Pink is the color of a namesake flower that is a pale tint of red.It was first used as a color name in the late 17th century.According to surveys in Europe and the United States, pink is the color most often associated with charm, politeness, sensitivity, tenderness, sweetness, childhood, femininity, and romance. A combination of pink and white is associated with chastity and innocence, whereas a combination of pink and black links to eroticism and seduction.In the 21st century, pink is seen as a symbol of femininity, though this hasn't always been true: in the 1920s, pink was seen as a color that reflected masculinity.
Contents
- Etymology and definitions
- History, art and fashion
- 18th century
- 19th century
- 20th century - present
- Science and nature
- Optics
- Sunrises and sunsets
- Geology
- Biology
- Pink coloration of meat and seafood
- Plants and flowers
- Pigments - Pinke
- Sonics
- Lighting
- Engineering
- In symbolism and culture
- Common associations and popularity
- Pink in other languages
- Idioms and expressions
- Architecture
- Food and beverages
Etymology and definitions
The color pink is named after the flowers, pinks,[7] flowering plants in the genus Dianthus, and derives from the frilled edge of the flowers. The verb "to pink" dates from the 14th century and means "to decorate with a perforated or punched pattern" (possibly from German picken, "to peck"). The verb "pink" continues to be reflected today as the name of hand-held scissors that cut a zig-zagged line to prevent fraying that are referred to as pinking shears.
History, art and fashion
The color pink has been described in literature since ancient times. In the Odyssey, written in approximately 800 BCE, Homer wrote "Then, when the child of morning, rosy-fingered dawn appeared..."Roman poets also described the color. Roseus is the Latin word meaning "rosy" or "pink." Lucretius used the word to describe the dawn in his epic poem On the Nature of Things (De rerum natura). Pink was not a common color in the fashion of the Middle Ages; nobles usually preferred brighter reds, such as crimson. However, it did appear in women's fashion and religious art. In the 13th and 14th centuries, in works by Cimabue and Duccio, the Christ child was sometimes portrayed dressed in pink, the color associated with the body of Christ. In the high Renaissance painting the Madonna of the Pinks by Raphael, the Christ child is presenting a pink flower to the Virgin Mary. The pink was a symbol of marriage, showing a spiritual marriage between the mother and child. During the Renaissance, pink was mainly used for the flesh color of faces and hands. The pigment commonly used for this was called light cinabrese; it was a mixture of the red earth pigment called sinopia, or Venetian red, and a white pigment called Bianco San Genovese, or lime white. In his famous 15th century manual on painting, Il Libro Dell'Arte, Cennino Cennini described it this way: "This pigment is made from the loveliest and lightest sinopia that is found and is mixed and mulled with St. John’s white, as it is called in Florence; and this white is made from thoroughly white and thoroughly purified lime. And when these two pigments have been thoroughly mulled together (that is, two parts cinabrese and the third white), make little loaves of them like half walnuts and leave them to dry. When you need some, take however much of it seems appropriate. And this pigment does you great credit if you use it for painting faces, hands, and nudes on walls..."
