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Photo CHEVREUL, Michel Eugène. 

First edition.
One of the most influential books on art in the 19th century.
Michel-Eugène Chevreul (1786–1889) is known to chemists for his research on fatty substances (1810–1823) and on immediate organic analysis (1824), but it is as a color theorist that his name achieved lasting fame.
De la loi du contraste simultané des couleurs introduced a scientific understanding of color that had a profound and lasting impact on the painters of his time.
His “law” describes how the perception of a hue is altered by the surrounding colors, each color projecting its complementary onto its immediate environment (thus, a red object tends to cast a greenish glow on nearby surfaces, a yellow one a purplish tint, and so on). This principle is clearly illustrated in plate 7 of the Atlas, where colored dots on a white background seem to emit halos of their complementary hues.

Eugène Delacroix (1798–1863), a central figure of Romanticism, paid close attention to Chevreul’s research. According to the painter Paul Signac, Delacroix even sought to meet the chemist and acquired notes from his lectures in order to better grasp the law of simultaneous contrast. Several of his paintings feature harmonies built around complementary color pairs. For instance, The Entry of the Crusaders into Constantinople (1840) deliberately juxtaposes yellow/purple, blue/orange, and red/green to dramatize the scene—so effectively that art historian Lee Johnson called it an ideal “illustration” of Chevreul’s treatise.

But it was arguably within the Impressionist movement that Chevreul’s theories reached their highest artistic fulfillment. Claude Monet (1840–1926), in particular, used simultaneous contrast to heighten luminosity in his landscapes. He avoided black and earth tones, preferring instead to render shadows in color: purples and blues for shaded areas at sunset, accented with yellow-orange highlights in full light. This technique appears as early as Impression, Sunrise, the foundational work of the movement. One might also recall the poppy fields, a favorite motif of the Impressionists (Van Gogh, Monet, Pissarro…), where red flowers vibrantly stand out against green backgrounds.

A book heralding one of the greatest revolutions in painting.

Our copy is complete with all the color plates, most of them signed by Chevreul himself.

Photo CHEVREUL, Michel Eugène. 

First edition of the rarest of Chevreul's publications on color.

Michel-Eugène Chevreul (1786-1889) is known to chemists for his research on fatty acids, saponification, and the discovery of stearin, but it is as a color theorist that his name will go down in history. Chevreul was appointed director of the Manufacture des Gobelins in 1824. Responsible for overseeing the production of dyes, he supported the work of dyers with his research on color perception. Thus, in 1839, he proposed a scientific approach to color complementarity and subsequently developed "color circles." A true "Pantone" color chart, a hundred years ahead of its time, Chevreul's color circles had the dual benefit of systematizing the production of hues (each with its own name) and making it easier to understand the concept of color complementarity. Thus, complementary colors are found on the same diameter of the color wheel, Red No. 2 corresponds to Green No. 2. "I believe I can affirm that it is possible to subject colors to a reasoned nomenclature, by relating them to types classified according to a simple method, accessible to the intelligence of all those who deal with colors" (extract from the preface). The standardization of color production was to interest first and foremost the industry then in full development, but it is undoubtedly in the Impressionist movement that Chevreul's theories found their finest accomplishment. Very early on, painters were inspired by Chevreul's work in their paintings, starting with Delacroix and then Monet. We will thus remember the fields of poppies dear to the Impressionists (Van Gogh, Monet, Pissaro...) where the red dots of the flowers burst out on complementary green backgrounds. The 27 spectacular plates were printed by René-Henri Digeon using chromochalcography, the process and difficulties of which are discussed in a paragraph in the book. Digeon appears to have presented a first edition of these plates at the 1855 World's Fair, for which he received a patent from the Empress. Several of the plates in our copy appear to be from this first edition and contain errors that have been corrected in other later copies that we have been able to consult.

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