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Indlæser... Colour and Meaning: Art, Science and Symbolism (udgave 2000)| 149 | 1 | 138,779 | 
(3.6) | Ingen | Is 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.… (mere) |
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▾Referencer Henvisninger til dette værk andre steder.  Wikipedia på engelsk (3)
▾Bogbeskrivelser Is 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. ▾Biblioteksbeskrivelser af bogens indhold No library descriptions found. ▾LibraryThingmedlemmers beskrivelse af bogens indhold |
 Google Books — Indlæser... Byt (16 ønsker)
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(3.6)
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This is denser, with more theories of perception and language of color. There is some repetition of material, chapters appearing to be modified from lectures or previously published articles. It’s also jumpier, lacking a steady flow of exposition. This is probably meant to be a textbook for art majors, but I was able to mine good stuff as a layperson.
Early Christian mosaics used raked tiles for halos in order to catch the light and glow. These works were built particularly to be experienced by lamplight and with the observer in motion, contrary to the electric lights now used for display. He quotes an early patriarch, Photius (how apt!), concerning the impressions of spectators on entering his church: “It is as if one had entered heaven itself with no one barring the way from any side, and was illuminated by the beauty in all forms shining all around like so many stars, so one is utterly amazed. Thenceforth, it seems that everything is in ecstatic motion, and the church itself is circling round. For the spectator, through his whirling about in all directions and being constantly astir, which he is forced to experience by the variegated spectacle on all sides, imagines that his personal condition is transferred to the object.” (