Colour and its History

LITERATURE CITED

• R. W. Burnham, R. M. Hanes and C. J. Bartleson, Color: A Guide to Basic Facts and Concepts, New York (1963 ), p. 11.
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• D. B. Judd and Wyszecki, Color in Business, Science and Industry, New York, 3rd ed. (1975).
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• H. Varley (ed.). Colour, London (1980 ); H. Kramer and O. Matschoss (eds.), Farben in Kultur und Leben, Stuttgart (1963).
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• I. Meyerson (ed.), Problèmes de la couleur, Parts (1957 ); Studium Generale, XIII (1960); T. B. Hass and J. Ashbery (eds.), Light, from Aten to Laser (Art News Annual XXXV), New York (1969); Eranos Yearbook 41 (1972); M. Hering-Mitgau, B. Sigel, J. Ganz and A. Morel (eds.), Von Farbe und FarbeniAlbert Knoepfli zum 70. Geburtstag, Zürich (1980).
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• M. Minnaert, Light and Colour in the Open Air, 3rd ed., London (1959).
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• K. T. A. Halbertsma, A History of the Theory of Colour, Amsterdam (1949); J. W. von Goethe, Zur Farbenlehre: Historischer Teil, in Goethe, Die Schriften zur Naturwissenschaft, ed. Matthaei, Troll, Wolf, Weimar, I, vi (1957) (text); II, vi (1959) (Ergänzungen und Erläuterungen).
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• J. MacLean, De Kleurentheorie van Aristoteles, Scientiarum Historia VII, 109–116 (1965 ); De Kleurentheorie der Arabieren, ibid, pp. 143–155; De Kleurentheorie in West-Europa van ca. 600–1200, ibid. VIII, 30–50 (1966); Geschiedenis van de Kleurentheorie in de zestiende Eeuw, ibid. IX, 23–39 (1967).
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• D. L. MacAdam, Sources of Color Science, Cambridge, Mass. (1970).
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• B. Berlin and P. Kay, Basic Color Terms, Berkeley, Calif. (1969)
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• S. Skard, The use of color in literature: a survey of research, Proc. Amer. Phil. Soc., XC (1946 ); H. Dürbeck, Zur Charakteristik der griechischen Farbenbezeichnungen, Bonn (1977); J. André, Étude sur les termes de couleur dans la langue latine, Paris (1949); N. F. Barley, Old English colour classification: where do matters stand?, Anglo-Saxon England, III (1974).
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• H. Zollinger, Correlations between the neurobiology of colour vision and the psycholinguistics of colour naming, Experientia 35, 5–8 (1979)
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• For example, I. Meyerson 4; International Colour Association, Colour 73, London (1973 ); F. W. Billmeyer and G. Wyszecki (eds.), Color 77: Proceedings of the Third Congress of the International Colour Association, Bristol (1978).
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• R. M. Evans, An Introduction to Color, New York (1948 ); D. B. Judd and G. Wyszecki.2
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• W. Schöne, Über das Licht in der Malerei, 3rd ed., Berlin (1979).
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• M. Rzepińska, Historia Koloru w dziejach malarstwa europejskiego, Cracow (1983 ). The fullest survey of the literature is by E. Strauss, Koloritgeschichtliche Untersuchungen zur Malerei seit Giotto, Berlin (1972), pp. 196 ff. Faber Birren’s History of Color in Painting, New York (1965), is without substance.
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• R. L. Herbert, A color bibliography, Yale University Library Gazette 49, 3–49 (1974); 52, 127–165 (1978).
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• See the extensive treatment of the subject by its librarian: T. Lersch, Farbenlehre, Reallexikon zur deutschen Kunst geschichte VII (1974 ), cols. 157–274.
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• N. Bromelle, Colour and conservation, Studies in Conserva tion II, 764 (1955).
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• P. Reuterswärd, Studien zur Polychromie II, Griechenland und Rom, Uppsala (1960 ), Ch. I.
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• R. W. G. Hunt, ‘Problems in colour reproduction,’ Colour 73,12 especially pp. 7 ff.; The Reproduction of Colour, 3rd ed., London (1975).
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• J. Gage, Colour in history; relative and absolute, Art History I, 114 (1978).
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• M. Baxandall, Painting and Experience in Fifteenth-Century Italy, Oxford (1972 ), pp. 3–11.
