Thursday, October 28, 2010

The Subject of Art #15: Titian and the Venetian Renaissance!

We have an unprecedented opportunity here in Atlanta to experience the wonder of painting on a truly masterpiece scale! The High Museum has opened a new exhibition, as of October 17th, entitled "Titian and the Golden Age of Venetian Painting," which features twenty five works by some of the most famous names in Western art history: Tintoretto, Veronese, Lotto and two very special works by the supreme painter of 16th century Venice, Titian. The exhibition represents a collaboration between the High Museum, the Minneapolis Institute of Arts and the Museum of Fine Arts, Houston, to bring this incredible array of artistic vision and talent over from the National Galleries in Scotland. It is particularly exciting since the two paintings by Titian have never traveled to the United States before, one of them having been purchased from a private collection less than two years ago. Let's take a look and the life and work of Titian and gain a better understanding of why he was so important in his day and remains so relevant now!

Tiziano Vecellio, known popularly as Titian, was born sometime in the late 15th century (the exact date is not known), to a well-to-do family in a small town in northern Italy. At a young age he was sent to Venice to become an apprentice to the painter Giovanni Bellini, who was the most successful artist in Venice at the time, where he learned all the basics of his craft. He then went on to serve as an assistant to the revered painter Giorgione, with whom he shares many stylistic traits. Some of the frescoes that he worked on during his time as an assistant can still be found in churches around Venice today. Giorgione died at a young age in 1510 and Giovanni Bellini passed on a few years later, leaving a vacuum in the art establishment of Venice which Titian boldly stepped into.

Fortunately for Titian (and all the rest of us), his talents as a painter were equal to his ambitions and his works soon became renowned and eagerly sought after throughout Europe. He was, on the one hand, a gifted portrait painter who was given the ultimate commission in 1548 to paint the state portrait of the Holy Roman Emperor, Charles V, and it is said that his portrait of Phillip II, the king of Spain, was instrumental in convincing England's Queen Mary to agree to marriage! However, Titian's true genius can be seen in his history paintings, with subjects ranging from Classical Mythology to the Bible to contemporary scenes of battles that had recently taken place. His ability to create complex compositions, full of chaotic movement that somehow resolves itself into the most beautiful harmonies, was unrivaled by anyone living at the time and placed him firmly in the same league as Michelangelo and Raphael. For the people in Europe during the 16th century, it was a great triumph to know that the brilliance of the great Renaissance master's was not just a momentary phenomenon, with the advent of Titian, they knew that there would continue to be great artists producing great works, each building on the pioneering works of their predecessors. Titian himself would go on to be one of the primary inspirations for the next generation of painters, including Rembrandt and Rubens, and he continues to inspire today.

The one thing that makes the work of Titian stand out, even from the giants of the Renaissance, was his amazing expertise with color. He had the eye and the skill to work out subtle, yet explosive, color harmonies that had a depth that went far beyond anything that had been seen before. While the art of someone like Michelangelo was based on a bold drawing style, Titian told his stories in color, with each shifting shade and hue carrying layers of meaning and wonder. It is this fantastic ability that still holds us spellbound today and makes Titian a worthy subject for the twenty-first century artist to study.

To that end, a trip to the High Museum to visit this exhibition will be worth far more than the price of admission to the true lover of art. The two paintings by Titian, "Diana and Callisto" and "Diana and Actaeon," painted in 1559, represent him at the height of his powers and fame and will allow you to get the full effect of his formidable talent.

We'll see you there and we also hope to see you at BINDERS Artfolio coming up the first weekend of November!

Monday, October 25, 2010

This Week @ BINDERS - October 25-31

BINDERS HAPPENINGS
BINDERS' biennial art materials exhibition, Artfolio, is less than two weeks away! Join us Friday, Nov. 5th, through Sunday, Nov. 7th, for an amazing series of lectures and demos on everything from canvas stretching to inkjet papers to encaustics! Check out the Artfolio page on our website for more information and a complete schedule of events.

This is the LAST week of BINDERS' Fall Sale! Stop in the store to get the best deals on canvas, sketchbooks, pencils, brushes and all the other basics that every artist needs while prices are at their lowest!


ART CLASSES and WORKSHOPS

Monday,  October 25:

Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Tuesday, October 26:

Bookmaking Two: The Opened Book with Anne Elser
6-8:30pm, Tuesdays, 6 Sessions, Oct. 26-Nov. 30
Intermediate-Advanced | Fee: $155

Wednesday, October 27:



Calligraphy Two: Copperplate with Anne Elser6-8:30pm, Wednesdays, 5 Sessions, Oct. 27-Dec. 1
Beginner-Intermediate | Fee: $135


Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!

