LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Languages: English
Types: Article
Subjects: ND, N1, NC, NX, NK, AM
The aim of this paper was to evaluate the work of Mary Gartside, a British female flower painter, art teacher and colour theorist, active in London between 1781 and 1809. Gartside's colour theory was published privately in the guise of a traditional water colouring manual. Until well into the twentieth century, she remained the only woman known to have published a theory of colour. In chronological and intellectual terms Gartside can cautiously be regarded an exemplary link between Moses Harris and J.W. von Goethe. This paper takes a closer look at her colour theory in relation to earlier theorists she credits in her writing. It also suggests that certain elements of her theory may have pre-dated some of Goethe's ideas, thus being an indicator of changing attitudes to colour in the intellectual and artistic scene of Europe. Gartside's case is particularly interesting because it highlights gender issues with regard to publishing, self-promotion and the intellectual activity of women artists in the early nineteenth century.

Share - Bookmark

Download from

Cite this article