William Morris & Red House

Three items, each of which reveals a significant dimension of Morris's work as a designer and manufacturer of textiles, remain in my mind from the Victoria and Albert Museum's splendid exhibition. The first is the 'If I Can' hanging of r856-57; the second a group of letters, dating from r875 and r876, from Morris to Thomas Wardle of Leek; and the third is Burne-Jones's caricature of Morris giving a demonstration of weaving at the Arts and Crafts Exhibition in November r888. Of the three, the 'If I Can' hanging is the most poignant, seeming to offer direct contact with Morris at a crucial phase in his career. Behind him lay an idyllic childhood in Walthamstow, the shock of his father's death when Morris was sixteen, the formative but often disappointing years at Marlborough and Oxford, the revelatory force of his exploration of French Gothic architecture in r854 and r855, the abandonment of his plan to enter the Church and his brief and abortive apprenticeship in G. E. Street's Oxford architectural practice. Now, influenced by Dante Gabriel Rossetti and in company with his closest friend, Edward Burne-Jones, he had moved to London to begin his career as a painter. Since childhood he had been under the spell of the Middle Ages and when he found no contemporary furnishings to his taste, he set about designing his own in the medieval style. His visits to Queen Elizabeth's hunting lodge in Epping Forest had demonstrated the potential of wall hangings, and the 'If I Can' hanging represents the only surviving example of his earliest work in this medium. The design of repeating fruit tree with birds in flight was taken from a fifteenth-century manuscript, while the motto is a form of Jan van Eyck's 'Als ich kanne', seen on Morris's trip to the Low Countries in r856. The materials are simple: a plain linen ground with natural dyed wools. The work itself is tactfully described in the catalogue as 'unorthodox flat and patterned stitches', with which Morris may have had some help from Mary Nicholson, the servant at his rooms in Red Lion Square. It is simply done, but it has the charm and force of the naive. It shows Morris, characteristically, encountering a particular decorative need and discovering for himself the resources and techniques to fulfil that need. It was out of Morris's response to similar requirements for the decoration of Philip Webb's Red House, completed in r860, that Morris, Marshall, Faulkner and Co. ('The Firm') was founded. The letters to Thomas Wardle, dating from nearly twenty years later than the hanging, find Morris at a very different stage in his career. By now well-known as both poet and designer, he was at the very beginning of his political activity. He also faced considerable challenges in his business life. In r875 'The Firm' was reconstituted as Morris arid Co., with Morris himself as sole proprietor. His investment income was falling, and it was essential for him to place the company on a sound footing; he therefore needed to ensure a

The ways people perceive greenway trails in urban environments are not well studied. Trail layout and aspects of maintenance and design of trails in urban areas would benefit from better knowledge of how potential users perceive these places and what might encourage or discourage their use. The purpose of this study was to examine the relative influence of aesthetic response dimensions on the likeability of greenway trail scenes in an urban environment. A web-based ‘virtual tour’ was used to elicit responses to scenes of urban greenway environments in downtown Houston and Austin, Texas, USA. The 211 subjects who participated in the study were selected from an undergraduate student population. Participants viewed the scenes and responded to the survey in a controlled computer laboratory. Perceptions of the greenways supported the aesthetic dimensions that Nasar has suggested for broader urban environments. Our analysis resulted in the identification of five dimensions of aesthetic response to the greenway scenes that were interpreted as: maintenance, distinctiveness, naturalness, pleasantness and arousal. These represented both cognitive and affective responses to the environment and all five dimensions were significant positive predictors of the likeability of greenway scenes. The dimension of pleasantness had the greatest influence on likeability and maintenance had the least. The implications of the findings for urban design related to greenway trails and future research are discussed.

This thesis investigates current digitization approaches to photographic albums by surveying the practices at the Victoria and Albert Museum in London, England alongside three other London-based institutions: the British Museum, British Library, and National Portrait Gallery. It highlights the value in researching and recording these documentation methods as an integral yet often overlooked part of museums’ institutional history. For contextual background for the survey, a brief history of photographic albums and their inherent conservation issues is presented along with albums’ digitization guidelines and a discussion of how digitization influences our relationship to the original object. The types of digitization methods employed at each institution is then examined to understand how curatorial and technical factors influence the digitization process and to observe the trends across the four institutions. A case study was performed at the Victoria and Albert Museum of a photographic album being digitized and is included in the appendices.

