e, assim, mais uma vez.
a cor em "Land of Desire: Merchants, Power, and the Rise of a New American Culture" de William R. Leach.
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"Another factor in the advance of pictorial advertising was the availability of new kinds of color and light. Goods could now be vividly conceived and projected. American business, after 1880, had at its fingertips an unrivaled supply of new colors - more than one thousand separate shades and hues, according to a count by colorist Louis Prang. These artificial colors (such as mauve and chrome yellow) were made from aniline coal-tar dyes, and some exceeded in brilliance anything in nature. So many colors had been invented by the turn of the century that color standards were created to make clear to everybody in business, from Berlin to Chicago, what different reds or blues actually looked like."
"From the 1880s onward, a commercial aesthetic of desire and longing took shape to meet the needs of business. And since that need was constantly growing and seeking expression in wider and wider markets, the aesthetic of longing was everywhere and took many forms. After 1800 this aesthetic appeared in show windows, electrical signs, fashion shows, advertisements, and billboards; as free services and sumptuous consumer environments; and as the artifacts or commodities themselves.
At the heart of the evolution of this commercial aesthetic were the visual materials of desire -color, glass and light. Used for centuries by royal courts and by the military to excite devotion, loyalty, and fear, and by religions to depict otherworldly paradises, these materials were now mobilized in the United States and other industrialized countries to suggest a this-worldly paradise that was stress-free and "happy". "Coloured glass," wrote architectural utopian Paul Sheerbart, who influenced Mies van der Rohe and Frank Lloyd Wright, among others, "destroys hatred." "Light softened by color, calms the nerves." By 1910, American merchants, in their efforts to create the new commercial aesthtic, took command over color, glass, and light, fashioning a link so strong between them and consumption that, today, the link seems natural".
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(...)
"Another factor in the advance of pictorial advertising was the availability of new kinds of color and light. Goods could now be vividly conceived and projected. American business, after 1880, had at its fingertips an unrivaled supply of new colors - more than one thousand separate shades and hues, according to a count by colorist Louis Prang. These artificial colors (such as mauve and chrome yellow) were made from aniline coal-tar dyes, and some exceeded in brilliance anything in nature. So many colors had been invented by the turn of the century that color standards were created to make clear to everybody in business, from Berlin to Chicago, what different reds or blues actually looked like."
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diz Norris, "If Crane's writing looks like anything, it is not an impressionist painting; it is an advertising poster, printed boldly in a limited range of flat colors."
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