yellow

Herod's temple is made of "…ashlar stones gleaming yellow and almost white limestone" 

Jerusalem: a biography, Simon Sebag Monterfiore.

Oscar Wilde: 'Pour écrire il me faut de satin jaune,' he writes in his Paris journal —

To write I need yellow satin

quoted by Edmund de Waal in The hare with amber eyes: a hidden inheritance, Vintage, London, 2011, page 86. De Waal's subject is the collection of netsuke gathered by Charles Ephrussi (a cousin of his Great-Grandfather), sin de fiele Parisian collector of Durer drawings, impressionist paintings and japanoise, an art writer and publisher, and supporter and friend to impressionist painters including Renoir and Degas, as well as symbolist Gustav Moreau. At the turn of the 19/20 centuries Charles gave the collection as a wedding present to Victor von Ephreussi in Vienna.

A yellow armchair graces his study along with floor to ceiling paintings by his friends and associates, and vitrines of netsuke. '…where burst the notes of the yellow armchair, yellow, so yellow!' writes his research assistant, the poet Jules Laforgue. 'The yellow armchair,' p. 67.

 

Naples Yellow

Naples yellow, also called antimony yellow, can range from a somewhat muted, or earthy, reddish yellow pigment to a bright light yellow, and is the chemical compound lead(II) antimonate. Its chemical composition is Pb(SbO3)2/Pb3(Sb3O4)2. It is also known as jaune d'antimoine. It is one of the oldest synthetic pigments, dating from around 1620. The related mineral pigment, bindheimite, dates from the 16th century BC, however this natural version was rarely, if ever, used as a pigment. Naples yellow was used extensively by the Old Masters and well into the 20th century. The genuine pigment is toxic, and its use today is becoming increasingly rare. Most paints labeled "Naples yellow" are instead made with a mix of modern, less toxic pigments. The colors of these paints vary considerably from one manufacturer to another.

The first recorded use of Naples yellow as a color name in English was in 1738. [2]

The source of this color is: ISCC-NBS Dictionary of Color Names (1955)--Color Sample of Naples Yellow (color sample #83)

Naples Yellow

About these coordinates

— Color coordinates —

Hex triplet     #FADA5E

RGBB     (r, g, b)     (250, 218, 94)

HSV     (h, s, v)     (48°, 62%, 98[1]%)

Source     ISCC NBS

I have the Rembrandt, naples yellow deep, #223

Delacroix, Degas, Gaugin and Kandinsky…

"Everyone knows that yellow, orange, and red suggest ideas of joy and plenty. I can paint you the skin of Venus with mud, provided you let me surround it as I will." -- Eugene Delacroix

“As a picture painted in yellow always radiates spiritual warmth, or as one in blue has apparently a cooling effect, so green is only boring.” -- Wassily Kandinsky

 “Oh yes! He loved yellow, did good Vincent...When the two of us were together in Arles, both of us insane, and constantly at war over beautiful colors, I adored red; where could I find a perfect vermilion?” -- Paul Gauguin

 

 

 

yellow rain noun 

Date:1979

…a yellow substance that has occurred in southeastern Asia as a mist or as spots on rocks and vegetation and has been held to be a biological warfare agent used in the Vietnam War but appears upon scientific examination to be identical to pollen-laden bee feces.

Trees appear, turn up, are noticed

The golden rain tree, an environmental pest, appears on the Whole Street Tree Planting Program 2008

‘Yellow rain, act of agression or act of God?’ The Guardian, Thursday, March 17, 1983. p.21

‘Yellow rain loses its sting’ The Guardian Thursday, November 03, 1983, p.13

‘The yellow bird’s course’ The Guardian Saturday, June 15, 1929, p.15

‘JAUNDICED VIEW’ The Guardian Tuesday, August 20, 1974, p.10

Venice Yellow

Sarah Lucas has a message for all her dissenters: "if you happen to be one of those people who feel the sculptures would have been better without cigarettes. well, I put them there for you too", so up yours. Lucas calls the colour of her walls (YBT rep.) at the 2015 Venice Biennale 'deep cream' whilst Alice Sprawls, the writer of the article I took the quote from, calls them 'marigold yellow.' * Ah dear yellow, so many affects effects, so many readings, and what of the image on the wall behind the cast lower torso of her unnamed friend? * LRB, vol 37, no12, 18 June 2015

Sarah Lucas has a message for all her dissenters: "if you happen to be one of those people who feel the sculptures would have been better without cigarettes. well, I put them there for you too", so up yours. Lucas calls the colour of her walls (YBT rep.) at the 2015 Venice Biennale 'deep cream' whilst Alice Sprawls, the writer of the article I took the quote from, calls them 'marigold yellow.' * Ah dear yellow, so many affects effects, so many readings, and what of the image on the wall behind the cast lower torso of her unnamed friend? * LRB, vol 37, no12, 18 June 2015