American painter Frederic Edwin Church's monumental oil painting Aurora Borealis (1865) presents a stark contrast to the dominant Western tradition of representing the Arctic as monochrome and static. This article discusses how the impressive palette of Aurora Borealis and its black semi-circle in the center allow for a revisionist understanding of Church's contributions to a rich history of Arctic representation, including in an age of climate change and rapidly melting ice. The article connects Aurora Borealis to emerging lens technologies—especially photography and astronomy, and later the cinema and composite satellite imagery, to argue for circumpolar north as globally connected—then, and now. The article furthermore draws connections to the nineteenth-century trade in pigments, the interconnected routes of slavery, and cultural modes of urban modernity.

中文翻译：

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北极景观中的色彩政治：弗雷德里克·埃德温·丘奇（Frederic Edwin Church）的极光（Aurora Borealis）中心的黑暗与19世纪代表制遗产的传承

美国画家弗雷德里克·爱德温·丘奇（Frederic Edwin Church）的巨幅油画极光（Aurora Borealis，1865年）与西方传统的北极形成了鲜明对比，后者将北极描述为单色和静态。本文讨论了令人印象深刻的北极光调色板及其中心的黑色半圆，如何使修正主义者理解教会对包括北极在内的丰富北极历史的贡献，包括在气候变化和冰层迅速融化的时代。这篇文章将北极光与新兴的镜头技术（尤其是摄影和天文学，以及后来的电影院和合成卫星图像）联系起来，以主张绕极北极与全球相连。此外，该文章还与19世纪的色素贸易，奴隶制的相互联系，