Mediterranean Color: Italy, France, Spain, Portugal, Morocco, Greece

by Jeffrey Becom, Paul Goldberger (Foreword)

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Jeffrey Becom avoids the familiar tourist attractions, focusing instead on the houses of farmers and fishermen, exploring the details of an amazingly varied vernacular architecture. Jeffrey Becom is a traveler in search of color, and he has found a bounty of it in the intimate corners of Italy, France, Spain, Portugal, Morocco, and Greece. Complementing the dazzling images is Becom's graceful and informative guide through the regions he has photographed.

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Believing this to be a simple book of photographs highlighting the countries of the Mediterranean area, I quickly found out it was so much more. Yes the photos are beautiful, but they come with historical nuggets and a travelogue, so that I wanted to get up and get back to the celestial blue that is the Med.

Italy is a very old country. In the southern provinces she can fool no one about her age. All the bones and wrinkles show in this dry and rocky land, weary from long, hard struggle against invaders and the tantrums of nature.

Ahh, the "tantrums of nature" indeed. Anyone who has taken a boat ride on a seemingly gorgeous Med day only to end it in a furious wind knows of such tantrums. The Evil Eye is still prevalent, as the golden show more hillsides contrast against the aquamarine sea.

It is difficult to imagine how important a role painted color once played in the architecture of France.

Has anyone else ever noticed that? When you leave Italy to journey to Gaul, it's a bit like leaving a Technicolour movie and arriving in a sepia-toned land. As Jeffrey Becom points out, France was once the land of royal purples and ruby reds, but the Counter-Reformation and the French Revolution put an end to that.

White dominates Spain. The intensely burning sun with its blinding white glare seems to bleach the color from everything.

For me, Spain always represented yellow, but again the author has me review my memories. For all the Moorish greens and oranges of bygone days, the pueblos blancos do dominate. The historical reason given for this is because of Carlos III mandating annual whitewashing with lime in order to defeat the disease epidemics that was rampaging through 18th-century Spain.

The Portuguese are not enamored of novelty nor are they eager to change. Few public clocks can be found, for time means little, even in Lisbon.

Portugal. Where the colours still radiate via chrome yellows, delicate pinks, and the brilliant azulejos. Purple rock, blue-green ocean, yellow sand, scarlet poppies, green vineyards, carob trees. It's like being in a candy store.

Morocco is an exotic, polygamous marriage of Europe, Africa, and Arabia, a unique fusion of the Mediterranean, Atlantic, and Sahara.

Rose clay...saffron sand...blood red pomegranates...apricot turbans. Because of strict Islamic tradition regarding painted portraits of man or animal, colour instead becomes of the highest importance, down to the mixing of the paint.

Iris, goddess of the rainbow, gowned in radiant spectrum, was on hand for the birth of Greece - and so were her colors.

Once again, I thought of Greece as "white" but the author sees so much more. He points out that the Greeks lived in vivid colour, but as their age passed and temples crumbled, white became what was left. Albeit, a stunning white against the blue sky and water.

Fantastic.

Book Season = Year Round (just go)
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3 Works 32 Members
Picture of author.
Foreword
48+ Works 1,357 Members
Pulitzer Prize-winning critic Paul Goldberger is the architectural critic and a staff writer at The New Yorker. (Bowker Author Biography)

Classifications

Genres
Nonfiction, Art & Design, Travel
DDC/MDS
779.41822Arts & recreationPhotographyPhotographic imagesArchitectural subjects and cityscapes
LCC
NA1458 .B4Fine Arts2599.5-2599.9 Architectural criticismArchitectureHistory
BISAC

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Languages
English
Media
Paper
ISBNs
2