The Hammock Papers: Lovely.

21 June 2019

Lovely.

The nomenclature of colors we use today is really a machine language–numerical hex codes crafted to communicate with software on computers and printers. Before the age of CMYK and RBG, though, artists and scientists created their own languages for talking about and categorizing color. Though many have fallen into obscurity, at least one is now accessible to anyone with access to the internet: Werner’s Nomenclature of Colours.

Published in 1814 by the painter Patrick Syme based on the work of geologist Abraham Gottlob Werner, Werner’s is a working dictionary of colors found in the natural world, complete with swatches and examples of animals, minerals, and vegetables where a particular hue could be found in the wild. The book was a work straight out of the early days of natural science–Darwin traveled with a copy, and used its definitions in his writings. Compared to the precise, computerized way color is defined today, Werner’s is less than practical, yet there’s something lovely about its definitions. You could find #2, or Reddish White, on the egg of a gray linnet, for instance, or the back of Christmas rose or in porcelain soil. Auricula Purple, #41, describes the eggs of a blue bottle fly. Look for #71, Straw Yellow, on the fur of a polar bear.

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Werner's Nomenclature of Colours is here.

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WOLFGANG AMADEUS MOZART

"When I am, as it were, completely myself, entirely alone and of good cheer – say travelling in a carriage or walking after a good meal, or during the night when I cannot sleep – it is on such occasions that my ideas flow best and most abundantly. Whence, and how, they come I know not ; nor can I force them. Those ideas that please me I retain in memory and am accustomed, as I have been told, to hum them to myself. If I continue in this way, it soon occurs to me how I may turn this dainty morsel to account, so as to make a good dish of it. That is to say, agreeable to the rules of counterpoint, to the peculiarities of various instruments etc. All this fires my soul, and, provided I am not disturbed, my subject enlarges itself, becomes methodised, and defined, and the whole, though it be long, stands almost complete and finished in my mind, so that I can survey it like a fine picture or a beautiful statue at a glance. Nor do I hear in my imagination the parts successively, but I hear them, as it were, all at once. What a delight this is, I cannot tell."

MARCUS AURELIUS

"Is your cucumber bitter? Throw it away. Are there briars in your path? Turn aside. That is enough. Do not go on and say, 'Why were things of this sort ever brought into this world?' neither intolerable nor everlasting - if thou bearest in mind that it has its limits, and if thou addest nothing to it in imagination. Pain is either an evil to the body (then let the body say what it thinks of it!)-or to the soul. But it is in the power of the soul to maintain its own serenity and tranquility."

VINCENT van GOGH

"What am I in the eyes of most people? A nonentity or an oddity or a disagreeable person — someone who has and will have no position in society, in short a little lower than the lowest. Very well — assuming that everything is indeed like that, then through my work I’d like to show what there is in the heart of such an oddity, such a nobody. This is my ambition, which is based less on resentment than on love in spite of everything, based more on a feeling of serenity than on passion. Even though I’m often in a mess, inside me there’s still a calm, pure harmony and music. In the poorest little house, in the filthiest corner, I see paintings or drawings. And my mind turns in that direction as if with an irresistible urge. As time passes, other things are increasingly excluded, and the more they are the faster my eyes see the picturesque. Art demands persistent work, work in spite of everything, and unceasing observation."

DAN CAMPBELL