Alexandra Loske is the curator of collections projects at the Royal Pavilion in Brighton and a tutor at the University of Sussex. She studied and writes on Regency colour theory.
What’s it like working in such a fairytale place?
I’ve been at the Royal Pavilion for nine years and it still amazes me when I walk into the banqueting or music rooms, but there are still places I haven’t been, areas we can’t go for health and safety reasons. I was, for example, very keen to see the famous dragon chandelier but only two people are actually insured to go up there and clean it. Sometimes though, I crave a little colour field painting to cleanse
the palate.
Does your interest in colour theory influence your everyday life?
Colour theory is basically science, philosophy and taste mixed together. So, yes, my knowledge base does enable me to know something about people through the colours they choose.
People think I’m a good source for interior design advice but I have 18th-century engravings on white walls.
Are you, therefore, unfamiliar with the nomenclature of the Dulux colour chart?
Colour and pigment names have always been misleading. Turner’s Patent Yellow, actually made from the early-18th century onwards, misleads everyone to thinks it’s named after the famous artist, but it was just a chap with the same name who patented his paint.
Do scholarly television appearances require specific colour dress choices?
The trouble is that in the Royal Pavilion you disappear into the background if you wear patterns. It’s got to be a block colour or black. I once filmed with Michael Portillo, the former MP, and, knowing a little about him, I took two dresses along because I didn’t want to clash with his bright colour choices. He ended up wearing pink so I wore mustard and we went well together. He was amused by the trouble I took.
Where did your love of history come from?
I grew up in northern Germany and every year my father took me to Bavaria to look at the really wacky castles. Sometimes I wonder if that was fate preparing me for the Royal Pavilion.
What’s it like working in such a fairytale place?
I’ve been at the Royal Pavilion for nine years and it still amazes me when I walk into the banqueting or music rooms, but there are still places I haven’t been, areas we can’t go for health and safety reasons. I was, for example, very keen to see the famous dragon chandelier but only two people are actually insured to go up there and clean it. Sometimes though, I crave a little colour field painting to cleanse
the palate.
Does your interest in colour theory influence your everyday life?
Colour theory is basically science, philosophy and taste mixed together. So, yes, my knowledge base does enable me to know something about people through the colours they choose.
People think I’m a good source for interior design advice but I have 18th-century engravings on white walls.
Are you, therefore, unfamiliar with the nomenclature of the Dulux colour chart?
Colour and pigment names have always been misleading. Turner’s Patent Yellow, actually made from the early-18th century onwards, misleads everyone to thinks it’s named after the famous artist, but it was just a chap with the same name who patented his paint.
Do scholarly television appearances require specific colour dress choices?
The trouble is that in the Royal Pavilion you disappear into the background if you wear patterns. It’s got to be a block colour or black. I once filmed with Michael Portillo, the former MP, and, knowing a little about him, I took two dresses along because I didn’t want to clash with his bright colour choices. He ended up wearing pink so I wore mustard and we went well together. He was amused by the trouble I took.
Where did your love of history come from?
I grew up in northern Germany and every year my father took me to Bavaria to look at the really wacky castles. Sometimes I wonder if that was fate preparing me for the Royal Pavilion.