Camille Pissarro, The Artist's Palette with a Landscape, ca. 1878–1880 (Clark Art Institute)
Just as writers use a pen to articulate their thoughts on paper and a musician employs an instrument to convey melodies and harmonies, artists use their palette as a vehicle for expressing their creative vision. Each stroke of color on the palette is akin to a word written on a page or a note played on an instrument, contributing to the overall composition and narrative of the artwork. In this intimate process, the palette serves as a tool through which the artist transforms ideas and emotions into tangible form.
Art historian and author Alexandra Loske explores this symbiotic relationship, pairing artists’ palettes with their masterpieces, unveiling fresh perspectives on their creative journey, individual tastes, and the historical context shaping their artistry.
From Georges Seurat's meticulous arrangement of paints to Kerry James Marshall's bold use of color symbolism, each palette reveals a fascinating story about the artist behind the canvas. Loske explores the studios of creators such as Rembrandt, John Singer Sargent, Vincent van Gogh, Helen Frankenthaler, and others, revealing the reflections of their lives imbued within their materials—and how behind every great painting there’s a palette that tells its story.
Loske’s book The Artist's Palette (Princeton University Press) is available for purchase.
World Art History Certificate elective: Earn 1/2 credit*
Book Sale Information
- Purchase your copy of The Artist's Palette by Alexandra Loske here.
- SPECIAL NOTE: Politics and Prose is offering a 10% discount to Smithsonian Associates ticket-holders. To claim your discount, enter the code SPECIAL10 (no space between letters and numbers) in the “Coupon discount” or “Comments” section on Politics and Prose's check-out page.
General Information
*Enrolled participants in the World Art History Certificate Program receive 1/2 elective credit. Not yet enrolled? Learn about the program, its benefits, and how to register here.
