Architectural drawings of the Italian Renaissance were largely devoid of color, but from the 17th century through the nineteenth, polychromy in architectural representation grew and flourished.
Basile Baudez argues that colors appeared on paper when architects adapted the pictorial tools of imitation, cartographers’ natural signs, military engineers’ conventions, and, finally, painters’ affective goals in an attempt to communicate with a broad public.
Inessential Colors traces the use of color in European architectural drawings and prints, revealing how this phenomenon reflected the professional anxieties of an emerging professional practice that was simultaneously art and science.
