I received an email this morning which reminded me of an interview I did for the lovely Louise Owens, an Australian books blogger in 2015. Looking back it feels a million years ago; it was around the time a friend committed suicide, before my parents died, before I started work on this new book (more about that when I’ve written more of it). But although it seems as if it has come from another planet there are some nice answers and great questions there, so I thought I’d post it here, just three years late.
When you go into a bookshop, which department do you head straight to? The one with the sofas. My favourite bookshops are independent ones with chairs in them, and people who love books, and a bit of organised chaos. A few weeks ago I was in Shakespeare & Co in Paris with a few hours to spare. I went to the top floor (which has a cat, several sofas, a little desk with typewriter that Hemingway would have loved no doubt) and I found a second hand version of Vita Sackville West’s Thirty Clocks Strike the Hour. And I read the title story and was transported then to the Boulevard des Italiens where her great-grandmother had a vast corner house with twenty windows on the boulevard and where, one night, the young Vita hid in shadows and watched her grandmother, walk slowly through all those grand rooms until she reached one with thirty clocks… When I left the shop a couple of hours later I had moved into another dimension. I’ll go to any bit of any bookshop to find the books (which could be in science or music or fiction or art or memoir or travel) that will do that.
Looking back, which experiences, jobs and personality traits do you think have really helped you? Continue reading →
The furore around whether this dress, aka #TheDress is blue and black or white and gold (I say it’s white and gold. Obviously!) and the delicious vox pop videos the BBC and others are making of when they ask people about it (“you’re winding me up!??? Are you turning my spanner???”) makes me wonder what would have happened if there had been twitter and video in 1820s Paris.
That year the Gobelins Royal tapestry workshop in Paris had a problem. They were using the same bright dyes that they’d been using since the 1660s, and which they were famous for, and for which they were charging a fortune. The trouble was the coloured threads started coming up grey on the tapestry.
A dress manufacturer could just change the production line but these guys only managed about a square metre in a year (tapestries were about 12 feet high and longer across and were made by teams of weavers) so mistakes were pretty painful.
Today they’d have had young media types wandering around posh Parisian arrondissements holding up tapestry samples of bright red against orange and the same bright red against purple (“tu me fais marcher!?? vous me tournez ma clé à molette!!!?”) with the first one so much duller than the second. Continue reading →
From a Hotrod comic book, 1950s, printed with Benday dots
When I was researching for my next book (A Brilliant History of Color in Art, to be published by the Getty in November) I looked into the Benday dots that Roy Lichtenstein made famous. And I learned that Benday was a real person. Benjamin Day. So I imagined a comic book sequence telling the story of his invention. Obviously you’ll have to imagine it too, as I can’t draw. Though if anyone wants to mock it up that would be cool.
FRAME ONE and TWO, BEN DAY as a kid – done in the black and white style of an 1850s news engraving drawing
(1852: A boy of about 14 is hunched over a desk. Behind him is an open door, where
NEW YORK SUNProprietor: Benjamin Henry Day.
is written in appropriate lettering. You can see his father in the next room, obviously the editor, but with a compositor’s magnifying glass…
“Dad. Black and white’s so last century. Isn’t there a way we could get some color into the paper?”
“I’m not made of money, Ben. You’d have to make it really cheap.”
NEXT FRAME, almost the same but the door’s closed… The boy’s scribbling now and thinking to himself
I looked out the window just now and THERE WAS A WHITE CHICKEN standing beside a silver wheelbarrow in our garden… Of course I wished – it almost hurt – that I had followed my instinct and painted it red, like in the William Carlos Williams poem. I had wanted to do it this spring just in case a white chicken wandered along. And then it did wander along and I wasn’t ready. Is there a metaphor somewhere there…. ?
This untitled ink and watercolour sketch by the extraordinary Californian artist Martin Ramirez somewhere between 1948 and 1963 seems to sum up my week.
I’m spending every waking hour at a desk with a train of a deadline thundering noisily past the window.
This little person doesn’t have toppling bookshelves full of wonderful art books though (and nor do they have a wonderful swiveling chair which arrived on Monday, and which distracted me for several happy minutes, until I felt a bit woozy with all that turning.) Continue reading →
Earlier this week I went to a party where I met a woman from South Sudan. Her name, she said, meant “dark red” in Dinka. Was it common in South Sudan to name people after colours, I asked. It wasn’t uncommon, she said. And is her name just for girls? Yes, she said.
So is there an equivalent, maybe “dark blue” for boys, I asked, happy as always to be chatting along a colours theme. And she started to laugh. And she giggled until little tears formed at the corners of her eyes. “The Dinka are cattle herders,” she said as if in explanation, and giggled again. I didn’t quite understand. “My name is the name for a kind of cattle colour…. (another shudder of laughter)… and no cows are dark blue!” And then we both laughed until we cried at the delightful image of dark blue cows grazing in an orange desert.
It was a lovely, funny reminder of how colour names are caught up in culture. Continue reading →
Last month the people at that wonderful (and horribly addictive) interior design website Houzz asked me to write a story about colour for their February Colour Month. It was a great chance to remember some of the extraordinary interiors stories I found while researching my Colourbook, including George Washington’s insistence that his new dining room should be a particular fashionable green, made from verdigris (interestingly it was a British fashion, and he was writing home from the battlefield where he was fighting against the British in the American War of Independence.)
I also remembered one story which particularly delighted me at the time, (even though I have never had a comment about it from anyone which suggests I might have been a bit geeky) which was about the problems of painting pillar boxes red, or rather of finding a red paint that stayed red and didn’t drift to a cloudy and faded pink. For that one I spent a whole day in the Post Office archives in London, pulling out of storage letters written by angry ex Admirals who said the splotchy colour was unreasonably ugly on their streets in nice places like Tunbridge Wells, and perhaps the Post Office should bite the bullet and paint the boxes battleship grey, which at least would stand the British weather.
I took this in Bath’s Great Pulteney Street: this wonderful old pillar box has no doubt been repainted many times since it was first installed more than a century ago
There were also some awful tales about how children’s bedrooms in Victorian times were painted or wallpapered in one particular emerald green, which was seen as being jolly for children but which in reality was full of arsenic, and responsible for some horrible deaths and sicknesses. Yet despite that, at a talk given at London’s Royal Academy in the 1870s, there were still a few people who said that they didn’t care about the consequences; it was too marvellous a colour not to use. Here’s the Houzz story.