Preface |
|
ix | |
Introduction |
|
1 | (10) |
|
|
11 | (88) |
|
From Painting to Landscape |
|
|
|
The Landscape Painting Genre: Privileging Color over Line |
|
|
|
Autumn Colors: The Painter's Favorite |
|
|
|
1 Structural Color: Uniform Verdure, Humphry Repton (1752--1818) |
|
|
19 | (26) |
|
Landscapes: Nature the Colorist |
|
|
|
Artifacts: Color as Ornament and Social Code |
|
|
|
Drawings: Color and Consumer Appeal |
|
|
|
Red Books: Status and Brand |
|
|
|
Brandsbury, Middlesex, UK, 1789 |
|
|
|
The Gardens of Ashridge, Hertfordshire, UK, 1813 |
|
|
|
2 Artificial Color: Bright and Complementary, J. C. Loudon (1783--1843) |
|
|
45 | (24) |
|
Specimen: The Necessity of Observation ("Not All Greens Are the Same") |
|
|
|
Artifice: Color of Distinction |
|
|
|
Color Charts: Mixed-versus-Solid Debate |
|
|
|
Ornament: Color for Every Season |
|
|
|
Class Distinction: Color as Social Code |
|
|
|
Hendon Rectory, Middlesex, UK, 1838 |
|
|
|
Hoole House, Cheshire, UK, 1838 |
|
|
|
3 Color as Impression: Graduated Harmony, William Robinson (1838--1935) and Gertrude Jekyll (1843--1932) |
|
|
69 | (30) |
|
Primacy of Color over Form |
|
|
|
Foliage Aesthetics: The Return of Green |
|
|
|
Intergrouping: Spectrally Adjacent Harmony |
|
|
|
Living Pictures, Flowering Calendar |
|
|
|
Special Coloring: One-Color Garden |
|
|
|
Gravetye Manor, West Sussex, UK, 1885--1935 |
|
|
|
Munstead Wood, Surrey, UK, 1883--1932 |
|
|
|
|
99 | (96) |
|
From Material to Sensation |
|
|
|
Primary Colors Versus White |
|
|
|
Early Modernist Color Forays in European Gardens |
|
|
|
4 Material and Phenomenal Color: Simultaneous Contrast, Gabriel Guevrekian (1900--70) |
|
|
109 | (28) |
|
Simultaneous Contrast, Color in Motion |
|
|
|
Phenomenology: The Psychology of Color |
|
|
|
Modernized Tradition: Polychromatic Mosaic |
|
|
|
Permanence: Minerals and Special Light Effects |
|
|
|
Photography: Gardens in Black and White |
|
|
|
Villa Noailles, Hyeres, France, 1926 |
|
|
|
Villa Heim, Neuilly-sur-Seine, France, 1927--8 |
|
|
|
5 Spatial Color: A-Chrome, Garrett Eckbo (1910--2000) |
|
|
137 | (30) |
|
Space: Structural Color Revised |
|
|
|
Climatic Regionalism, Rational Color |
|
|
|
Synthetic Material: Stain and Sparkle |
|
|
|
Consumer Culture, Colorful Lifestyle |
|
|
|
Axonometry Customized, Photography in Color |
|
|
|
Alcoa Forecast Garden, Los Angeles, CA, USA, 1956--9 |
|
|
|
Union Bank Square, Los Angeles, CA, USA, 1964-8 |
|
|
|
6 Symphony of Color: Tropical Saturation, Roberto Burle Marx (1909--4) |
|
|
167 | (28) |
|
Illumination and Regional Identity |
|
|
|
Composition: Symphony of Color |
|
|
|
Hybridity: Artificial Ecologies |
|
|
|
Tropical Modernism: Cultural Mosaic |
|
|
|
Medium: Art and Landscape |
|
|
|
Ministry of Education and Health, Rio de Janeiro, Brazil, 1938--43 |
|
|
|
Edmundo Cavanelas Residence, Petropolis, Brazil, 1954 |
|
|
|
Part III Postmodernism, Onward |
|
|
195 | (125) |
|
|
|
The New Sublime, Minimal and Land Art |
|
|
|
Radiant Architecture, Luminous Landscapes |
|
|
|
7 Conceptual Color: Purely Synthetic, Martha Schwartz (b. 1950) |
|
|
205 | (36) |
|
Transfiguration, Pop Color, and Day-Glo |
|
|
|
Critique: Green and Other Landscape Jokes |
|
|
|
|
|
Color Wars, Branding, and Image Making |
|
|
|
Pantone, RBG, and SuperPaint |
|
|
|
Daws Garden, El Paso, TX, USA, 1996 |
|
|
|
Mesa Arts Center, Mesa, AZ, USA, 2005 |
|
|
|
8 Affective Light Color: Translucence, Petra Blaisse (b. 1955) |
|
|
241 | (34) |
|
Curating Textiles and Landscapes |
|
|
|
Lines and Imprints: Color Itineraries |
|
|
|
|
|
Tactile Color and Contemporaneity |
|
|
|
Multimedium: Bricolage, e-Collage, and Montage |
|
|
|
Seattle Central Public Library, WA, USA, 2000--5 |
|
|
|
Biblioteca degli Alberi (Library of Trees), Milan, Italy, 2003--4; 2008--18 |
|
|
|
9 Color Now: Gender, Skin, and Screen |
|
|
275 | (45) |
|
Naughty Color: Monochrome, Claude Cormier (b. 1960), Claude Cormier + Associes, Montreal, Canada |
|
|
276 | (12) |
|
Gender, Identity Politics |
|
|
|
Visual Games, Camouflage, Pun, and Flavor |
|
|
|
Photographic Mediation, Cartoon, Collage, and Superrealism |
|
|
|
Instagrammable Color: Radiance, Martin Rein-Cano (b. 1967), TOPOTEK 1, Berlin, Germany |
|
|
288 | (16) |
|
"Chemotherapy," Visibility, and Ambiguity |
|
|
|
Color Stories, Identity, and Marking |
|
|
|
Real/Surreal, Alice in Wonderland |
|
|
|
Rhythms of Color and Light: Black, White, and Blues, Walter Hood (b. 1958), Hood Design Studio, Oakland, California |
|
|
304 | (16) |
|
Painting versus Drawing, Field versus Figure |
|
|
|
In-Visibility: People of Color |
|
|
|
Color Stereotypes, Material to Last |
|
|
Postscript: Color Prospects |
|
320 | (4) |
Index |
|
324 | |