The year 2007 marked the bicentenary of the abolition of the British slave trade in 1807. It was a year filled by an extraordinary plethora of exhibitions, displays, conferences, day-schools, media events, website activity and published debate. Many of the attention-grabbing commemorations in 2007 took place in London: Parliament, the British Museum, the National Gallery, the National Portrait Gallery, the Victoria and Albert Museum – all of them and more offered their own interpretation of abolition. African and Caribbean churches often held their own commemorations; local, community-based activities which addressed parish interests and pressures, but which added to the sense of a national interest in abolition. The bicentenary commemorations, greatly facilitated by the academic knowledge acquired over the past generation, reached huge audiences. Keywords:bicentenary commemorations; British abolition; British slave trade

This thesis investigates current digitization approaches to photographic albums by surveying the practices at the Victoria and Albert Museum in London, England alongside three other London-based institutions: the British Museum, British Library, and National Portrait Gallery. It highlights the value in researching and recording these documentation methods as an integral yet often overlooked part of museums’ institutional history. For contextual background for the survey, a brief history of photographic albums and their inherent conservation issues is presented along with albums’ digitization guidelines and a discussion of how digitization influences our relationship to the original object. The types of digitization methods employed at each institution is then examined to understand how curatorial and technical factors influence the digitization process and to observe the trends across the four institutions. A case study was performed at the Victoria and Albert Museum of a photographic album being digitized and is included in the appendices.

Previous articleNext article No AccessBook ReviewsJan Marsh, William Morris & Red House. London: National Trust, 2005. 160 pp., 120 color pls., 30 b/w ills., bibliog., index. $45.Caroline M. HannahCaroline M. HannahPh.D. candidate, Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, New YorkJane and Morgan Whitney Fellow, The Metropolitan Museum of Art, New York Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Volume 15, Number 1Fall-Winter 2007-2008 Article DOIhttps://doi.org/10.1086/652852 Views: 36Total views on this site Journal History This article was published in Studies in the Decorative Arts (1993-2009), which is continued by West 86th (2011-present). © Copyright 2007 by The Bard Graduate Center for Studies in the Decorative Arts, Design, and CulturePDF download Crossref reports no articles citing this article.

As a stylistic form of representing the past, the Gothic Revival emerged as a reaction to the aftermath of the Industrial Revolution, by establishing a sense of morality in architecture and urbanism.Its rise and development in the High Victorian period therefore represented a form of social nobility to the profession.This paper examines the construction of nobility in British architectural history and its implantation and evolution in the urban East.The Red House and its located city, Taipei, in Taiwan, in which inscribed its modern urban history and development on the building, is selected as a case.This study surveys the interplay between the moral/colonial nobility mentioned above and the de facto social circumstances in post-war urban Taipei, and as such describes the spatiotemporal trajectory of Victorian influence on urban Asia, from colonial times to the present.

The complex image John Smith New England 1 — designed and engraved by Simon de Passe (c.1595–1647) 2 and printed in London by one George Low in 1616/7 — has attracted the attention of many histori...

