Note: When you navigate to a specific coloring book within thecollection, you may initially encounter a blank section on the page. Please scroll down to locate the actual download link for the coloring book.
The Book of Colour Conceptswill soon be published by Taschen in a multilingual edition, containing text in English, French, German, and Spanish. This choice makes its abundance of explanatory scholarship widely accessible at a stroke, but even those who read none of those four languages can enjoy the book. For it takes a deep dive — with Taschen’s characteristic visual lavishness — into one of the truly universal languages: that of color. Throughout its two volumes, The Book of Colour Concepts presents more than 1000 images drawn from four centuries’ worth of “rare books and manuscripts from a wealth of institutions, including the most distinguished color collections worldwide.”
Reproduced within are selections from more than 65 books and manuscripts, including such “seminal works of color theory” as Isaac Newton’s Opticks and Johann Wolfgang von Goethe’s Zur Farbenlehre, as previously featured here on Open Culture.
Kate Mothes at Colossal adds that “readers will also find studies from Color Problems, the early 20th-century handbook by Emily Noyes Vanderpoel, which described theories that would trend in subsequent decades in design and art, like Joseph Albers’s series Homage to the Square.” In The Book of ColourConcepts’ 800 pages also appear a variety of works that don’t belong, strictly speaking, to the field of color theory, such as a botanical notebook by the spiritualist and early abstract artist Hilma af Klint.
Co-authors Sarah Lowengard and Alexandra Loske bring serious credentials to this endeavor: Lowengard is a historian of technology and science with more than 40 years’ experience as an “artisan color-maker,” and Loske is an art historian and curator who specializes in “the role of women in the history of color.” Both would no doubt agree on the special value of revisiting the history of this particular subject here in the early twenty-first century, with all its discourse about the disappearance of color from our everyday lives. It’s worrisome enough that spoken and written languages outside the English-French-German-Spanish league seem to be declining; relegating ourselves to an ever-narrowing vocabulary of color would be an even graver loss indeed.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
Less well known is his diagram of the Apocalypse. Between 1877 and 1890, notes the Red Cross Museum website, Henry Dunant “produced a series of diagrams reflecting his distinctive understanding of humanity’s past and future. Inspired by Christian revivalism, the drawings depict a timeline from the Flood of Noah to what Dunant believed was an impending Apocalypse. The diagrams fuse mystical references with biblical, historic and scientific events, while also setting up a clear opposition between Geneva, as the centre of the Reformation, and the Catholic Church.”
The image above is the first drawing out of a series of four, made with colored pencils, ink, India ink, wax crayons, and watercolors. Writes Messy Nessy, Dunant “spent considerable time on the drawings, organising the symbolic elements according to a strict logic, making preparatory sketches and painstakingly incorporating drawings and colourings into his chronology.” All along, he was driven by the belief that the Apocalypse was in the offing, just a short time way.
The story of Vincent van Gogh’s life tends to be defined by his psychological condition and the not-unrelated manner of his death. (It does if we set aside the episode with the mutilated ear and the brothel, anyway.) The figure of the impoverished, neglected artist whose work would revolutionize his medium, and whose descent into madness ultimately drove him to take his own life, has proven irresistible to modern storytellers. That group includes painter-filmmaker Julian Schnabel, who told Van Gogh’s story a few years ago with At Eternity’s Gate, and Vincente Minnelli, who’d earlier given it the full CinemaScope treatment in 1956 with Lust for Life.
It is thanks in large part to Lust for Life that casual Van Gogh fans long regarded Wheatfield with Crowsas his final painting. “The painting’s dark and gloomy subject matter seemed to perfectly encapsulate the last days of Van Gogh, full of foreboding of his eventual death,” says gallerist-Youtuber James Payne in his new Great Art Explained video above.
Recently, however, the consensus has shifted toward a different, lesser-known work, Tree Roots. Like Wheatfield with Crows, Van Gogh painted it in the rural village of Auvers-sur-Oise, to which he moved after checking out of the last asylum in which he’d received treatment. There, in his final weeks, he “worked on a series of landscapes on the hills above Auvers,” all rendered on wide-format canvases he’d never used before.
