle of jargon that pops up like a current of cold water. Ball's other work also focuses on chemistry, but this one seems to be firmly rooted in the creative side to industrial solvents and dyestuffs. Obviously, the book does not lay lightly on the gut when digested too quickly.

However, those willing to wade through the chapters are in for a few treats. First, Ball's prose is flip and at times funny. He also features a set of vibrant examples of this science, arrayed like specimens in formaldehyde: early cave art, Renaissance religious scenes, and modern work whose use of color vibrates on the page.

Overall, this book is a good read for an amateur artist or a washed-up reed farmer looking for a way to supplement their income. Stay far away if you don't want to spoil the secrets of gilt painting and the real source of getting a nice white (think stale urine). Again, like most books of its ilk, Bright Earth is like watching the cook prepare your meal. It shatters the illusion of perfection by letting a you see the messy kitchen instead of the glory of the end product.

To be a migrant worker in America is to relearn the basic skills of living. Imagine doing that in your 60s and 70s, when you thought you'd be retired.

Nomadland: Surviving America in the Twenty-First Century

Publisher: W. W. Norton
Author: Jessica Bruder
Publication date: 2017-09

There's been much hand-wringing over the state of the American economy in recent years. After the 2008 financial crisis upended middle-class families, we now live with regular media reports of recovery and growth -- as well as rising inequality and decreased social mobility. We ponder what kind of future we're creating for our children, while generally failing to consider who has already fallen between the gaps.

Keep reading... Show less

Inane Political Discourse, or, Alan Partridge's Parody Politics

Publicity photo of Steve Coogan courtesy of Sky Consumer Comms

That the political class now finds itself relegated to accidental Alan Partridge territory along the with rest of the twits and twats that comprise English popular culture is meaningful, to say the least.

"I evolve, I don't…revolve."
-- Alan Partridge

Alan Partridge began as a gleeful media parody in the early '90s but thanks to Brexit he has evolved into a political one. In print and online, the hopelessly awkward radio DJ from Norwich, England, is used as an emblem for incompetent leadership and code word for inane political discourse.

Keep reading... Show less

The show is called Crazy Ex-Girlfriend largely because it spends time dismantling the structure that finds it easier to write women off as "crazy" than to offer them help or understanding.

In the latest episode of Crazy Ex-Girlfriend, the CW networks' highly acclaimed musical drama, the shows protagonist, Rebecca Bunch (Rachel Bloom), is at an all time low. Within the course of five episodes she has been left at the altar, cruelly lashed out at her friends, abandoned a promising new relationship, walked out of her job, had her murky mental health history exposed, slept with her ex boyfriend's ill father, and been forced to retreat to her notoriously prickly mother's (Tovah Feldshuh) uncaring guardianship. It's to the show's credit that none of this feels remotely ridiculous or emotionally manipulative.

Keep reading... Show less

Here comes another Kompakt Pop Ambient collection to make life just a little more bearable.

Another (extremely rough) year has come and gone, which means that the German electronic music label Kompakt gets to roll out their annual Total and Pop Ambient compilations for us all.

Keep reading... Show less

Winner of the 2017 Ameripolitan Music Award for Best Rockabilly Female stakes her claim with her band on accomplished new set.

Lara Hope & The Ark-Tones

Love You To Life

Label: Self-released
Release Date: 2017-08-11

Lara Hope and her band of roots rockin' country and rockabilly rabble rousers in the Ark-Tones have been the not so best kept secret of the Hudson Valley, New York music scene for awhile now.

Keep reading... Show less
Pop Ten
Mixed Media
PM Picks

© 1999-2017 All rights reserved.
Popmatters is wholly independently owned and operated.