L'orchestration Des Couleurs: Analyse, Classification Et SynthèSe MathéMatiques Des Sensations ColoréEs. Cozanet, Albert, As Jean D'udine.

First edition of this unusual synaesthetic work on colour theory in relation to music. Jean d'Udine was the pseudonym of French composer and performance theorist Albert Cozanet (1870-1938). He moved to Paris circa 1900, where he met and collaborated with a number of important figures in the world of music and dance including Gustave Charpentier, Alfred Cortot, Isadora Duncan, Jules Massenet, and Henri Mogis. "D'Udine, a follower of the renowned Swiss pedagogue Émil Jaques-Dalcroze, maintained the significance of synaesthesia in art - in poetry, painting, architecture, and especially music and dance. Drawing on the system of musical education developed by Dalcroze ('la gymnastique rythmique', designed to develop rhythmic sensitivity in musicians), as well as the biological theories of Frenchman Félix le Dantec, d'Udine proposed a parallelism between music and movement that exalted their shared basis in 'les mouvements de lâme' (movements of the soul)" (Caddy, p. 102). His best known works are De la corrélation des sons et des couleurs en art (1897), the present text, and L'Art et le Geste (1910). Library Hub locates copies of L'orchestration des couleurs at Kew and the Royal Society of Medicine; WorldCat adds 17 others. It is more uncommon on the market, with three recorded at auction. Books on Colour 1495-2015: History and Bibliography, p. 2007. Davinia Caddy, The Ballets Russes and Beyond Music and Dance in Belle-Époque Paris, 2012. Octavo. Original green cloth, spine and covers lettered and blocked in red, blue-green marbled endpapers. 10 square chromolithographic plates (numbered I-X), loose in pocket on front pastedown; numerous diagrams and illustrations in text. Spine ends and corners bumped and lightly rubbed, some discolouration along right hand side of rear cover and small square patch on front, a couple of tiny ink spots on fore edge of book block; internally clean and entirely unmarked; a few of the loose plates evenly toned but overall the colours nice and bright; a very good copy indeed.