“I have yet to find a curatorial colleague who regularly beats a path to the fragrance counter in search of, say, Joy Parfum, the 1930 masterpiece by Henri Alméras for Jean Patou, which, if it were a painting, could hang beside Matisse’s nearly contemporary Yellow Odalisque in Philadelphia. And yet, the parallels between what ought to be more properly regarded as sister arts are undeniable. Artists and colourmen combine natural and, these days, synthetic pigments with media such as oils and resins, much as the perfumer carefully formulates natural and synthetic chemical compounds.”