That this series consists of “vast expanses, totally devoid of any human figures” makes it look “as if he has given up on humanity.” What’s more, Tree Roots is also “devoid of form. It is unfinished, which is extremely unusual for Van Gogh, and a sign it was still being worked on when he died.” Its obscure location only became clear during the time of COVID-19, when Van Gogh specialist Wouter van der Veen was looking through a cache of old French postcards he’d received and happened to spot a highly familiar set of roots. Thanks to this coincidence, we can now visit the very spot in which Van Gogh painted what’s now thought to be his very last work on the morning of July 27th, 1890, the same day he chose to end his own life. This counts as a mystery solved, but surely the art Van Gogh made during his abbreviated but prodigious career still has much to reveal to us.
Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletterBooks on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.
In 1957, Salvador Dalí created a tableware set consisting of 1) a four-tooth fork with a fish handle, 2) an elephant fork with three teeth, 3) a snail knife with tears, 4) a leaf knife, 5) a small artichoke spoon, and 6) an artichoke spoon. When the set went on auction in 2012, it sold for $28,125.
Information on the cutlery set remains hard to find, but we suspect that it sprang from Dalí’s desire to blur the lines between art and everyday life. It’s perhaps the same logic that led him to design a surrealist cookbook—Les Diners de Gala—16 years later. It’s not hard to imagine the utensils above going to work on his oddball recipes, like “Bush of Crawfish in Viking Herbs,” “Thousand-Year-Old Eggs,” and “Veal Cutlets Stuffed with Snails.” If you happen to know more about Dalí’s creation, please add any thoughts to the comments below.
Seventeenth-century Dutch painter Rembrandt van Rijn may have more name recognition than nearly any other European artist, his popularity due in large part to what art historian Alison McQueen identifies in her book of the same name as “the rise of the cult of Rembrandt.” Popular Rembrandt veneration brought us in the 20th century such corporate appropriations of the painter’s legacy as Rembrandt toothpaste and money market firm Rembrandt Funds (particularly ironic, “given the notoriety of Rembrandt’s bankruptcy in 1656”). “In contemporary popular culture,” writes McQueen, “Rembrandt’s name has such resonance that the headline of an article in the New York Times Magazine in 1995 referred to the trendy barber Franky Avila as ‘the Rembrandt of Barbers.’”
By invoking Rembrandt’s name, the author knew his readers would understand that this connection implies that Avila’s skill with a razor equals that of Rembrandt’s with his paintbrush or etching needle… even if a reader has never actually seen any work by Rembrandt.
Indeed, though any person on the street will likely know the artist’s name, most would be hard-pressed to name any of his paintings, except perhaps his well-known self-portraits, which have adorned t‑shirts, posters, and iPhone cases. I might not have known much more about Rembrandt than those self-portraits either had I not lived in Washington, DC, where I had free access to many of his paintings at the National Gallery of Art. The Dutch master was astonishingly prolific, painting, drawing, and etching hundreds of portraits of himself and his patrons, as well as hundreds of still lifes, landscapes, scenes from mythology, and many, many Biblical subjects.
Nowadays, you can see Rembrandt’s paintings for free online, whether from the National Gallery of Art’s collection, that of the National Gallery in London, or of the Dutch Rijksmuseum. And for another side of his genius, you can now go to the site of New York’s Morgan Library and Museum, who have digitized “almost 500 images from the Morgan’s exceptional collection of Rembrandt etchings,” celebrating his “unsurpassed skill and inventiveness as a master storyteller.” There are, of course, plenty of self-portraits, like the 1630 “Self Portrait in a Cap, Open-Mouthed” at the top of the post, and there are portraits of others, like that of the artist’s mother, above, from 1633. There are religious scenes like the 1655 “Abraham’s Sacrifice” below, and landscapes like “The Three Trees,” further down, from 1643.