Reviewed by: Rethinking the Interior, c. 1867-1896: Aestheticism and Arts and Crafts Jane Hamlett (bio) Rethinking the Interior, c. 1867-1896: Aestheticism and Arts and Crafts, edited by Jason Edwards and Imogen Hart; pp. xvi + 277. Aldershot and Burlington: Ashgate, 2010, £70.00, $119.95. While the aesthetic and the Arts and Crafts movements have dominated understandings of interior design in the second half of the nineteenth century, scholars have frequently considered the two separately or in opposition to one another. But this new collection of essays, edited by Jason Edwards and Imogen Hart, demonstrates their close connection in artistic thought and practice. The essays show evidence of both movements in architecture, interior design, sculpture, and painting. Victorianists will welcome this book's repositioning of the late-nineteenth-century interior not as a forerunner to modernism—as it is often portrayed—but as a significant development in its own right. Rather than seeing the cluttered Victorian interior inspiring stripped-down modernist designs, Edwards and Hart suggest that the eclecticism of the Victorian interior is worthy of further study, explanation, and enjoyment. This thesis underwrites a series of fascinating essays that reconsider well-known designs and objects. Sally-Anne Huxtable returns to the iconic Green Dining Room in the South Kensington Museum (now the Victoria and Albert Museum), traditionally associated with William Morris but in fact produced via the collective efforts of Morris, Phillip Webb, and Edward Burne-Jones. As a Morris and Company interior, the room has been aligned with Arts and Crafts. Yet Huxtable makes a convincing case for seeing this 1860s space as a prototype aesthetic interior—with its green colouring; panels depicting fruit, foliage, and blossoms; and themes of arcadia and rural beauty amidst the London bustle. Likewise, art objects previously labelled aesthetic are linked to the Arts and Crafts movement. Morna O'Neill argues that while the paintings of [End Page 749] Walter Crane embody aesthetic eclecticism, they also depict socialist ideals. Jane Hawkes examines the interior decoration of the Church of St. Mary at Studley Royal in North Yorkshire, designed and produced by William Burges in the 1870s. The density of the design—a riot of carving, applied metal work, gargoyles, plant motifs, and stained glass—might well be seen as eclectic, even representing the "superabundance and disorder" that John Ruskin cautioned against (qtd. in Edwards and Hart 42). Yet Hawkes reveals a carefully organised interior constructed with meticulous attention to archaeological detail. The book repositions key artistic figures in relation to both movements. Morris, the grand old man of Arts and Crafts, is linked to the aesthetic movement through the interior of Kelmscott House, his London home. Using Morris's personal papers and photographs taken at the end of his life, Hart offers a sensitive reading of the house. The decoration clearly carried political meaning, yet its eclecticism and furnishings (described by some observers as "sumptuous" [qtd. in Edwards and Hart 79]) might also be viewed as aesthetic. Likewise, Edwards considers Leighton House, finding that its tiled walls and mosaic floors evoked political philosophies of craftsmanship, yet its interior was resplendent with the tokens of aestheticism: sunflower heads picked out in gold in the ebonised woodwork, blue and white china, and walls decorated in green and yellow tones. The essays also show how the movements were adopted across different practices and markets. Paul Holden explores the combination of the two styles in the work of the architectural team Richard Code and James McClaren, focusing on their refurbishment of Lanhydrock House near Bodmin and the building of an extra wing to "The Park" at Ledbury in Hertfordshire. The architects sought to combine "old and new" (132), establishing continuity with the interiors of the new buildings, yet introducing a restrained aesthetic decor. Anne Anderson examines the representation of blue and white china in nineteenth-century culture, demonstrating that aesthetic tokens were not without critics: "Chinamania" was ridiculed in Punch (112). The tea pot in particular served as a symbol of femininity, even emasculation. Reconsidering the market for nineteenth-century domestic sculpture, Martina Droth argues that while statuettes and smaller sculptures produced for the home have often been labelled as domestic, these complex art objects should...

