In CHROMA Derek Jarman explains the use of colour in Medieval painting through the Renaissance to the modernists and draws on the great colour theorists from Pliny to Leonardo. He also talks about the meaning of colours in literature, science, philosophy, psychology, religion and alchemy. The colours on Jarman's palette are mixed with memory and insight to create an evocative and highly personal work.
About the Author
Derek Jarman's creativity spanned decades and genres - painter, theatre designer, director, film maker, writer and gardener.
From his first one-man show at the Lisson Gallery in 1969; set designs and costumes for the theatre and ballet (Jazz Calendar with Frederick Ashton at Covent Garden, Don Giovanni with John Gielgud at the London Coliseum, The Rake's Progress with Ken Russell at Teatro Communale, Florence); production design for Ken Russell's films The Devils and Savage Messiah; through his own films in super-8 before working on features: Sebastine (1976), Jubilee (1978), The Tempest (1979), The Angelic Conversation (1985), Caravaggio (1986), The Last of England (1987), War Requiem (1989), The Garden (1990), Edward II (1991), Wittgenstein (1993), and Blue (1993); to directing pop-videos and live performances for Pet Shop Boys and Suede.
"Chroma is more than an Aids autobiography...it is a paean to colour...Shot through with sass and moving testimony...this complexly written, yet stylish and readable book locates most powerfully the sublimal brilliance of one artist and the processes that inform, and are celebrated through, his work" * Gay Times * "Chroma sparks off pieces of Jarman's poetry and prose against fragments that span Ovid, Alberti, Goethe and Wittgenstein...to form a highly personal reflection on colour, a keleidoscopic experience that throws out different facets like a prism in the light" * New Statesman * "Jarman reminds us how much there is to be smelled, observed and listened to in the world if we do not walk past it" * Guardian * "The context of the writing of this book inevitably turns it from an amusing bricollage to a gesture of extraordinary generosity, a tribute to the continuing need to create and communicate on the very edge of darkness" * Financial Times *