These are the four main categories that the Morgan uses to organize this impressive collection, but you’ll also find there more humble, domestic subjects, like the 1640 “Sleeping Puppy,” below. Writes Hyperallergic, “The Morgan holds in its collection most of the roughly 300 known etchings by Rembrandt, including rare, multiple versions (hence the discrepancy in number of etchings versus number of images.)” Like his highly accomplished paintings, Rembrandt’s etchings “are famous for their dramatic intensity, penetrating psychology, and touching humanity,” as well as, of course, for the extraordinary skill with which the artist made these works of art. Thanks to the “cult of Rembrandt,” we all know the artist’s name and reputation; now, thanks to digital collections from National Galleries, the Rijksmuseum, and now the Morgan, we can become experts in his work as well. Enter the Morgan collection of sketches here.
Note: Note: An earlier version of this post appeared on our site in 2015.
The US Postal Service will be classing up the joint, with the planned release of 16 stamps featuring the photography of Ansel Adams. They write:
Ansel Adams made a career of crafting photographs in exquisitely sharp focus and nearly infinite tonality and detail. His ability to consistently visualize a subject — not how it looked in reality but how it felt to him emotionally — led to some of the most famous images of America’s natural treasures including Half Dome in California’s Yosemite Valley, the Grand Tetons in Wyoming, and Denali in Alaska, the highest peak in the United States.
Due to be unveiled on May 15th, the stamps will feature iconic US landscapes, including Half Dome in Yosemite National Park, Monument Valley in Arizona, the Grand Tetons, the Snake River and more. Find more information on the stamps here.
Atomic physicist Niels Bohr is famously quoted as saying, “Prediction is very difficult, especially if it’s about the future.” Yet despite years of getting things wrong, magazines love think pieces on where we’ll be in several decades, even centuries in time. It gives us comfort to think great things await us, even though we’re long overdue for the personal jetpack and moon colonies.
And yet it’s Asimov who apparently owned the only set of postcards of En L’An 2000, a set of 87 (or so) collectible artist cards that first appeared as inserts in cigar boxes in 1899, right in time for the 1900 World Exhibition in Paris. Translated as “France in the 21st Century,” the cards feature Jean-Marc Côté and other illustrators’ interpretations of the way we’d be living…well, 23 years ago.
The history of the card’s production is very convoluted, with the original commissioning company going out of business before they could be distributed, and whether that company was a toy manufacturer or a cigarette company, nobody seems to know. And were the ideas given to the artists, or did they come up with them on their own? We don’t know.
One of the first things that stands out scanning through these prints, now hosted at The Public Domain Review, is a complete absence of space travel, despite Jules Verne having written From the Earth to the Moon in 1865 (which would influence Georges Méliès’ A Voyage to the Moon in 1902). However, the underwater world spawned many a flight of fancy, including a whale-drawn bus, a croquet party at the bottom of the ocean, and large fish being raced like thoroughbred horses.
There are a few inventions we can say came true. The “Advance Sentinel in a Helicopter” has been documenting traffic and car chases for decades now, fed right into our televisions. A lot of farm work is now automated. And “Electric Scrubbing” is now called a Roomba.
For a card-by-card examination of these future visions, one should hunt out Isaac Asimov’s 1986 Futuredays: A Nineteenth Century Vision of the Year 2000, which can be found on Amazon right now. (Or see the nice gallery of images at The Public Domain Review.) And who knows? Maybe next year, your order will come to your door by drone. Just a prediction.
Note: Note: An earlier version of this post appeared on our site in 2015.
Ted Mills is a freelance writer on the arts who currently hosts the FunkZone Podcast. You can also follow him on Twitter at @tedmills, read his other arts writing at tedmills.com and/or watch his films here.
We're hoping to rely on loyal readers, rather than erratic ads. Please click the Donate button and support Open Culture. You can use Paypal, Venmo, Patreon, even Crypto! We thank you!
Open Culture scours the web for the best educational media. We find the free courses and audio books you need, the language lessons & educational videos you want, and plenty of enlightenment in between.
