|
Exhibition
The
Right Chemistry: Colors in Fashion, 1704-1918
Higbee Gallery,
December 16, 2004, to February 19, 2006.
Anne Bissonnette,
Curator
|
|
The creation
of synthetic alizarin in 1868 by German chemists Carl Graebe and
Carl Liebermann was a turning point in the field of chemistry. As
dyers were offered synthetic alizarin that was both brighter and
cheaper than the natural dye, madder cultivation was abandoned
in many parts of the globe and, by the 1870s, red became one of
the leading colors in the Victorian palette.(1) Alizarin's
synthesis marked the beginning of an era where nature's colors
could be reproduced in a laboratory. As
chemistry became an exact science able to duplicate the molecular
structure of natural matter, the principles of textile coloration
at play since antiquity were soon obsolete.
Academic chemists
gained a major role in the emergence of a science-based dye and
color industry. In
the 1860s German scientist Peter Griess developed a new class
of dyes named azo dyes, (2) while his compatriot and fellow academician
Friedrich August Kekulé uncovered the chemical structure
of benzene in 1865, which Nieto-Galan advances "broadened
the range of structural chemical changes that induced modifications
in colour and dyeing activity."(3) By
1876, through his knowledge of the relationship between the structures
and the colors of azo dyes, German scientist Otto Witt was able
to predict successfully the color of a new azo dye before it was
synthesized, a landmark in color technology. The
same year, Adolf Baeyer began a collaboration with Heinrich Caro
to produce synthetic indigo for the German company BASF.(4) Although
Baeyer's initial success in 1877 could not be industrialized,
he uncovered the riddle of the dye's molecular structure in 1883
and his ground-breaking research won him a Nobel Prize in 1905.(5) Dye
discoveries relied increasingly on theoretical knowledge and laid
the foundations of modern industrial research.(6)
With the manufacturing
of synthetic alizarin, Germany became a leading force in the dye
industry. By
1878, sixty percent of dyes sold globally where produced in Germany.(7) By
1897, BASF was able to produce synthetic indigo at prices that
first rivaled those of the natural dye and soon became progressively
cheaper.(8) Repercussions
affected indigo farmers in India as well as world economies as
the British Empire was weakened by the lost its most lucrative
Asian industry.(9) In
the first six months of 1900 alone, Germany manufactured one thousand
tons of artificial indigo (10) and, by this time, British army
uniforms were dyed using this new synthetic dyestuff.(11) Starting
with the aniline boom of the 1860s, the German companies Bayer,
Höchst and BASF came to dominate the European chemical market
and soon developed medical applications to coal tar dyes and products.(12) In
the 1870s, Paul Ehrlich stained cells with synthetic dyes and
noted their effects on certain tissues, leading to the development
of chemotherapy.(13) In
1897, Bayer developed the aspirin, a derivative of phenol.(14) At
the eve of WWI, Germany controlled eighty percent of the world's
chemical market which strengthened the country's economy considerably.(15)
By 1918, a
new rainbow of color as bright as the one observed by Newton in
1704 was made possible through the use of natural and synthetic
dyes. By
the beginning of the twentieth century, most of the major classes
of dyes currently used in production had been discovered.(16) The
new synthetic fibers, beginning with cellulose acetate, could
not get away from the issue of dyes: although discovered in the
nineteenth century, cellulose acetate was commercially delayed
until the introduction of ionamine dyes in 1922 and anthraquinone
dyes in 1923.(17) Without
the ability to retain color, a fiber did not stand a chance.
|
| |
Out
of bright purples and lustrous reds, shocking pinks and brilliant
yellows emerged all that is good and bad in this most mercurial
of modern technologies: cures for devastating diseases, cheap and
light-weight materials, mustard gas and Zyklon B, enough explosives
to fuel two world wars and more, liquid crystals, and ozone holes.
|
|
Philip
Ball, Bright Earth, 223
|
|
_______
(1) Philip Ball, Bright Earth: Art and the Invention of Color
(Farrar, Straus and Giroux, New York, 2001), 221.
(2) Agustí Nieto-Galan, Colouring Textiles: A History
of Natural Dyestuffs in Industrial Europe (Dordrecht, Boston,
London: Kluwer Academic Publishers, 2001), 183. Ball mentions
1850s, 221.
(3) Nieto-Galan, 184.
(4) Ball, 224.
(5) Ibid.
(6)
Ibid., 221.
(7) Ibid.
(8) Ibid., 224.
(9) Ibid., 223.
(10) Ibid.,224.
(11) Nieto-Galan, 192.
(12) Ball, 215.
(13) Ibid., 222.
(14) Ibid.
(15) Nieto-Galan, 198.
(16) Ball, 226.
(17) Ibid., 227.
|
|