Colour materiality narratives reveal the literary and artistic impact of new scientific approaches to chromatic materiality.

Letter from Camille Koechlin to Horace Koechlin

Colour Materiality

1861

Fixing aniline violets around 1860: a European network

Marie-Anne Sarda

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Symphony in White n°1: The White Girl

Colour Materiality

1861

From Colour to Music: James McNeill Whistler

Marte Stinis

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Bookcase

Colour Materiality

1862

From old to new: the colours of William Burges’s Great Bookcase

Tea Ghigo

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Fuchsine RENARD

Colour Materiality

1858

Fuchsine

Irene Bilbao-Zubiri

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Fuchsine-dyed fibers

Colour Materiality

1859

Fuchsine and Fashion: a Bright Pinkish Trend

Alessandra Ronetti

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Erechtheion

Colour Materiality

1851

Gottfried Semper and the 'Chemical Proof' of polychromy

Isabelle Kalinowski

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Kaleidoscopic colour top

Colour Materiality

1858

John Gorham’s Colour Top

Paul Smith

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Barnard's sketchbook

Colour Materiality

1855

Mary Gartside’s abstract afterlife? Blots in George Barnard’s paint manual

Alexandra Loske

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Catalogue général de la parfumerie et savonnerie Gellé frères, vers 1885.

Colour Materiality

1868

Perfumes: The Future of Synthetic Colours

Erika Wicky

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Lustre decorations

Colour Materiality

1855

Renaissance revival and chemistry: the colours of Italian maiolica

Rosarosa Manca

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The Shadow of Death

Colour Materiality

1870

William Holman Hunt and the Racialization of Roberson’s Orange Vermilion in The Shadow of Death (1870-1873)

Kirsty Dootson

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