"As William Hawker works on a landscape of the countryside at twilight, his literary friend George Hollanden peeks over his canvas at the landscape beyond: “‘Say, does that shadow look pure purple to you?’” The painter responds tartly, “‘Certainly it does or I wouldn’t paint it so, duffer.’” Hollanden persists, “Well, if that shadow is pure purple my eyes are liars. It looks like a kind of slate color to me. Lord, if what you fellows say in your paintings is true, the whole earth must be blazing and burning and glowing and—”Hawker went into a rage. “Oh, you don’t know anything about color, Hollie. For heaven’s sake, shut up or I’ll smash you with the easel.”
em artigo de Nicholas Gaskill sobre Stephen Crane (.pdf). Dickinson era branca, nove vezes no corpo poético. sobre esse branco-blank se fala no Western Canon. Crane, impressionista ou não. Conrad disse que sim, H. G. Wells o mesmo. Berryman disse que não. chamar impressionista, ou nomear, tem pouca substância, mas o diálogo anterior é já diferente.
"Synthetic dyes and pigments produced by nineteenth-century advances in organic chemistry made a wide range of vivid colors readily available for all manners of industrial production, and the commercial uses of these new hues were driven by the descriptions of color experience offered by experimental psychology. From the interlocking development of these modern technologies and theories of color emerged a set of practices predicated on color’s ability to produce direct and manageable effects on the human sensorium. These techniques spread throughout the United States, concentrating in urban centers such as Crane’s New York. Architects John Wellborn Root and Louis Sullivan incorporated stained glass and multicolored facades into their buildings; department stores such as Macy’s and Wanamaker’s used bold hues to attract shoppers; New York newspapers, such as Joseph Pulitzer’s World and William Randolph Hearst’s Journal, experimented with simple color printing to raise circulation; and chromolithographs became a staple of home decoration. Even kids got to join in: Milton Bradley and art educators praised the pedagogical benefits of colors, and “[n]ew materials, like colored chalk, colored crayons, and colored paper, were added to the stock of instructional materials”. Each of these projects indicates an interest in the physiological and psychological effects of color that received complementary treatment in turn-of-the-century philosophical, medical, and commercial debates."
(do mesmo artigo)
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Goethe's Theory of Color.
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