Colour, Art and Empire: Visual Culture and the Nomadism of Representation (International Library of Visual Culture)

Colour, Art and Empire: Visual Culture and the Nomadism of Representation (International Library of Visual Culture)

Natasha Eaton

Language: English

Pages: 416

ISBN: 1780765193

Format: PDF / Kindle (mobi) / ePub


Colour, Art and Empire explores the entanglements of visual culture, enchanted technologies, waste, revolution, resistance and otherness. The materiality of color offers a critical and timely force-field for approaching afresh debates on colonialism. Located at the thresholds of nomenclature, imitation, mimesis and affect, this book analyses the formation of color and politics as qualitative overspill. Here color can be viewed both as central and supplemental to early photography, the totem, alchemy, tantra and mysticism. From the 18th-century Austrian empress Maria Theresa, to Rabindranath Tagore and Gandhi, to 1970s Bollywood, color makes us adjust our take on the politics of the human sensorium as defamiliarizing and disorienting.

Color wreaks havoc with western expectations of biological determinism, objectivity and eugenics. Beyond the cracks of such discursive practice, color becomes a sentient and nomadic retort to be pitted against a perceived colonial hegemony. Its alter materiality's and ideological reinvention as a resource for independence struggles, makes color fundamental to multivalent genealogies of artistic and political action and their relevance to the present.

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the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2013 Natasha Eaton The right of Natasha Eaton to be identified as the author of this work has been asserted by the author in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any

impenetrability embodied by the technology of painting. The miniature professed a discontinuity with profane space; it planes gesture towards the universe as a series of hanging forms – Sufism’s Five Divine Presences which move upwards from the physical world to the archangelic, the intermediate, the world of Divine names and Divine Essence (dhāt). Poised at the plane of the intermediate, the miniature has the potential to act as gateway to a higher state of being.20 Scarcity in relation to

g a n d r e v o l u t i o n i n i n d i a 49 pounded again, washed with lye and put into another vessel. Again the residue is washed and ground using the same soap, or alternatively, it is treated with hot water mixed with milk several times until the lapis lazuli entirely comes out of it before it is dried and wrapped in paper. According to Home, lapis lazuli should be prepared with two ounces of common yellow wax, with two ounces of rosin and with two ounces of olive oil: These melted in a

hues…Compare an Egyptian painting, staring in red, green, and yellow, with a water-colour by David Cox…each has its own circle of admirers.158 As opposed to the grey haze which plagues city life, Allen advocated the pleasure of novelty and pungency in the strong imitation of the analytic colours – red, blue, yellow, orange, green and purple – in ways reminiscent of Field’s scale of chromatic equivalents and Jones’ The Grammar of Ornament.159 This desire for colour harmony he believed to be

subject’.183 Darwin believed that beauty was the effect of natural selection and that colour had to be understood as a contrivance to ensure survival. His implied reduction of beauty to the stimulation of mere visual pleasure clearly had its critics in the artistic and scientific communities. Allen, with his interest in aestho-psychology, expands upon Darwin’s thesis to conjecture that the love of colour is founded upon the natural food of various species which was then transferred to the choice

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