Thursday, October 28:

Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135


Signature and Sound Opening Reception
3-5pm, Thurs. Oct. 28

Friday, October 29:

No special art events today.

Saturday, October 30:

Beginning Adult Watercolor with Barry Sholder
11am-4pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!

Sunday, October 31: 

Beginning Adult Watercolor with Barry Sholder
12-5pm, Sat. & Sun. Oct. 30-31
Beginner | Fee: $155 | Sign up now!

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

THE LIMELIGHT GALLERY


Visit BINDERS website!

Thursday, October 14, 2010

Tips & Tricks #13: Drips & Splatters - Pollock's Technique in the 21st Century

Jackson Pollock became an icon of Modern Art in the 1950's by daring to break down the concept of painting to an apparently random looking assortment of drips and splatters on the canvas. A first glance at one of Mr. Pollock's paintings has often elicited the response "My kid can paint better than that!", but upon further reflection and by investigating his body of work, one can clearly see that there was much more going on than it seems on the surface and that what looked to be a simple, mindless way of putting paint on a canvas was in fact far more complex.

Although one painting by itself may not appear to make much sense, viewing several of Pollock's paintings in a row, or better yet being surrounded by them in an exhibition, one can see the repetitive motifs that run through them - the broad arcs of paint that trace the extent of his arm's reach or the sinuous, vine-like lines that echo his signature flick of fluid paint off of the brush. If one chooses to step just a little bit further into Pollock's world, it becomes clear that there was a great deal of forethought and intention behind every mark and that the use of his controversial technique was another way to break down the barriers of the viewers preconceptions about what constitutes a works of art.

Jackson Pollock's paintings began with a primed, but unstretched, canvas laid out on the floor. The fact that the canvas was not on a frame was important since the scale of the work was usually very large, so it would be necessary for him to actually step on the canvas at certain times while painting. The brushes that Pollock favored were old house painting brushes that had hardened with dried paint until they became totally stiff. These afforded him the grip and balance of a brush, while allowing for a hard end like a stick that enabled greater control over the paint as it fell off the brush. Finally, his paint had to be thinned to just the right consistency to allow it to drip and flow freely, but still be thick enough to be easily guided by his hand and to leave coherent lines on the canvas. For most of his career, he used traditional oil paints that were thinned with the right amount of turpentine, but by the height of his output he was already experimenting with other mediums, particularly enamel paints that were usually used for house painting or industrial purposes. He liked the enamels because they were just the right consistency for his dripping and pouring technique right out of the can, so no thinning was needed, plus he took an interest in colors that had a metallic sheen, that were not available as pigments for oil paint at that time. Unfortunately, oil paints and enamels don't mix together, which is one of several reasons why Pollock's paintings are very fragile and difficult to maintain. There is actually a group of conservators whose entire job is to work on Pollock's paintings and make sure they stay in one piece! The materials of his time just weren't up to the standards that he needed to fulfill his visions.

If Jackson Pollock were alive and working today, the story would be quite different! Fluid acrylic paints would have provided much of the paint consistency he was looking for, pre-mixed into the full spectrum of colors required by fine artists and including a range of metallic colors. His techniques made no use of blending colors, so the switch from oil to acrylic paint would most likely have been very natural for him. In addition, there are now a couple of acrylic mediums that can be added to the paint that are specifically designed to create spectacular dripping effects, inspired by Pollock's example!

Tar Gel by Golden and String Gel by Liquitex are essentially two versions of a medium that, when mixed with fluid acrylics, gives a honey-like consistency to the paints. After adding the gel to the paint and mixing thoroughly, one should wait about ten minutes or so to let the air bubbles rise up and out before using it. Then, with a palette knife, or perhaps Pollock's favorite - the stiff, paint-hardened brush, you can scoop up some of the mixture and let it drip off to create long lines. Golden claims their Tar Gel has sufficient consistency to hold together in a solid line that reaches three stories! Both the Tar and String Gels are thick enough to allow for an unprecedented level of control when dripping, so the possibilities for intentional technique become much greater.

Liquitex has recently created another product called Pouring Medium which can, as the name suggests, allow the fluid acrylics to be poured more easily onto the canvas. Like the Tar and String Gels, color should be mixed into the medium first and then it should be left for a few minutes to allow the air to escape. The special qualities of the Pouring Medium will become more apparent as it hits the surface of the canvas, because the medium has been formulated to mix colors in a very special way. When one color mixed with Pouring Medium is dripped over another color mixed with Pouring Medium, the two colors will puddle together and form all sorts of organic lines and flowing shapes, an effect which is known as marbling.

