Explore the words cloud of the CHROMOTOPE project. It provides you a very rough idea of what is the project "CHROMOTOPE" about.
The following table provides information about the project.
|Coordinator Country||France [FR]|
|Total cost||1˙884˙867 €|
|EC max contribution||1˙884˙867 € (100%)|
1. H2020-EU.1.1. (EXCELLENT SCIENCE - European Research Council (ERC))
|Duration (year-month-day)||from 2019-10-01 to 2024-09-30|
Take a look of project's partnership.
|1||SORBONNE UNIVERSITE||FR (PARIS)||coordinator||1˙280˙375.00|
|2||THE CHANCELLOR, MASTERS AND SCHOLARS OF THE UNIVERSITY OF OXFORD||UK (OXFORD)||participant||604˙492.00|
CHROMOTOPE will offer the very first analysis of the changes that took place in attitudes to colour in the 19th century, and notably how the ‘chromatic turn’ of the 1850s mapped out new ways of thinking about colour in literature, art, science and technology throughout Europe. Britain’s industrial supremacy during this period is often perceived through the darkening filter of coal pollution, and yet the industrial revolution transformed colour thanks to a number of innovations like the invention in 1856 of the first aniline dye. Colour thus became a major signifier of the modern, generating new discourses on its production and perception. This Victorian ‘colour revolution’, which has never been approached from a cross-disciplinary perspective, came to prominence during the 1862 International Exhibition – a forgotten, and yet key, chromatic event which forced poets and artists like Ruskin, Morris and Burges to think anew about the materiality of colour. Rebelling against the bleakness of the industrial present, they invited their contemporaries to learn from the ‘sacred’ colours of the past – a ‘colour pedagogy’ which later shaped the European arts and crafts movement. Building on a pioneering methodology, CHROMOTOPE will bring together literature, visual culture, the history of sciences and techniques and the chemistry of pigments and dyes, with high-impact outcomes, including one major exhibition at the Ashmolean Museum, a thorough pigment analysis of Burges’s Great Bookcase and the creation of an online database of 19th century texts on colour. This project will not only give invaluable insight into hitherto neglected aspects of 19th century European cultural history, it will also reveal the central role played by chromatic materiality in the intertwined artistic and literary practices of the period. This will in turn change the way the relationships between text and image, as well as the materiality of the text itself, may be envisaged in literary studies.
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The information about "CHROMOTOPE" are provided by the European Opendata Portal: CORDIS opendata.
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