EXHIBIT REVIEW: THE INAUGURAL EXHIBITION AT THE WOLFSONIAN GLENN PORTER In the heart of South Beach, the hot, partying, Art Deco district of Miami Beach, sits the Wolfsonian. It is both a museum and a re­ search center. Founded in 1986 by collector and Wometco Enter­ prises heir Mitchell Wolfson Jr., it focuses on design and the social and political meaning of objects from the last quarter of the 19th century to 1945. The institution also has a facility in Genoa, Italy, with a collection concentrating on Italian design, art, and decorative arts from the same era. The Wolfsonian has engaged in a wide range ofhigh-quality activi­ ties since its founding, though no one would yet mistake it for its implied analogue, the Smithsonian. It has published TheJournal of Decorative and Propaganda Arts, a quarterly from 1986 through 1990, an annual since 1992. The propaganda arts, as editor PamelaJohn­ son defined them in the first issue, are “art in the service of an idea or an ideology.” This includes politics but is by no means limited to that. The journal is lavishly illustrated and handsomely designed and produced, like all the Wolfsonian’s publications. It offers a lively and interesting collection of scholarly articles, interviews, reviews, and special issues on design in many nations. In 1993 the Wolfsonian added a research center to promote schol­ arship in its areas ofspecial interest. For 1997, the center announced a variety of fellowships, including one at the American Academy in Rome and a joint one with London’s Victoria and Albert Museum. At the headquarters in Florida, fellows can use a library of approxi­ mately forty thousand books and imprints, and twenty thousand drawings, posters, and prints, as well as the more than seventy thou­ sand American and European artifacts. A large storage warehouse from the 1920s has been skillfully redesigned to house the museum and research center. The building gives the institution presence, even in the visual sizzle of South Beach. Now the Wolfsonian has created its inaugural public exhibition. Entitled The Arts ofReform and Persuasion, 1885-1945, the show highDr . Porter is director of the Hagley Museum and Library in Wilmington, Dela­ ware. His current research interests are the corporate use ofdesign and architecture.© 1997 by the Society for the History of Technology. All rights reserved. 0040-165X/97/3802-0008J01.00 467 468 Glenn Porter lights 256 works from the impressive collections the museum over­ sees. It introduces the Wolfsonian to a wider world. And it is a splen­ did exhibition. Supported by the National Endowment for the Humanities, the Chase Manhattan Private Bank, and others, the ex­ hibit and an associated array of lectures, conferences, films, and other programs opened in November 1995. After its Miami run, the exhibition has a breathtaking traveling schedule: the Los Angeles County Museum of Art; the Seattle Art Museum; the Carnegie Mu­ seum ofArt; the Indianapolis Museum ofArt; the Victoria and Albert Museum; the Palazzo Esposizioni in Rome; and the Setagaya Mu­ seum in Tokyo. Congratulations are clearly in order for the Wolfsonian ’s consulting curator, Wendy Kaplan, for former director Peggy Loar, and for the entire professional staff at the museum. There is an accompanying book, Designing Modernity: The Arts of Reform, and Persuasion, 1885-1945, edited and with an essay by Kaplan, best known for her work on the Arts and Crafts movement. The book is beautiful and features essays by some of the leading figures in design history, such as Jeffrey Meikle, Dennis Doordan, and John Heskett. (See the review by Christian Overland in this is­ sue—Ed.) The volume includes a complete checklist of the objects in the show, with illustrations in most cases. The overriding institutional objectives of the exhibition are to show the world something of the Wolfsonian’s riches and to help the museum in a challenging transition to an era in which it can stand independently of the annual support of its founder. In those terms, the show is clearly a success, as it demonstrates the enormous value of the fledgling museum. The Wolfsonian houses excellent collections and has done much good work. It now needs an endow­ ment and sufficient time in which...

clothing practices to represent themselves and their politico-religious position outside the courtly context, Auslander maintains that “they created a precedent upon which many others contesting the established order would continue to rely thereafter” (63). In a subsequent chapter about the American Revolution, the author describes the clothes worn by American revolutionaries, specifying that the clothes had been chosen to convey a political meaning. The author refers back to the previous chapter and highlights important differences between the two groups of revolutionaries. This example is typical of what makes this book so enjoyable to read. References are meticulously connected and no loose ends are left. Themes Auslander introduced when discussing the seventeenth-century English revolutionaries, for example , reappear in the context of the American Revolution: tastes, styles and everyday life. Furthermore, the lucid and succinct text is delightfully punctuated by 25 good quality illustrations, the relevance of which is fully explained by the author. In her chapter entitled “The Politics of Silk and Homespun,” the illustrations of a woman’s cloak and a homespun boy’s jacket, which are contrasted with a silk gown, fittingly elucidate Auslander’s claim that what revolutionaries chose to wear represented an effort “to shape a particular republican and a particular national self” (86) rather than just a renunciation of luxury or nostalgia for a simpler life, as other historians have argued. The carefully selected illustrations come from such famous places as the Biliothèque Nationale de France, the Victoria and Albert Museum, the National Portrait Gallery, and the Library of Congress; all are beautifully reproduced. Likewise, in her chapter entitled “Making French Revolutionaries,” Auslander shows how the music, street names, food, clothing, language, theater, calendar, and architecture that shaped people’s daily lives were “republicanized” because, as she argues, the Revolution needed to be lived by all, not simply made by only a few. Again, the illustrations (from the Musée Carnavalet and other famous museums ) are successfully offered as crucial evidence for her argument that objects effect historical change through social relations. Auslander handily meets her goal of leading her reader to rethink the meaning of “cultural revolutions” to include the problem of culture in the English, American, and French revolutions. Her book demonstrates that history can actually be made by objects, rituals, and practice, and that over time people have communicated meaning through textiles, wood, metal, dance, and music. Her book will be appreciated by historians and anthropologists as well as scholars of French cultural studies. Texas A&M University, Kingsville Jacqueline Thomas ESDAILLE, CHARLES. Napoleon’s Wars: An International History, 1803–1815. New York: Viking, 2008. ISBN 9780670020300. Pp. 622. $35.00. Anyone familiar with the debates about Napoleon’s place in history is also aware of such antonyms reflecting often strongly held interpretations of Napoleon’s career as conqueror or liberator, man of blood or martyr. Esdaille’s exhaustive review of the evidence seeks to provide a definitive solution to these debates and his is therefore a revisionist approach based on a prolific use of quotations from primary sources throughout the text. Esdaille is most critical of the 400 FRENCH REVIEW 84.2 “latterday soldiers of the grande armée” that have for generations painted Napoleon as the defender of France’s honor and the French Revolution and who wanted to free Europe from the institutions of the Ancien Régime (xiii). Esdaille succeeds admirably, but to one who has for more than twenty years team-taught a course in modern European history, much of his effort appears spent on the proverbial kicking in of an open door. There are, nevertheless, many useful revisions , for example, the revolts in Spain and Portugal were not based on “outraged patriotism,” but “engineered by various dissident groups for their own purposes” (347). The reader is also provided with an excellent presentation of European diplomatic and military history that goes back to the early eighteenth century (and beyond) and that is pursued through 1815, to demonstrate that Napoleon’s goals began as the (more aggressive) pursuit of traditional French policies and that the response of the great nations of Europe, more or less united in the several coalitions, were also more traditional than the oft-cited...

