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Jarman - Chroma: a book of color, June 93

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Jarman Chroma: a book of color, June 93
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In Chroma, Derek Jarman explains the use of colour in Medieval painting through the Renaissance to the modernists and draws on the great colour theorists from Pliny to Leonardo. He also talks about the meaning of colours in literature, science, philosophy, psychology, religion and alchemy. The colours on Jarmans palette are mixed with memory and insight to create an evocative and highly personal work.

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Chroma a book of color June 93 - image 1
Contents
Derek Jarman
C HROMA
A Book of Colour June 93

Chroma a book of color June 93 - image 2

This ebook is copyright material and must not be copied, reproduced, transferred, distributed, leased, licensed or publicly performed or used in any way except as specifically permitted in writing by the publishers, as allowed under the terms and conditions under which it was purchased or as strictly permitted by applicable copyright law. Any unauthorized distribution or use of this text may be a direct infringement of the authors and publishers rights and those responsible may be liable in law accordingly.

Epub ISBN: 9781473559035

Version 1.0

1 3 5 7 9 10 8 6 4 2

VINTAGE

20 Vauxhall Bridge Road,

London SW1V 2SA

Vintage is part of the Penguin Random House group of companies whose addresses can be found at global.penguinrandomhouse.com.

Copyright Derek Jarman 1994 Derek Jarman has asserted his right to be - photo 3

Copyright Derek Jarman 1994

Derek Jarman has asserted his right to be identified as the author of this Work in accordance with the Copyright, Designs and Patents Act 1988

The chapter is taken from Blue, a film by Derek Jarman. Copyright Basilisk Communications Ltd 1993. This material appears by kind permission of the producers of the film.

First published in Great Britain by Century in 1994

Published by Vintage in 2000

penguin.co.uk/vintage

A CIP catalogue record for this book is available from the British Library

Contents
About the Book

In Chroma, Derek Jarman explains the use of colour in Medieval painting through the Renaissance to the modernists and draws on the great colour theorists from Pliny to Leonardo. He also talks about the meaning of colours in literature, science, philosophy, psychology, religion and alchemy. The colours on Jarmans palette are mixed with memory and insight to create an evocative and highly personal work.

About the Author

Derek Jarmans creativity spanned decades and genres painter, theatre designer, director, film maker, writer and gardener.

From his first one-man show at the Lisson Gallery in 1969; set designs and costumes for the theatre and ballet (Jazz Calendar with Frederick Ashton at Covent Garden, Don Giovanni with John Gielgud at the London Coliseum, The Rakes Progress with Ken Russell at Teatro Communale, Florence); production design for Ken Russells films The Devils and Savage Messiah; through his own films in super-8 before working on features: Sebastine (1976), Jubilee (1978), The Tempest (1979), The Angelic Conversation (1985), Caravaggio (1986), The Last of England (1987), War Requiem (1989), The Garden (1990), Edward II (1991), Wittgenstein (1993), and Blue (1993); to directing pop-videos and live performances for Pet Shop Boys and Suede.

His paintings for which he was a Turner Prize nominee in 1986 have been exhibited world-wide.

His garden surrounding the fishermans cottage in Dungeness where he spent the last years of his life remains a site of awe and pilgrimage to fans and newcomers to Jarmans singular vision.

His publications include: Dancing Ledge (1984), Kicking the Pricks (1987), Modern Nature (1991), At Your Own Risk (1992), Chroma (1994), Derek Jarmans Garden (1995).

Also by Derek Jarman

Dancing Ledge

The Last of England

Modern Nature

At Your Own Risk

Chroma

Smiling in Slow Motion

Chroma

A Book of Colour June 93

Brilliant, gorgeous, painted, gay,

Vivid, flaunting, tearaway,

Glowing, flaring, lurid, loud,

Screaming, shrieking, marching, proud,

Mellow, matching, deep and sombre,

Pastel, sober, dead and dull,

Constant, colourful, chromatic,

Party-coloured and prismatic,

Kaleidoscopic, variegated,

Tattooed, dyed, illuminated,

Daub and scumble, dip and dye,

High-keyed colour, colour lie.

Harlequin

My book is dedicated to Harlequin, Tatterdemalion, Rag, Tag and Bobtail, in his red, blue and green patches. Mercurial trickster, black-masked. Chameleon who takes on every colour. Aerial acrobat, jumping, dancing, turning somersaults. Child of chaos.

Many hued and wily

Changing his skin

Laughing to his fingertips

Prince of thieves and cheats

Breath of fresh air.

Doctor:And how did you manage to reach the moon?
Harlequin:Well it was like this

(Louis Duchartre, The Italian Comedy)

Introduction

Curled up in the crock of gold at the end of a rainbow, I dream of colour. The painter Yves Kleins International Blue. Blues and distant song. The eye, I know, described by the fifteenth-century architect Alberti, is more swift than anything. Fast colour. Fugitive colour. He wrote those words in his book On Painting, and finished it at 8:45 on Friday 26 August 1435. Then he took a long weekend

(Leon Battista Alberti, On Painting)

When Mark, my editor, came down to Prospect Cottage we talked of colour. Of blues and reds, and how the research last year for the Blue Concert, which Simon Turner is performing in front of the Golden Temple in Kyoto at this very moment, threw me deep into the spectrum. Mark has gone now. I sit here in the silence of my new room, from which I can see the power station at Dungeness in the twilight:

Look at your room late in the evening when you can hardly distinguish between colours any longer turn on the light and paint what you saw in the twilight. There are pictures of landscapes or rooms in semi-darkness, but how do you compare the colours in such pictures with those you saw in semi-darkness? A colour shines in its surroundings. Just as eyes only smile in a face.

(Ludwig Wittgenstein, Remarks on Colour)

In the morning I looked through the indexes of my books who had written on colour? There was colour in philosophy psychiatry medicine as well as art, and observations echoed across the centuries:

At this juncture we ought to say something about lights and colours. It is evident that colours vary according to light, as every colour appears different when in shade, and placed under rays of light. Shade makes a colour dimmer, and light makes it bright and clear. Colour is swallowed by the dark.

(Alberti, op. cit.)

At night I dream of colour.

Some dreams I dream in colour.

My colour dreams I REMEMBER.

This one from thirty years ago

I dream of a Glastonbury Festival. There are thousands of people camping around a pure white classical house isolated on a perfect green sward. Above the front door, the frieze on the tympanum is painted in pure pastel colours depicting the good deeds of the owner. Whose house is this? The answer is given to me by one of the revellers The house of Salvador Dali.

Since then Ive looked at Dalis paintings and found little colour in them.

As a child I became aware of colour and its changes, distempering the walls of a mildewed RAF Nissen hut. My father placed a bright yellow rubber dinghy on the lawn, used a hosepipe to fill it, and after we finished work we swam in the golden water. Ever after, I thought of water as yellow and struggled as a teenager painting reflections and then the Moderns marched in before I had time to get to the Academy.

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