18th, 19th, 20th century
The zenith of the color pink was the 18th century, when pastel colors became very fashionable in all the courts of Europe. Pink was particularly championed by Madame de Pompadour (1721–1764), the mistress of King Louis XV of France, who wore combinations of pale blue and pink, and had a particular tint of pink made for her by the Sevres porcelain factory, created by adding nuances of blue, black and yellow. While pink was quite evidently the color of seduction in the portraits made by George Romney of Emma, Lady Hamilton, the future mistress of Admiral Horatio Nelson, in the late 18th century, it had the completely opposite meaning in the portrait of Sarah Barrett Moulton painted by Thomas Lawrence in 1794. In this painting, it symbolized childhood, innocence and tenderness. Sarah Moulton was just eleven years of age when the picture was painted, and died the following year. In 19th century England, pink ribbons or decorations were often worn by young boys; boys were simply considered small men, and while men in England wore red uniforms, boys wore pink. In fact the clothing for children in the 19th century was almost always white, since, before the invention of chemical dyes, clothing of any color would quickly fade when washed in boiling water. Queen Victoria was painted in 1850 with her seventh child and third son, Prince Arthur, who wore white and pink. In late nineteenth-century France, Impressionist painters working in a pastel color palette sometimes depicted women wearing the color pink, such as Edgar Degas’ image of ballet dancers or Mary Cassatt’s images of women and children. A dress parade, held in 1949, at the famous Waldorf-Astoria Hotel in New York, caused a stir among attendees due to the vibrant pink tones in the dresses and garments. The journalists and critics of the time, seeking to know Mexican designer Ramón Valdiosera's inspiration, asked him about the origin of the color. The artist simply replied that that pink was already part of Mexican culture, which the New York fashion critic Perle Mesta then described as Mexican Pink. The First inauguration of Dwight D. Eisenhower (1953), when Eisenhower's wife Mamie Eisenhower wore a pink dress as her inaugural gown, is thought to have been a key turning point in the association of pink as a color associated with girls. Mamie's strong liking of pink led to the public association with pink being a color that "ladylike women wear." The 1957 American musical Funny Face also played a role in cementing the color's association with women.[16] In the 20th century, pinks became bolder, brighter, and more assertive, partly because of the invention of chemical dyes that did not fade. The pioneer in the creation of the new wave of pinks was the Italian designer Elsa Schiaparelli, (1890-1973), who was aligned with the artists of the surrealist movement, including Jean Cocteau.[14] In 1931 she created a new variety of the color, called shocking pink, made by mixing magenta with a small amount of white. She launched a perfume called Shocking, sold in a bottle in the shape of a woman's torso, said to be modelled on that of Mae West. Her fashions, co-designed with artists like Cocteau, featured the new pinks.[17] In Nazi Germany in the 1930s and 1940s, inmates of Nazi concentration camps who were accused of homosexuality were forced to wear a pink triangle.[18] Because of this, the pink triangle has become a symbol of the modern gay rights movement.[19] The transition to pink as a sexually differentiating color for girls occurred gradually, through the selective process of the marketplace, in the 1930s and 40s. In the 1920s, some groups had described pink as a masculine color, an equivalent to red, which was considered for men but lighter for boys. But stores nonetheless found that people were increasingly choosing to buy pink for girls, and blue for boys, until this became an accepted norm in the 1940s.[20][21]
A thinker erects an immense building, a system, a system which embraces the whole of existence and world-history etc. – and if we contemplate his personal life, we discover to our astonishment this terrible and ludicrous fact, that he himself personally does not live in this immense high-vaulted palace, but in a barn alongside of it, or in a dog kennel, or at the most in the porter’s lodge. If one were to take the liberty of calling his attention to this by a single word, he would be offended. For he has no fear of being under a delusion, if only he can get the system completed . . . . by means of the delusion.
They were tulips. I wanted them to be peonies. In my story, they are, they will be, they were and will for ever be peonies – for, when I am writing, space and time itself bend to my will! Through the medium of tenses! In real life, the dog kennel is where I make my home. When I was a kid, I thought I’d rather be a brain in a jar than a ‘natural woman’. I have turned out to be some odd combination of both, from moment to moment, and with no control over when and where or why those moments occur. Whether the ‘natural’ part of my womanhood is an essential biological fact or an expression (as de Beauvoir argued) of an acculturation so deep it looks very much like roots growing out of the bulb, at this point in my life I confess I don’t know and I don’t care. I am not a scientist or a sociologist. I’m a novelist. Who can admit, late in the day, during this strange and overwhelming season of death that collides, outside my window, with the emergence of dandelions, that spring sometimes rises in me, too, and the moon may occasionally tug at my moods, and if I hear a strange baby cry some part of me still leaps to attention – to submission. And once in a while a vulgar strain of spring flower will circumvent a long-trained and self-consciously strict downtown aesthetic. Just before an unprecedented April arrives and makes a nonsense of every line.