The Raj: India and the British, 1600–1947, National Portrait Gallery, London (October 1990 through March 1991); ARTS OF INDIA, 1550–1900, Victoria and Albert Museum, Nehru Gallery (permanent installation, opened November 1990).

The article is devoted to social media activity of leading British museums, content strategies they implement to share the news and information via multimodal discourse. Museums social media accounts became a significant component of modern online landscape, in particular, during COVID-19 pandemic when millions of people worldwide started looking for some extracurricular recreation, cultural and aesthetic impressions. The pandemic was both, a challenge and an impetus for many museums to increase online presence and intensify their activity on social media. Having faced the closure during the lockdown many museums had to transform their communication on websites and Facebook, Twitter, Instagram to keep in touch with their followers, visitors and members, to inform, educate and entertain the digital audience. Modern technologies helped museums to diversify modes and media, to make social media posts and virtual communication with followers multimodal, to disseminate knowledge in new ways. Leading British museums turned out to be highly innovative and creative and set multimodality. standards in museums communication. Facebook remains the most popular social media platform for museums so the content of Facebook accounts of Madame Tussauds Museum, National Gallery, National Portrait Gallery, Natural History Museum, Victoria and Albert Museum in 2021-2022 was analyzed in terms of multimodality, communication strategies, edutainment, use of elements characteristic of online communication such as hashtags, emoji, conversation style, dialogic principles, user-generated content. Сontent strategies of British museums in Facebook vary depending on their profile. Edutainment, games, puzzles, quizes, light-hearted communication provoke more response, more emotional reaction of followers as well as their engagement into discussions and dialogues, interactive experience.

This paper examines the role of digital collections and digital information in the democratisation process of museums. The paper focuses on ethical and ownership issues regarding Wikipedia’s online encyclopaedia initiative to widen access to digital images and knowledge through digital media, for the wider public. The paper draws on three cases of national museums in the UK, namely the Victoria and Albert Museum, the British Museum and the National Portrait Gallery. The paper argues that notions of governmentality, power, authority, and control - which traditionally characterise national museums - are still dominant in digital collections. This occasionally results in tensions that revolve around the issue of ownership of digital images and digital museum objects as well as their commercial and non-commercial uses. The paper shows that recent disputes and discourse related to the use of digital images by Wikipedians (active users of Wikipedia) have raised issues of authority and control not only of physical objects but also of the information and knowledge related to these objects. The paper demonstrates that the level of collaboration with Wikipedia reflects to some extent the participatory nature, philosophy, and ideology of each museum institution.

