A poetic, passionate and intensely personal exploration of colour written during the final year of Derek Jarman's life -- with a new introduction by Ali Smith.In Chroma, his most poetic and lyrical book, Derek Jarman explores the uses of colour. Shifting across the spectrum and from the medieval to the modern, he draws on the work of great colour theorists from Pliny to Leonardo. Interwoven with these musings are evocative memories from Jarman's childhood and illustrious career, along with reflections on his deteriorating health. Written a year before Jarman’s death, and as his eyesight was failing, this is an intensely personal work; a paean from an artist seeking to memorialise the extraordinary power of colour even while it receded from his own life.
Format: CONTRIBUTORS: Derek Jarman, Ali SmithEAN: 9780099474913COUNTRY: United KingdomPAGES: WEIGHT: 121 gHEIGHT: 198 cm
PUBLISHED BY: Vintage PublishingDATE PUBLISHED: 1995-01-19CITY: GENRE: ART / History / Medieval, ART / Techniques / Painting, ART / Techniques / General, BIOGRAPHY & AUTOBIOGRAPHY / Entertainment & Performing ArtsWIDTH: 129 cmSPINE:
Book Themes:
Medieval style, Paintings and painting, History of art, The Arts: techniques and principles, Autobiography: arts and entertainment
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, 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, Full of anger, wit, emotion, and knowledge, this collection informs and astounds...Immensely powerful, Jarman reminds us how much there is to be smelled, observed and listened to in the world if we do not walk past it, 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
Derek Jarman was born in London in 1942. His career spanned decades and genres, from painter, theatre designer, director, film maker, to poet, writer, campaigner and gardener. His features include Sebastiane (1976), Jubilee (1978), Caravaggio (1986), The Last of England (1987), Edward II (1991) and Blue (1993). His paintings – for which he was a Turner Prize nominee in 1986 – continue to be exhibited worldwide, and his garden in Dungeness remains a site of pilgrimage to fans and newcomers alike.
A poetic, passionate and intensely personal exploration of colour written during the final year of Derek Jarman's life -- with a new introduction by Ali Smith.In Chroma, his most poetic and lyrical book, Derek Jarman explores the uses of colour. Shifting across the spectrum and from the medieval to the modern, he draws on the work of great colour theorists from Pliny to Leonardo. Interwoven with these musings are evocative memories from Jarman's childhood and illustrious career, along with reflections on his deteriorating health. Written a year before Jarman’s death, and as his eyesight was failing, this is an intensely personal work; a paean from an artist seeking to memorialise the extraordinary power of colour even while it receded from his own life.
Format: CONTRIBUTORS: Derek Jarman, Ali SmithEAN: 9780099474913COUNTRY: United KingdomPAGES: WEIGHT: 121 gHEIGHT: 198 cm
PUBLISHED BY: Vintage PublishingDATE PUBLISHED: 1995-01-19CITY: GENRE: ART / History / Medieval, ART / Techniques / Painting, ART / Techniques / General, BIOGRAPHY & AUTOBIOGRAPHY / Entertainment & Performing ArtsWIDTH: 129 cmSPINE:
Book Themes:
Medieval style, Paintings and painting, History of art, The Arts: techniques and principles, Autobiography: arts and entertainment
Derek Jarman was born in London in 1942. His career spanned decades and genres, from painter, theatre designer, director, film maker, to poet, writer, campaigner and gardener. His features include Sebastiane (1976), Jubilee (1978), Caravaggio (1986), The Last of England (1987), Edward II (1991) and Blue (1993). His paintings – for which he was a Turner Prize nominee in 1986 – continue to be exhibited worldwide, and his garden in Dungeness remains a site of pilgrimage to fans and newcomers alike.
