Color and Meaning: Art, Science, and SymbolismIs color just a physiological reaction, a sensation resulting from different wave lengths of light on receptors in our eyes? Does color have an effect on our feelings? The phenomenon of color is examined in extraordinary new ways in John Gage's latest book. His pioneering study is informed by the conviction that color is a contingent, historical occurrence whose meaning, like language, lies in the particular contexts in which it is experienced and interpreted. Gage covers topics as diverse as the optical mixing techniques implicit in mosaic; medieval color-symbolism; the equipment of the manuscript illuminator's workshop, the color languages and color practices of Latin America at the time of the Spanish Conquest; the earliest history of the prism; and the color ideas of Goethe and Runge, Blake and Turner, Seurat and Matisse. From the perspective of the history of science, Gage considers the bearing of Newton's optical discoveries on painting, the chemist Chevreul's contact with painters and the growing interest of experimental psychologists in the topic of color in the late nineteenth century, particularly in relation to synaesthesia. He includes an invaluable overview of the twentieth-century literature that bears on the historical interpretation of color in art. Gage's explorations further extend the concepts he addressed in his prize-winning book, Color and Culture. |
Contents
I | 7 |
II | 11 |
III | 12 |
IV | 13 |
V | 14 |
VI | 15 |
VII | 20 |
VIII | 21 |
LXV | 138 |
LXVI | 139 |
LXVII | 142 |
LXVIII | 144 |
LXX | 146 |
LXXI | 150 |
LXXII | 153 |
LXXIV | 157 |
X | 23 |
XI | 29 |
XII | 30 |
XIII | 31 |
XIV | 33 |
XV | 34 |
XVII | 35 |
XVIII | 36 |
XIX | 40 |
XX | 43 |
XXI | 44 |
XXII | 45 |
XXIII | 46 |
XXIV | 49 |
XXV | 50 |
XXVI | 51 |
XXVII | 52 |
XXVIII | 53 |
XXIX | 55 |
XXX | 56 |
XXXI | 66 |
XXXII | 67 |
XXXIII | 68 |
XXXIV | 70 |
XXXV | 71 |
XXXVI | 73 |
XXXVII | 76 |
XXXVIII | 81 |
XXXIX | 85 |
XL | 87 |
XLI | 90 |
XLIII | 92 |
XLIV | 93 |
XLV | 94 |
XLVI | 96 |
XLVII | 98 |
XLVIII | 99 |
XLIX | 101 |
L | 102 |
LI | 105 |
LIII | 107 |
LIV | 109 |
LV | 110 |
LVI | 121 |
LVII | 122 |
LVIII | 123 |
LIX | 124 |
LX | 127 |
LXI | 130 |
LXIII | 134 |
LXIV | 135 |
LXXV | 160 |
LXXVI | 162 |
LXXVII | 163 |
LXXVIII | 164 |
LXXIX | 165 |
LXXX | 169 |
LXXXIII | 173 |
LXXXIV | 174 |
LXXXV | 185 |
LXXXVI | 186 |
LXXXVII | 187 |
LXXXVIII | 188 |
LXXXIX | 190 |
XC | 191 |
XCII | 192 |
XCIII | 193 |
XCIV | 196 |
XCV | 197 |
XCVI | 198 |
XCVII | 200 |
XCVIII | 209 |
XCIX | 210 |
C | 214 |
CI | 218 |
CII | 219 |
CIV | 223 |
CV | 226 |
CVII | 228 |
CVIII | 230 |
CIX | 232 |
CX | 239 |
CXI | 241 |
CXII | 242 |
CXIII | 243 |
CXIV | 244 |
CXV | 247 |
CXVI | 249 |
CXVII | 250 |
CXVIII | 253 |
CXIX | 257 |
CXX | 261 |
CXXII | 262 |
CXXIII | 265 |
CXXIV | 266 |
CXXV | 270 |
CXXVI | 271 |
306 | |
CXXVIII | 312 |
315 | |
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Common terms and phrases
aesthetic Alhazen artists Bauhaus Blake Blanc century Chapter Chevreul chromotherapy Colour and Culture colour-circle colour-systems colour-terms colour-theory complementary contrast Couleur D. C. Lindberg Delacroix Delaunay developed discussion early effect English espec essay example experimental experiments Farbe Farben Farben-Kugel Farbenlehre Farington Fénéon French Gage Gallery Georges Seurat German Ghiberti Goethe Goethe's Theory green grey harmony Henri Matisse historians hues ibid ideas idem interest J. M. W. Turner Jatte Kandinsky language London Lorenzo Ghiberti Malerei Matisse Matisse's medieval modern Mondrian mosaic Museum nature Neo-Impressionism Neo-Impressionist Newton Oil on canvas orange Ostwald painter painterly painting palette Paris Paul Klee perception Philipp Otto Runge pigments Pissarro primary prism psychology published purple rainbow recent Renaissance repr Runge Runge's Scarmiglioni Science seems Seurat Signac spectrum suggests symbolic synaesthesia Tate Gallery technique Theory of Colours tion traditional trans treatise Turner Venetian violet visual Witelo