Editing Yellow (section)

=== Modern history ===
==== 18th and 19th centuries ====
The 18th and 19th century saw the discovery and manufacture of synthetic pigments and dyes, which quickly replaced the traditional yellows made from arsenic, cow urine, and other substances.

{{Circa|1776}}, [[Jean-Honoré Fragonard]] painted ''[[A Young Girl Reading]]''. She is dressed in a bright saffron yellow dress. This painting is "considered by many critics to be among Fragonard's most appealing and masterly".<ref>{{cite book |last=Walker  |first=John  |year=1975 |title=National Gallery of Art, Washington |location=New York |publisher=Harry N. Abrams, Inc. |isbn=978-0-8109-0336-4}}</ref>

The 19th-century British painter [[J. M. W. Turner]] was one of the first in that century to use yellow to create moods and emotions, the way romantic composers were using music. His painting ''Rain, Steam, and Speed – the Great Central Railway'' was dominated by glowing yellow clouds.

[[Georges Seurat]] used the new synthetic colors in his experimental paintings composed of tiny points of primary colors, particularly in his famous ''Sunday Afternoon on the Isle de la Grand jatte'' (1884–86). He did not know that the new synthetic yellow pigment, zinc yellow or [[zinc chromate]], which he used in the light green lawns, was highly unstable and would quickly turn brown.<ref>John Gage, (1993), ''Colour and Culture – Practice and Meaning from Antiquity to Abstraction'', p. 220.</ref>

The painter [[Vincent van Gogh]] was a particular admirer of the color yellow, the color of sunshine. Writing to his sister from the south of France in 1888, he wrote, "Now we are having beautiful warm, windless weather that is very beneficial to me. The sun, a light that for lack of a better word I can only call yellow, bright sulfur yellow, pale lemon gold. How beautiful yellow is!" In Arles, Van Gogh painted sunflowers inside a small house he rented at 2 Place Lamartine, a house painted with a color that Van Gogh described as "buttery yellow". Van Gogh was one of the first artists to use commercially manufactured paints, rather than paints he made himself. He used the traditional yellow ochre, but also [[chrome yellow]], first made in 1809; and [[cadmium yellow]], first made in 1820.<ref>Stefano Zuffi (2012), ''Color in Art'', pp. 96–97.</ref>

In 1895 a new popular art form began to appear in New York newspapers; the color [[comic strip]]. It took advantage of a new [[color printing]] process, which used [[color separation]] and three different colors of ink; magenta, cyan, and yellow, plus black, to create all the colors on the page. One of the first characters in the new comic strips was a humorous boy of the New York streets named Mickey Dugen, more commonly known as the [[Yellow Kid]], from the yellow nightshirt he wore. He gave his name (and color) to the whole genre of popular, sensational journalism, which became known as "[[yellow journalism]]".
<gallery mode="packed" heights="150px">
File:Fragonard, The Reader.jpg|''[[A Young Girl Reading]]'', or ''The Reader''. [[Jean-Honoré Fragonard]], c. 1776, 32" × 25 1/2" National Gallery of Art, Washington, D.C.
File:Turner - Rain, Steam and Speed - National Gallery file.jpg|''[[Rain, Steam and Speed – The Great Western Railway]]''. (1844). British painter [[J. M. W. Turner]] used yellow clouds to create a mood, the way romantic composers of the time used music.
File:A Sunday on La Grande Jatte, Georges Seurat, 1884.png|[[Georges Seurat]] used a new pigment, zinc yellow, in the green lawns of ''[[A Sunday Afternoon on the Island of La Grande Jatte]]'' (1884–86). He did not know that the paint would quickly deteriorate and turn brown.
File:Vincent Van Gogh 0010.jpg|''[[Sunflowers (Van Gogh series)|Sunflowers]]'' (1888) by [[Vincent van Gogh]] is a fountain of yellows.
File:YellowKid.jpeg|[[The Yellow Kid]] (1895) was one of the first [[comic strip]] characters. He gave his name to type of sensational reporting called [[Yellow Journalism]].
File:Domenico Failutti - Retrato de Dona Leopoldina de Habsburgo e Seus Filhos, Acervo do Museu Paulista da USP.jpg|Empress [[Maria Leopoldina of Austria|Maria Leopoldina of Brazil]] with her children.
File:Michael Ancher - Ung Pige - 1904.png|''Young woman'' (Marie, from [[Skagen]], Denmark) by [[Michael Peter Ancher|Michael Ancher]]
</gallery>

==== 20th and 21st centuries ====
In the 20th century, yellow was revived as a symbol of exclusion, as it had been in the Middle Ages and Renaissance. Jews in [[Nazi Germany]] and German-occupied countries were required to sew yellow triangles with the star of David onto their clothing.

In the 20th century, modernist painters reduced painting to its simplest colors and geometric shapes. The Dutch modernist painter [[Piet Mondrian]] made a series of paintings which consisted of a pure white canvas with a grid of vertical and horizontal black lines and rectangles of yellow, red, and blue.

Yellow was particularly valued in the 20th century because of its high visibility. Because of its ability to be seen well from greater distances and at high speeds, yellow makes for the ideal color to be viewed from moving automobiles.<ref name="Yellowtown" /> It often replaced red as the color of fire trucks and other emergency vehicles, and was popular in neon signs, especially in [[Las Vegas]] and in China, where yellow was the most esteemed color.

In the 1960s, Pickett Brand developed the "Eye Saver Yellow" [[slide rule]], which was produced with a specific yellow color (Angstrom 5600) that reflects long-wavelength rays and promotes optimum eye-ease to help prevent eyestrain and improve visual accuracy.<ref name="Yellowtown" />

The 21st century saw the use of unusual materials and technologies to create new ways of experiencing the color yellow. One example was ''The weather project'', by Danish-Icelandic artist [[Olafur Eliasson]], which was installed in the open space of the Turbine Hall of London's [[Tate Modern]] in 2003.

Eliasson used [[humidifiers]] to create a fine mist in the air via a mixture of sugar and water, as well as a semi-circular disc made up of hundreds of [[monochromatic]] lamps which radiated yellow light. The ceiling of the hall was covered with a huge [[mirror]], in which visitors could see themselves as tiny black shadows against a mass of light.<ref name="newyorker.com">Cynthia Zarin (13 November 2006), [http://www.newyorker.com/archive/2006/11/13/061113fa_fact_zarin#ixzz1FQvk1dMc Seeing Things. The art of Olafur Eliasson] {{Webarchive|url=https://web.archive.org/web/20140107014659/http://www.newyorker.com/archive/2006/11/13/061113fa_fact_zarin#ixzz1FQvk1dMc |date=7 January 2014 }} ''New Yorker''.</ref>
<gallery mode="packed" heights="150px">
File:Yellow Room, Frieseke.jpg|Yellow Room, [[Frederick Carl Frieseke]], 1910
File:Yellowstar.jpg|Jews in [[Nazi-occupied Europe]] were required to wear [[yellow badge]]s such as this.
File:Horse&rider.jpg|Yellow was valued for its high visibility. [[Las Vegas]] became a showcase of [[neon art]] and advertising.
File:Palácio do Planalto Campanha Internacional Maio Amarelo.jpg|The [[Palácio do Planalto]], official workplace of the [[President of Brazil]], illuminated in yellow light.
</gallery>