These are just a few examples of the ways in which the work of a pioneering artist can help the evolution of art as a whole, opening up new techniques and methods of expression that we can all enjoy. Thank you Mr. Pollock!

Tuesday, October 12, 2010

This Week @ BINDERS - October 11-17

BINDERS HAPPENINGS
Preparations for Artfolio are heating up so save the date for Fri. Nov. 5 - Sun. Nov. 7! Check out the our website to see a schedule of presenters and descriptions of the techniques and products they'll be using. We're going to have the experts doing demonstrations on Prismacolor pencils, Shiva Paintstiks, Origami, Screen Printing, Mold-making and Casting, the list goes on and on! This is going to be one heck of a weekend, so plan on being here!

ART CLASSES and WORKSHOPS

Monday,  October 11:

Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170

Tuesday, October 12:

Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155

Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155


Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above

Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above

Wednesday, October 13:


Acrylic Painting, Impressionist-Style with J.Z.Torre

1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175




Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 5 Sessions, Oct. 13-Nov. 17 (no class Nov. 3)
Beginner to Intermediate | Some materials included in fee
Fee: $145 | Sign up now!

Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155


Thursday, October 14:

Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135


Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
1-4pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!


Block Printing 1: Beginning Printmaking with Atlanta Printmakers Studio
6-8:30pm, Thursdays, 4 sessions, Oct. 14-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135 | Sign up now!

Friday, October 15:

Time Travelers with Barbara Bailey

4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125


Saturday, October 16:

Collapsible Container Workshop with Anne Elser
10:30am-5:30pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!

Sunday, October 17:

Collapsible Container Workshop with Anne Elser

11:30am-6pm, Sat. & Sun. Oct. 16-17 | Open to all levels | Fee: $155 | Sign up now!

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

THE LIMELIGHT GALLERY


Visit BINDERS website!

Wednesday, October 6, 2010

The Subject of Art #14: The History of Colors, Chapter 5: The Organic Revolution!

Contrary to what you may associate with this subject, this final chapter on color is not about food, it's about the shift in modern times towards an organic way of thinking. Most of the pigments we've looked at in previous chapters were inorganic, being derived from metals and minerals. Unfortunately, mining for these inorganic pigments is a labor and/or cost intensive process, so artists, alchemists and scientists from all different time periods have always been searching for better alternatives.

The solution, however, did not come about until relatively recently, when advances in organic chemistry made it possible to create whatever colors we desired from their component parts. After that, the spectrum of color exploded into a whole new rainbow of bright, lightfast variations and completed the range of hues that we are familiar with today and that you can find in the paint aisles at BINDERS.

Organic pigments have always been known and used since humans began coloring things. In our previous explorations, we have touch upon a couple: Indigo, which is derived from plants, Tyrian Purple, which comes from an insect called the cochineal, and Indian Yellow, which is derived from the urine of cows who were fed a steady diet of mango leaves. There were many others in use for thousands of years as well, most prominently the root of the madder plant, which produces a bright crimson red color (which was the red used for centuries in the uniforms of British soldiers, the Redcoats!).

Without exception these pigments derived from plant and animal sources are quite unstable, being very likely to fade over short periods of time, so, while these natural organic pigments were often used by artists, if a suitable inorganic pigment became available that filled the same niche in the color wheel then the organic one would usually be dropped right away. Natural organic colors were most popular in the textile industry as ingredients for dyes, which makes more sense because one might expect clothing not to last for more than a few years of heavy use anyway, plus they could always be re-dyed at some point if desired (which is not a particularly easy thing do do with a painting!).

The aforementioned madder root became the first natural organic pigment to be replaced by a synthetic pigment, which we know today as Alizarin Crimson, in 1869. The chemical compound Anthracene was synthesized from coal-tar, a byproduct of the industrial production of coke, which was used as fuel for stoves and furnaces and for smelting iron. Once the chemical process for production of Alizarin Crimson was perfected, the madder root dye industry collapsed practically overnight, a sequence of events that would occur repeatedly as scientists discovered and developed synthetic versions of organic colors that were brighter, more durable and cost less to manufacture. The original Alizarin Crimson pigment is still in use 150 years later, although its lightfastness rating is low compared to the colors that would be produced in later centuries. The newer versions are usually a mixture of two or more synthetic organic pigments labelled as Alizarin Permanent or Alizarin Crimson Hue.

