Tawrin Baker is a Mellon Postdoctoral Research Fellow in the History and Philosophy of Science at the University of Pittsburgh. He received his PhD in the History and Philosophy of Science from Indiana University, Bloomington in 2014.
Barbara H. Berrie
Barbara H. Berrie is head of scientific research at the National Gallery of Art, Washington D.C. Her research interests include preservation methods for works of art and the history of pigments. She is the editor of volume four of Artists’ Pigments: a handbook of their history and characteristics.
Sven Dupré is Professor of History of Art, Science and Technology at Utrecht University and the University of Amsterdam. He is the Director of the project ‘Technique in the Arts: Concepts, Practices, Expertise, 1500-1950’, supported by a European Research Council (ERC) Consolidator Grant. Previously he was Professor of History of Knowledge at the Freie Universität and Director of the Research Group ‘Art and Knowledge in Premodern Europe’ at the Max Planck Institute for the History of Science in Berlin. In Spring 2015 he was Robert H. Smith Scholar in Residence for Renaissance Sculpture in Context at the Victoria and Albert Museum in London. His recent publications include Embattled Territory: The Circulation of Knowledge in the Spanish Netherlands (Academia Press, 2015), Laboratories of Art: Alchemy and Art Technology from Antiquity to the 18th Century (Springer, 2014), Art and Alchemy: The Mystery of Transformation (Hirmer, 2014) and Translating Knowledge in the Early Modern Low Countries (LIT, 2012).
Fokko Jan Dijksterhuis
Fokko Jan Dijksterhuis is professor in knowledge history (University of Twente; Free University). After a dissertation on Christiaan Huygens and seventeenth-century optics he investigated the cultural history of mathematization. He is interested in early modern knowledge practices, and everything related to light, color and vision.
Sachiko Kusukawa is Professor of History of Science and Fellow of Trinity College, Cambridge. She is author of Picturing the Book of Nature: Image, Text, and Argument in Sixteenth-Century Human Anatomy and Medical Botany (Chicago: University of Chicago Press, 2012) and is now working on the graphic practices of the early Royal Society.
Karin Leonhard is Professor for Art History at Konstanz University, Germany. A main focus of her research lies on the history and theory of space and perspective, light and color; and, more generally, the interrelation between art theory and natural philosophy.
Andrew Morrall is Professor of early modern European art and material culture at the Bard Graduate Center, New York.
Doris Oltrogge is an art historian and researcher at the CICS (Cologne Institute of Conservation Sciences). Her fields of research include art technological sources, painting materials, and the technique of book illumination.
Following one postdoctoral year at the Max Planck Institute for the History of Science in Berlin, Valentina Pugliano relocated to the Department of History and Philosophy of Science at the University of Cambridge in 2013 as a Wellcome Trust Research Fellow and a JRF at Christ’s College. She is currently completing two monographs: the first based on her doctoral research at Oxford on artisanal participation in early modern natural history; and a second, based on a Wellcome-funded research project, on Venetian medicine and science in the eastern Mediterranean and the Mamluk and Ottoman Levant, ca. 1400–1730.
Anna Marie Roos
Anna Marie Roos PhD FSA FLS is a Reader of the History of Science and Medicine at the University of Lincoln, UK.
Romana Sammern (Filzmoser)
Romana Sammern (Filzmoser), is research fellow at the University of Salzburg. She teaches fourteenth- to eighteenth-century western European art history and cultural studies; her fields of research concern art theory, the relations of image, text and objects as well as the materiality of artworks.
Simon Werrett is a Senior Lecturer in the Department of Science and Technology Studies at University College London. He has been a fellow of the Rachel Carson Center for Environment and Society in Munich and the Max Planck Institute for the History of Science in Berlin. He is the author of Fireworks: Pyrotechnic Arts and Sciences in European History (Chicago, 2010) and is currently writing a book on the sustainability of science.
All interested in the history of science and medicine, specifically the history of vision, medical theory and practice, alchemy, chymistry and natural history.
Table of contents
Introduction: Early Modern Color Worlds 1
Tawrin Baker, Sven Dupré, Sachiko Kusukawa, Karin Leonhard
Mining for Color: New Blues, Yellows, and Translucent Paint 20
Barbara H. Berrie
Writing on Pigments in Natural History and Art Technology in Sixteenth-Century Germany and Switzerland 47
Ulisse Aldrovandi’s Color Sensibility: Natural History, Language and the Lay Color Practices of Renaissance Virtuosi 70
Red, White and Black: Colors of Beauty, Tints of Health and Cosmetic Materials in Early Modern English Art Writing 109
Painted Gems. The Color Worlds of Portrait Miniature Painting in Sixteenth- and Seventeenth-Century Britain 140
Fireworks and Color in the Sixteenth and Seventeenth Centuries 170
‘Siben Farben unnd Künsten frey’: The Place of Color in Martin Schaffner’s Universe Tabletop of 1533 190
Understandings of Colors: Varieties of Theories in the Color Worlds of the Early Seventeenth Century 227
Fokko Jan Dijksterhuis
Color and Contingency in Robert Boyle’s Works 248
The Saline Chymistry of Color in Seventeenth-Century English Natural History 274
Anna Marie Roos