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Theory of Colours
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Artikel-Nr:
9780486135953
Veröffentl:
2012
Einband:
EPUB
Seiten:
288
Autor:
Johann Wolfgang von Goethe
Serie:
Dover Fine Art, History of Art
eBook Typ:
EPUB
eBook Format:
Reflowable EPUB
Kopierschutz:
Adobe DRM [Hard-DRM]
Sprache:
Englisch
Beschreibung:
The author ofFaust provides a unique perspective on the nature of color, compensating for his scientific inaccuracy with inimitable prose and stimulating ideas.
The wavelength theory of light and color had been firmly established by the time the great German poet published hisTheory of Colours in 1810. Nevertheless, Goethe believed that the theory derived from a fundamental error, in which an incidental result was mistaken for a elemental principle. Far from affecting a knowledge of physics, he maintained that such a background would inhibit understanding. The conclusions Goethe draws here rest entirely upon his personal observations.
This volume does not have to be studied to be appreciated. The author's subjective theory of colors permits him to speak persuasively of color harmony and aesthetics. These notions may evoke a positive response on their merits, but even among those who regard them as pure fantasy, the grace and style of Goethe's exposition provide abundant rewards. Although his scientific reasoning on this subject has long since been dismissed, modern readers continue to appreciate the beauty and sweep of Goethe's conjectures regarding the connection between color and philosophical ideas. In addition, he offers insights into early 19th-century beliefs and modes of thought as well as a taste of European life during the Enlightenment.
This volume does not have to be studied to be appreciated. The author's subjective theory of colors permits him to speak persuasively of color harmony and aesthetics. These notions may evoke a positive response on their merits, but even among those who regard them as pure fantasy, the grace and style of Goethe's exposition provide abundant rewards. Although his scientific reasoning on this subject has long since been dismissed, modern readers continue to appreciate the beauty and sweep of Goethe's conjectures regarding the connection between color and philosophical ideas. In addition, he offers insights into early 19th-century beliefs and modes of thought as well as a taste of European life during the Enlightenment.
Translator's Preface
Preface to the First Edition of 1810
Introduction
Part I. Physiological Colours.
I. Effects of Light and Darkness on the Eye
II. Effects of Black and White Objects on the Eye
III. Grey Surfaces and Objects
IV. Dazzling Colourless Objects
V. Coloured Objects
VI. Coloured Shadows
VII. Faint Lights
VIII. Subjective Halos
Pathological Colours--Appendix
Part II. Physical Colours.
IX. Dioptrical Colours
X. Dioptrical Colours of the First Class
XI. Dioptrical Colours of the Second Class--Refraction
Subjective Experiments
XII. Refraction without the Appearance of Colour
XIII. Conditions of the Appearance of Colour
XIV. Conditions under which the Appearance of Colour increases
XV. Explanation of the foregoing Phenomena
XVI. Decrease of the Appearance of Colour
XVII. Grey Objects displaced by Refraction
XVIII. Coloured Objects displaced by Refraction
XIX. Achromatism and Hyperchromatism
XX. Advantages of Subjective Experiments--Transition to the Objective
Objective Experiments
XXI. Refraction without the Appearance of Colour
XXII. Conditions of the Appearance of Colour
XXIII. Conditions of the Increase of Colour
XXIV. Explanation of the foregoing Phenomena
XXV. Decrease of the Appearance of Colour
XXVI. Grey Objects
XXVII. Coloured Objects
XXVIII. Achromatism and Hyperchromatism
XXIX. Combination of Subjective and Objective Experiments
XXX. Transition
XXXI. Catoptrical Colours
XXXII. Paroptical Colours
XXXIII. Epoptical Colours
Part III. Chemical Colours.
XXXIV. Chemical Contrast
XXXV. White
XXXVI. Black
XXXVII. First Excitation of Colour
XXXVIII. Augmentation of Colour
XXXIX. Culmination
XL. Fluctuation
XLI. Passage through the Whole Scale
XLII. Inversion
XLIII. Fixation
XLIV. Intermixture, Real
XLV. Intermixture, Apparent
XLVI. Communication, Actual
XLVII. Communication, Apparent
XLVIII. Extraction
XLIX. Nomenclature
L. Minerals
LI. Plants
LII. Worms, Insects, Fishes
LIII. Birds
LIV. Mammalia and Human Beings
LV. Physical and Chemical Effects of the Transmission of Light through Coloured Mediums
LVI. Chemical Effect in Dioptrical Achromatism
Part IV. General Characteristics.
The Facility with which Colour appears
The Definite Nature of Colour
Combination of the Two Principles
Augmentation to Red
Junction of the Two Augmented Extremes
Completeness the Result of Variety in Colour
Harmony of the Complete State
Facility with which Colour may be made to tend either to the Plus or Minus side
Evanescence of Colour
Permanence of Colour
Part V. Relation to Other Pursuits.
