Download Blue: Cobalt to Cerulean in Art and Culture by Museum of Fine Arts Boston PDF

By Museum of Fine Arts Boston

Blue, the world's favourite colour, is elegantly showcased in additional than two hundred artistic endeavors from the gathering of the Museum of excellent Arts, Boston. Representing a variety of pursuits, cultures, and media that spans the a while and the globe, the items in Blue variety from historic Egyptian jewellery and standard jap prints to Impressionist work and indigo-dyed textiles. brief essays from museum curators at the importance and symbolism of the colour at a number of occasions and areas offer ancient context for this visible dinner party. With web page edges dyed blue, this unique quantity is a bijou treasure.

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The synthetic form was widely used in antiquity, but its use diminished precipitously after the fall of the Roman Empire until interest in it revived in 44 clockwise from top left: NUBIAN Head of a Nubian, ca. 1700–1550 BC NUBIAN Figure of a Scorpion, ca. 1700–1550 BC EGYPTIAN Face of Hathor or Bat, 760 BC–AD 337 A LT HOUGH T H E T ER M faience has, since the Middle Ages, been associated with colorful tin-glazed earthenware from Europe, the rich blues of Egyptian faience constitute a far more ancient, unique ceramic production.

Senegalese dyers used the stitch-resist technique, in which sections of the cloth are bound tightly together and held with stitches, to create intricate patterns on deep blue wrappers (see page 61). In Europe and other areas with colder climates, the processing of indigo derived from woad was difficult to do, and the yield was low. Indigo plants from tropical climates of India and Africa yielded far more dye, and processed indigo cakes were more easily shipped than the plants. When Europeans began the sea trade to Southeast Asia in the sixteenth century, indigo became one of its most valuable commodities and threatened the woad trade.

Blue-glazed quartz objects dating from as early as 3100 BC have been found in ancient Nubia. Egyptian techniques for the production of faience (see pages 23, 45, 64, 82, and 107) and glazed steatite (soapstone) (see page 137) were evidently adapted to produce a brilliant, translucent blue over white quartz, perhaps intended to simulate the appearance of precious gemstones. The early-nineteenth-century Harvard University– Boston Museum of Fine Arts expedition to Kerma in the Sudan excavated hundreds of small glazed stone artifacts such as beads (see page 21) but also several extraordinary objects of unparalleled scale and execution (see pages 45, clockwise from left: EGYPTIAN Amulet of Isis and Horus, 1070–332 BC NUBIAN Head of a Ram, ca.

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