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• M. Merrifield, Original Treatises on the Arts of Painting, 2nd ed., New York (1967), Vol. II, pp. 384–405.
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• E. van Even, Le contrat pour l’éxecution du triptique de Thierry Bouts de la Collégiale Saint-Pierre à Louvain (1464), Bull. de l’Acad. Roy. des Sciences, des Lettres et des Beaux-Arts de Belgique, IIe. sèr. XXXV, pp. 474 f (1898 ); P. Coremens, R. J. Gettens, and J. Thissen, La technique des Primitifs Flamands, II, T. H. Bouts: Le Retable du Saint Sacrement’, Studies in Conservation I (1952), pp. 15 ff.
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• P. Coremans, L’Agneau Mystique au Laboratoire (Les Primitifs Flamands III: Contributions à l’Etude des Primitifs Flamands), Brussels (1953 ), pp. 70 ff.
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• J. Gage, A locus classicus of colour-theory: the fortunes of Apelles, Journal of the Warburg and Courtauld Institutes XLIV, 17–24 (1981).
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• J. Gage, Newton and Painting, in M. Pollock (ed.), Common Denominators in Art and Science, Aberdeen (1983 ), pp. 20–21, For a recent assessment of the theoretical basis for the analogy colour-scale–musical-octave, see C. Loef, Die Bedeutung der Musik-Oktave im optisch-visuellen Bereich der Farbe, Farbe und Farben4, pp. 227–236.
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• R. Waller, A Catalogue of Simple and Mixt Colours, Phil. Trans. Roy. Soc. Lond. XVI, 24 ff (1686 ). See also Judd and Wyszecki,2 pp. 373 ff.
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• Burnham, Hanes and Bartleson, 1 pp. 209–210.
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• J. Gage, Newton and Painting,27 pp. 22–23; G. Bierson, Why did Newton see indigo in the spectrum?, Amer. J. Phys, 40, 526, (1972).
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• E. Fletcher (ed.) Conversations of James Northcote with James Ward, (1901 ), pp. 217–218. Cf. J. Burnett, Practical Hints on Composition in Painting, London (1822) p. 23. Purkinje’s observations were first published in J. E. Purkinje, Beobachtungen und Versuche zur Physiologie der Sinne II, 1825 (Opera Omnia, Vol. I, Prague (1918) pp. 118 f.).
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• W. I. Homer, Seurat and the Science of Painting, Cambridge, Mass, (1964), provides the fullest documentation, M. Schapiro in Meyerson,4 pp. 248 f. and R. A. Weale, The Tragedy of Pointillism, Palette XL, 16 (1972), have questioned Seurat’s understanding of his sources.
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• J. Gage, The psychological background to early modern colour: Kandinsky, Delaunay and Mondrian, in M. Compton (ed.), Towards a New Art, London (1980 ), pp. 22–40.
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• J. Gage, Colour at the Bauhaus, AA Files I, 51 (1982).
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• Theophilus, On Divers Arts, trans. J, G. Hawthorne and C. S. Smith, 2nd ed.. New York (1979 ) pp 24 f.
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• Corot raconté par lui-même, Geneva (1946 ), p. 83; for the Villalobos system, Burnham, Hanes and Bartleson,1 p. 172.
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• Burnham, Hanes and Bartleson, 1 pp. 91–92.
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• See the technical notes in Rembrandt in the Mauritshuis, The Hague (1978).
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• C. Hope, Titian, London (1980 ), pp. 161–163.
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• J. Gage, A locus classicus of colour-theory.26
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• R. Liebreich, Turner and Mulready – On the effect of certain faults of vision on painting. Notices of the Proc. Roy. Inst. VI, 450–463 (1872 ), The argument was countered by W. M. Williams, Nature, 1872, p. 500 Cf. P. D. Trevor-Roper, The World through Blunted Sight, London (1970), p. 88.
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• J. Cowart, J. D. Flam, D. Fourcade and J. H. Neff, Henri Matisse: Paper Cut-Outs, New York (1977 ), pp. 28–30.
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• T. W. A. Whitfield and P. E. Statter, Colour harmony: An evaluation, Brit J. Aesthetics XVIII (1978 ); G. W. Granger, Colour harmony in science and art. Cotour 73,12 pp. 502–505.
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• M. Sahlins, Colors and Cultures, Semiotica 16, 12 (1976).
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