Dramatiese wisselwerking tussen 'n onderhandelaar en 'n skieter
“Ons het ’n gyselaarsituasie in Stellenbosch.” Blinde kol boei vanaf hierdie openingsin, met ’n spanningslyn wat deurgaans snaarstyf volgehou word. Dit is 2 Oktober 2025 en ’n man het sy pad ingeskiet in ’n dameskoshuis. Hy hou verskeie studente aan en kort-kort klap daar nog skote. Hy vra vir Karla Blanckenberg by die naam, wil spesifiek met háár praat.
Karla onthou dat die skieter, Altus, die seun is wat sy in 2019 oorreed het om nie van ’n dak af spring nie. Die storielyn wissel behendig en ongeforseerd tussen hierdie twee tydgleuwe, ook tussen die voorgeskiedenis van die skieter en dié van Karla.
Benewens die spanningsvolle gebeure, word daar sensitiewe dinge oopgeskryf, soos selfmutilasie. “Ink kan sê hoe sy voel. Maar bloed kan dit ’n ruk lank wegvat.” (p.156) Daar is ook Altus se obsessie met mooi meisies en seks wat hy voel dat hy verdien maar nie kry nie. Daar is baie bloedvergieting, maar Martin Steyn is ’n meester wat dit verteerbaar aanbied, selfs vir ’n redelike sensitiewe leser soos ekself.
Adjudant Karla Blanckenberg en haar spanlid, Adjudant Colin Menck, het verskyn in vroeëre boeke van hierdie skrywer, maar Blinde Kol kan op eie bene staan. Dit is ’n produk van Lapa Uitgewers.
'n Joernalis soek na 'n fonds op 'n roosplaas in Marokko, en ontbloot geheime
Om ’n laaste wens van haar pa te eerbiedig, vertrek Gemma na Marokko, en spesifiek na die roosplaas, Sangrose. Die Marokkaanse landskap daarheen word goed uitgebeeld en verklaar waarom Soet rose, donker geheime, deur Frenette van Wyk uitgegee is as ’n romanse in die Reis sub-genre. Die titel is ook goed gekies, want op die pragtige plaas met duisende roosbome, is daar beslis geheime opgesluit.
Gemma is ’n joernalis met ’n ondersoekende gees. Haar pogings om die geheime te ontbloot, bring haar in uiteindelik in konflik met die eienaar van die plaas, die wewenaar, Julien, terwyl daar vanuit die staanspoor ’n definitiewe aantrekking tussen hulle was.
Die storie herinner my sterk aan Daphne du Maurier se Rebecca, hoewel dit in verskillende tye en plekke afspeel. Dalk is dit die rosetuine, maar veral die antagonis, die hatige Mrs Danvers. In hierdie verhaal is dit Samira wat openlik vyandig is en soos ’n skim verskyn oral waar Gemma beweeg.
Soet rose, donker geheime is ’n publikasie van Lapa Uitgewers onder die Romanza druknaam.
Luke en Lilihanna is lank genoeg in ’n verhouding dat sy al ’n diamantring begin verwag. Drama sommer met die intrapslag: hy verlaat die prentjie op onbedagsame wyse en laat vir Lilihanna verslae agter. Die volgende man wat te voorskyn kom is die skatryk Sebastian. Ek het nie geweet wat om te maak met hierdie karakter nie. Is hy ’n gewillige held of ’n onwaarskynlike held? Of is die held dalk die fotograaf, Leo, met sy lang hare, sy motorfiets en sy byna rebelse aantreklikheid?
Voorkoms staan sentraal in die storielyn. Sebastian, wat ’n reeks haarsalonne en ’n holostiese spa besit waar oormaaksessies aan die orde van die dag is, verras met ’n stelling: “Liefde is die onwerklike opwelling van emosie wanneer jy onverwags daardie één sien, ongeag of hulle nou in aanddrag uitgevat is of in vodde.” (p.31)
Skrywer Beatrix Smith was ook nie haastig om al my vrae te beantwoord nie, en ek gaan dit net so aan lesers oorlaat om te bepaal wié Lilihanna se hart gaan steel. My bestemde beminde is ’n Romanza uit Lapa Uitgewers se stal.