The phenomenal advancements that occurred in pigments during the 20th century were largely the result of industrial manufacturing and the requirements of objects in everyday life to be brightly colored, with the application of those pigments filtering their way into the artist's palette after they had been thoroughly tested out in the world. The first leap forward occurred in the 1930's with the development of Phthalocyanine Blue, which was originally created as a more stable cyan color for the printing industry. The intensity and durability of Phthalo Blue made it suitable for all sorts of applications and sparked off a rush of research into pigments synthesized from the carbon molecules found in petroleum. The chemical structure of these synthetic organic pigments is similar to plastic, so as the plastics industry advanced, so to did the science of color production. Phthalo Blue was quickly followed by Phthalo Green, while new organic compounds helped to fill out the color spectrum. The automobile industry had a lot to do with the development of a wide range of colors, since car paint needs to be extremely durable and people like having cars that are bright and shiny. Synthetics like Quinacridone Red and Arylamide Yellow (also called Hansa Yellow), helped to fill that need.

From the point of view of fine artists, the color range was expanded tremendously, and furthermore, the synthetic organics are very pure, "clean" colors, with very little gray or brown undertones. A certain amount of "muddying up" the colors was found to be necessary to achieve a more natural look, since the real world actually has a whole lot of gray and brown in it! As these new pigments were initially being assimilated into the art materials industry, many paint producers felt that the chemical names of the pigments sounded entirely too scientific and intimidating, so Phthalocyanine Blue became Winsor Blue for the Winsor and Newton company, and Naphthol Red became Grumbacher Red for the Grumbacher company. It's worth noting that, at least in the United States, paint manufacturers are required to list the pigments used for a particular color on the paint tube or jar, so you can look there to see exactly which pigments are being used to create it.

So this is where we stand today! We've gone a long way from digging up red and yellow dirt all the way to the modern organic chemist's laboratory and it's unlikely to end there. Who knows what the future may hold?

Monday, October 4, 2010

This Week @ BINDERS - October 4-10

BINDERS HAPPENINGS

SAVE THE DATE for Artfolio!  Mark your calendars for Fri. Nov. 5 through Sun. Nov. 7. Come try new products or the products you've always wanted to learn how to use and join us for product and technique showcases from the best in the business (at our Atlanta location).

Our Fall Sale continues through the end of this month, so you can still save even more than usual on sketchbooks, canvases, brushes and all the rest of the most basic things every artist needs.

ART CLASSES & WORKSHOPS

Monday,  October 4:

Guided Open Studio with Kay Powell
10:30am-2pm, Every Monday | Beginner to Intermediate
Fee: $17/per session. Please pay the instructor. No registration necessary.

Contemporary Gold Leaf 1 with Shannon Forester
1-4pm, Mondays, 5 Sessions, Sept.13-Oct.11
Beginners to Intermediate (includes some materials) | Fee: $170

Tuesday, October 5:

Painting-Design and Technique with Charles Y. Walls
1-4pm, Tuesdays, 6 Sessions, Sept.14-Oct.19, | Open to all levels | Fee: $155

Bookmaking 1: Beginning Bookmaking with Anne Elser
1:30-4pm, Tuesdays, 6 sessions, Sept. 7-Oct. 12
Beginning-Intermediate | Fee: $155


Painting-Design and Technique with Charles Y. Walls
6-8:30pm, see details above

Bookmaking 1: Beginning Bookmaking with Anne Elser
6:30-8pm, see details above

Wednesday, October 6:

Acrylic Painting, Impressionist-Style with J.Z.Torre
1-4pm, Wednesdays, 6 Sessions, Sept.15-Oct.20
For Advanced Beginners to Intermediate | Fee: $175


Silk Dye Painting Basics with Hellenne Vermillion
5:30-8:30pm, Wednesdays, 6 Sessions, Sept. 1-Oct. 6
Beginner to Intermediate | Fee: $170

Calligraphy One: Italic with Anne Elser
6-8:30pm, Wednesdays, 6 sessions, Sept. 8-Oct.13
Beginner-Intermediate | Fee: $155


Thursday, October 7:

Mixed Media and Collage Class with Kay Powell
9:30am-12pm, Thursdays, 6 Sessions, Sept. 30-Nov. 11 (no class Nov. 4)
Beginner to Intermediate | Fee: $135
| Sign up now!