이 연구에서는 지난 1천년간 최고의 지도자이자 자기이미지를 철저하게 관리한 엘리자베스 1세 초상화를 국립중앙박물관 “시대의 얼굴”의 초상화를 중심으로 그녀의 퍼스널 컬러를 살펴보고자 한다. 아울러 엘리자베스 1세의이미지 연출 방안을 고찰해 보고자 한다. 엘리자베스 1세의 초상화에 대한 선행연구는 다른 주제에 비해 부족한실정이며 실질적으로 그녀의 초상화를 관람하고 퍼스널 컬러를 분석한 연구는 미비한 실정이다. 이 연구를 통해 엘리자베스 1세는 영국의 르네상스를 확립한 여왕이며 여왕은 초상화를 활용해 자기 이미지를통제하기 위해 궁정화가를 중심으로 원형초상화를 제작하여 따르도록 하였다. 이 초상화 원형에 대한 의견은 연구자마다 견해가 달랐으며 소장지 자료를 검토한 결과 제작년도와 제작자에 대한 오류도 발견되었다. 런던 박물관들의 엘리자베스 1세 관련 소장품 현황을 파악한 결과, 런던 대영박물관에 1,954점, 국립초상화미술관에 135점, 로얄 컬렉션에 451점, 빅토리아 앤 앨버트 박물관에 247점의 소장품을 확인할 수 있었다. 엘리자베스 1세 초상화를 연도별로 살펴보는 과정에서 선행 연구의 제작연도나 제작자 및 소장지에 대한 오류를 발견할 수 있었다. “시대의 얼굴” 특별전 엘리자베스 1세의 ‘불사조 초상화’는 특별전의 전시 상설 포스터와 도록의 표지가 될 정도로 중요한 초상화이었다. 엘리자베스 1세 초상화를 통해 퍼스널 컬러를 어도브의 포토샵을 통해 비교해 보니 피부색도흰색보다는 푸른 빛이 되는 경우가 많았으며 헤어, 눈동자, 입술의 색도 조금씩 차이가 있음을 확인할 수 있었다. 이 연구를 통해 초상화 원형에 대한 견해 차이와 엘리자베스 1세의 퍼스널 컬러를 확인한 것은 의의가 있다고본다. 또한, 국외 연구대상을 연구할 때는 좀 더 국외 자료의 포괄적인 조사가 필요함을 인식하게 되었다. 부족한연구이지만 앞으로 퍼스널 컬러 연구의 기초자료가 되기를 희망한다.In this study, the portrait of Queen Elizabeth I, who was the best leader and thoroughly managed her self-image for the past 1,000 years, is to examine her personal color, focusing on the portrait of “Icons and Identities” at the National Museum of Korea. In addition, I would like to consider the method of directing the image of Queen Elizabeth I. Prior research on the portrait of Queen Elizabeth I is insufficient compared to other subjects, and studies that actually look at her portrait and analyze her personal color are insufficient. Through this study, Elizabeth I was the queen who established the Renaissance of England, and the queen made a prototype portrait mainly from a court painter to control her self-image using portraits. Opinions on the prototype of this portrait differed from one researcher to another, and as a result of examining the materials in the collection, errors regarding the year of manufacture and the creator were also found. As a result of examining the current status of Elizabeth I-related collections in London museums, 1,954 pieces were found in the British Museum, 135 pieces in the National Portrait Gallery, 451 pieces in the Royal Collection, and 247 pieces in the Victoria and Albert Museum. In the process of examining her portrait of Elizabeth I by year, it was possible to find errors in the year of production or the creator and collection of previous studies. The “Face of the Ages” special exhibition “Portrait of the Phoenix” of Queen Elizabeth I was so important that it became the cover of permanent posters and catalogs for the special exhibition. When comparing personal colors through Adobe’s Photoshop through her portrait of Queen Elizabeth I, her skin color was often blue rather than white, and it was confirmed that there were slight differences in the colors of her hair, eyes, and lips. Through this study, I think it is meaningful to check the differences of opinion on the prototype of the portrait and the personal color of Elizabeth I. In addition, it was recognized that a more comprehensive study of foreign data was necessary when researching foreign subjects. Although insufficient research, I hope that it will serve as a basis for personal color research in the future.