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This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone
This scarce antiquarian book is a selection from Kessinger
Publishing's Legacy Reprint Series. Due to its age, it may contain
imperfections such as marks, notations, marginalia and flawed
pages. Because we believe this work is culturally important, we
have made it available as part of our commitment to protecting,
preserving, and promoting the world's literature. Kessinger
Publishing is the place to find hundreds of thousands of rare and
hard-to-find books with something of interest for everyone!
Emily Noyes Vanderpoel (1842-1939) was an artist, collector,
scholar, and historian working at the dawn of the 20th century. Her
first and most prominent work, Color Problems: A Practical Manual
for the Lay Student of Color, provides a comprehensive overview of
the main ideas of color theory at the time, as well as her wildly
original approaches to color analysis and interaction. Through a
21st century lens, she appears to stumble upon midcentury design
and minimalism decades prior to those movements. Presenting her
work as a painting manual under the guise and genre of flower
painting and the decorative arts-- subjects considered
"appropriate" for a woman of her time--she was able to present a
thoroughly studied, yet uniquely poetic, approach to color theory
that was later taken up and popularized by men and became
ubiquitous in contemporary art departments. Her remarkable
inventiveness shines in a series of gridded squares, each 10 x 10,
that analyze the proportions of color derived from actual objects:
Assyrian tiles, Persian rugs, an Egyptian mummy case, and even a
teacup and saucer. Vanderpoel had a deep knowledge of ceramics and
analyzed many pieces from her personal collection. She leaves her
process relatively mysterious but what is clear, as historian and
science blogger John Ptak notes, is that Vanderpoel "sought not so
much to analyze the components of color itself, but rather to
quantify the overall interpretative effect of color on the
imagination".
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