Color in The Age of Impressionism

This book is made possible by a collaborative grant from the Andrew W. Mellon foundation.

Publication of this book has been aided by a grant from the Millard Meiss Publication Fund of the College Art Association.

Library of Congress Cataloging-in-Publication Data

Names: Kalba, Laura Anne, 1977– , author.

Title: Color in the age of impressionism : commerce, technology, and art / Laura Anne Kalba.

Other titles: Refiguring modernism.

Description: University Park, Pennsylvania : The Pennsylvania State University Press, [2017] | Series: RM, refiguring modernism | Includes bibliographical references and index.

Summary: “Analyzes the impact of color technologies on the visual culture of nineteenth-century France, from the early commercialization of synthetic dyes to the Lumière brothers’ perfection of the autochrome color photography process. Examines the development of the basic aesthetic schemata of modern visual culture.”—Provided by publisher.

Identifiers: LCCN 2016036698 | ISBN 9780271077000 (cloth : alk. paper)

Subjects: LCSH: Color in art. | Color—Social aspects—France—History—19th century. | Impressionism (Art)—France.

Classification: LCC N7432.7 .K35 2017 | DDC 701/.85—dc23

LC record available at https://lccn.loc.gov/2016036698

Printed in China

Published by The Pennsylvania State University Press, University Park, PA 16802-1003

The Pennsylvania State University Press is a member of the Association of American University Presses.

It is the policy of The Pennsylvania State University Press to use acid-free paper. Publications on uncoated stock satisfy the minimum requirements of American National Standard for Information Sciences—Permanence of Paper for Printed Library Material, ANSI Z39.48–1992.

Additional credits: page iii, Claude Monet, Woman in the Garden, Sainte-Adresse (detail of fig. 18); page xix, Eugène Atget, Rue des Ursins (detail of fig. 6); page 14, assortment of simple and secondary artists’ colors with white, black, and gray (detail of fig. 9); page 42, Claude Monet, The Artist’s Garden at Giverny (detail of fig. 22); page 68, Marie-Augustin Zwiller, L’Industrie en Alsace: Le Laboratoire (detail of fig. 31); page 120, Georges Seurat, The Eiffel Tower (detail of fig. 66); page 148, trade card featuring asphyxiated children lying on a slice of cheese (detail of fig. 80); page 182, Place de la Madeleine on a Sunday Morning (detail of fig. 104).