Relation to Philosophy
Relation to Mathematics
Relation to the Technical Operations of the Dyer
Relation to Physiology and Pathology
Relation to Natural History
Relation to General Physics
Relation to the Theory of Music
Concluding Observations on Terminology
Part VI. Effect of Colour with Reference to Moral Associations.
Yellow
Red-Yellow
Yellow-Red
Blue
Red-Blue
Blue-Red
Red
Green
Completeness and Harmony
Characteristic Combinations
Yellow and Blue
Yellow and Red
Blue and Red
Yellow-Red and Blue-Red
Combinations Non-Characteristic
Relation of the Combinations to Light and Dark
Considerations derived from the Evidence of Experience and History
Æsthetic Influence
Chiaro-Scuro
Tendency to Colour
Keeping
Colouring
Colour in General Nature
Colour of Particular Objects
Characteristic Colouring
Harmonious Colouring
Genuine Tone
False Tone
Weak Colouring
The Motley
Dread of Theory
Ultimate Aim
Grounds
Pigments
Allegorical, Symbolical, Mystical Application of Colour
Concluding Observations
Preface to the First Edition of 1810
Introduction
Part I. Physiological Colours.
I. Effects of Light and Darkness on the Eye
II. Effects of Black and White Objects on the Eye
III. Grey Surfaces and Objects
IV. Dazzling Colourless Objects
V. Coloured Objects
VI. Coloured Shadows
VII. Faint Lights
VIII. Subjective Halos
Pathological Colours--Appendix
Part II. Physical Colours.
IX. Dioptrical Colours
X. Dioptrical Colours of the First Class
XI. Dioptrical Colours of the Second Class--Refraction
Subjective Experiments
XII. Refraction without the Appearance of Colour
XIII. Conditions of the Appearance of Colour
XIV. Conditions under which the Appearance of Colour increases
XV. Explanation of the foregoing Phenomena
XVI. Decrease of the Appearance of Colour
XVII. Grey Objects displaced by Refraction
XVIII. Coloured Objects displaced by Refraction
XIX. Achromatism and Hyperchromatism
XX. Advantages of Subjective Experiments--Transition to the Objective
Objective Experiments
XXI. Refraction without the Appearance of Colour
XXII. Conditions of the Appearance of Colour
XXIII. Conditions of the Increase of Colour
XXIV. Explanation of the foregoing Phenomena
XXV. Decrease of the Appearance of Colour
XXVI. Grey Objects
XXVII. Coloured Objects
XXVIII. Achromatism and Hyperchromatism
XXIX. Combination of Subjective and Objective Experiments
XXX. Transition
XXXI. Catoptrical Colours
XXXII. Paroptical Colours
XXXIII. Epoptical Colours
Part III. Chemical Colours.
XXXIV. Chemical Contrast
XXXV. White
XXXVI. Black
XXXVII. First Excitation of Colour
XXXVIII. Augmentation of Colour
XXXIX. Culmination
XL. Fluctuation
XLI. Passage through the Whole Scale
XLII. Inversion
XLIII. Fixation
XLIV. Intermixture, Real
XLV. Intermixture, Apparent
XLVI. Communication, Actual
XLVII. Communication, Apparent
XLVIII. Extraction
XLIX. Nomenclature
L. Minerals
LI. Plants
LII. Worms, Insects, Fishes
LIII. Birds
LIV. Mammalia and Human Beings
LV. Physical and Chemical Effects of the Transmission of Light through Coloured Mediums
LVI. Chemical Effect in Dioptrical Achromatism
Part IV. General Characteristics.
The Facility with which Colour appears
The Definite Nature of Colour
Combination of the Two Principles
Augmentation to Red
Junction of the Two Augmented Extremes
Completeness the Result of Variety in Colour
Harmony of the Complete State
Facility with which Colour may be made to tend either to the Plus or Minus side
Evanescence of Colour
Permanence of Colour
Part V. Relation to Other Pursuits.
Relation to Philosophy
Relation to Mathematics
Relation to the Technical Operations of the Dyer
Relation to Physiology and Pathology
Relation to Natural History
Relation to General Physics
Relation to the Theory of Music
Concluding Observations on Terminology
Part VI. Effect of Colour with Reference to Moral Associations.
Yellow
Red-Yellow
Yellow-Red
Blue
Red-Blue
Blue-Red
Red
Green
Completeness and Harmony
Characteristic Combinations
Yellow and Blue
Yellow and Red
Blue and Red
Yellow-Red and Blue-Red
Combinations Non-Characteristic
Relation of the Combinations to Light and Dark
Considerations derived from the Evidence of Experience and History
Æsthetic Influence
Chiaro-Scuro
Tendency to Colour
Keeping
Colouring
Colour in General Nature
Colour of Particular Objects
Characteristic Colouring
Harmonious Colouring
Genuine Tone
False Tone
Weak Colouring
The Motley
Dread of Theory
Ultimate Aim
Grounds
Pigments
Allegorical, Symbolical, Mystical Application of Colour
Concluding Observations