Watercolor: Mixing, Color Theory & Application with Susan Bradford
6-8:30pm, Thursdays, 6 Sessions, Sept. 2-Oct. 7
Beginner to Intermediate | Fee: $155



Friday, October 8:

Time Travelers with Barbara Bailey
4-5:30pm, Fridays, 6 Sessions, Sept. 10-Oct. 15
For children in Grades 3-5 | materials included | Fee: $125


Saturday, October 9:
Button Closure Workshop with Anne Elser
10:30am-5:30pm,
Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!

Sunday, October 10:
Button Closure Workshop with Anne Elser
11:30am-6pm, Sat. & Sun. Oct. 9-10, Fee: $155 | Sign up today!

Please note: Classes on this schedule are in our Atlanta store unless otherwise indicated. For more information please email or call Eli Pelizza at 404.237.6331 ext. 203.

Check out the full list of our upcoming art classes and art workshops! Sign up for 5 classes, workshops or demos and receive 25% OFF THE SIXTH!

Brushstrokes 3rd Annual “Signature Art Show and Sale” at TULA Art Center Gallery O-2 75 Bennett St. Atlanta, GA 30309

Opening Event: “Cocktails and Canvas”
Thursday, October 7th 5 to 9pm
Gallery Hours: From 11am to 6pm
Friday 8th, Sat.9th & Sun.10th
A portion of sales will be donated to THE JAY SHAPIRO ARTS LEGACY FOUNDATION

Artwork by: Phyllis Adilman | Cheryl Alifeld | Christine Bray | Judy Clark | Suzanne Engel | Diane Hooker | Jill Krischer | Cindi Rawlins | Fran Scher | Shirley Seguin | Diane Shaftman | Marta L. Suarez | Lynn Tolleson | Amelia Wilson

Visit BINDERS website!

Wednesday, September 29, 2010

The Subject of Art # 13: The History of Colors, Chapter 4 - Synthetics Rule!

As we saw in last week’s chapter of the History of Colors, the search for a stable, bright and affordable blue pigment led to the discovery (or re-discovery, considering Egyptian Blue) of the process of making synthetic pigments — let’s take a look at a few of the most popular!

Cobalt Blue
Governments in 19th century Europe sometimes took a very active interest in supporting the arts. For example, in 1804 Minister Chaptal of in France appointed several chemists to do research into the creation of new, more permanent colors. One of the results of this project was the discovery that the blue pigment in Smalt—the metal known as Cobalt—could be removed from the glass it was naturally found in when roasted in a furnace with alumina, resulting in a much more intense and very stable pigment which we now know as Cobalt Blue. This bright and very pure blue became an instant hit and found its way into the skies of paintings by Maxfield Parrish, Vincent van Gogh (who described it as a “divine color”) and many others. With the success of Cobalt Blue, scientists altered the formula to produce many different colors from the original metal including yellows, greens and violets.

Viridian
The very popular and important green pigment known as Viridian was developed by the famous color-maker Pannetier in 1838. This brilliant and lightfast pigment has a bluish undertone and a very fine transparency that makes it excellent for glazing. Viridian was produced by mixing Boric Acid with Potassium Bichromate and then soaking the resulting salt crystals in water, resulting in a fiery, gem-like green color. Viridian quickly replaced most other greens because of its permanence, but also because the other most popular pigment, Emerald Green, was extremely toxic as has been detailed in an earlier chapter.

Cadmium
Cadmium Yellow, a very bright, opaque and permanent pigment, was first synthesized in 1820. The process involved mixing cadmium salts with a sulfide and heating, which would result in the intense yellow hue. Cadmium was, and still is, a very rare metal, so it was fairly expensive to obtain and remains one of the most costly types of pigments even today. In 1919 the process was altered by adding selenium to the formula which resulted in a bright red-orange pigment called Cadmium Red. Variations in the amount of selenium allowed a range of colors from orange to scarlet to red to maroon, all of which are beloved and much-used in contemporary art.

These inorganic synthetic pigments became widely distributed and accepted by the middle of the 19th century in Europe and, together with the invention of pre-packaged paint tubes, contributed directly to the accessibility of art materials to a much wider group of people than at any other time in history. Today, we take for granted that we can have a wide range of colors available at relatively low cost and already pre-mixed with oil, acrylic or watercolor mediums, and it’s easy to forget that it was not that long ago that none of this existed! 

The artists of the time took full advantage of the new colors and it was these technological innovations that allowed the color explorations of Monet, Van Gogh, Seurat, Delaunay and many others to bloom and helped to launch what we now know as the Modern Art movement. The story doesn’t end here though, in the last chapter of our History of Colors, we’ll look at the innovations of the 20th century and the development of new synthetic colors from organic compounds!

What kinds of topics are you interested in learning about? Let us know!