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Color Theory: A Critical Introduction [Pehme köide]

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(Truman State University, USA)
  • Formaat: Paperback / softback, 376 pages, kõrgus x laius x paksus: 244x188x18 mm, kaal: 1040 g, 162 color and bw illus
  • Ilmumisaeg: 09-Sep-2021
  • Kirjastus: Bloomsbury Visual Arts
  • ISBN-10: 1350027308
  • ISBN-13: 9781350027305
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Color Theory: A Critical IntroductionSuurem pilt
  • Formaat: Paperback / softback, 376 pages, kõrgus x laius x paksus: 244x188x18 mm, kaal: 1040 g, 162 color and bw illus
  • Ilmumisaeg: 09-Sep-2021
  • Kirjastus: Bloomsbury Visual Arts
  • ISBN-10: 1350027308
  • ISBN-13: 9781350027305
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781350027305.html
Märksõnad:
Giving an overview of the history of color theory from ancient and classical cultures to contemporary contexts, this book explores important critical principles and provides practical guidance on the use of color in art and design.

Going beyond a simple recitation of what has historically been said about color, artist and educator Aaron Fine provides an intellectual history, critiquing prevailing Western ideas on the subject and challenging assumptions. He analyses colonialist and gendered attitudes, materialist and romanticist perspectives, spiritualist approaches to color, color in the age of reproduction, and modernist and post-modernist color strategies. Highlighted throughout are examples of the ways in which attitudes towards color have been impacted by the legacy of colonialism and are tied up with race, gender, and class.

Topics covered include color models, wheels and charts, color interaction and theories of perception, with over 150 images throughout. By placing under-examined tenets of color theory such as the color wheel and color primaries within the Western industrial context that generated them, Fine helps you to connect color choices to color meanings and apply theory to practice.

Arvustused

Almost everyone sees color but this might be the only general statement it is possible to make on the subject. When we begin to ask how color is seen and what it is seen to mean, what value colour has and to whom: then any notion of a consensus quickly falls apart. Aaron Fines rich and wide-ranging study discusses numerous theories of color, some intersecting and overlapping, others divergent and conflicting. This book is an invaluable resource for anyone interested in how different cultures have interpreted the vibrant patterns of reflected light that almost all of us see. -- David Batchelor, artist and writer, UK Color Theory is a superb book. With impeccable scholarship it spans centuries, regions and disciplines to give the reader a panoptic account of the many guises of colour in society, art and philosophy. Fines prose is clear and thought-provoking. Readers new to the theory of colour will have no better guide to the subject, and those already familiar will discover many new and intriguing things. -- Mazviita Chirimuuta, Senior Lecturer in Philosophy, University of Edinburgh, UK If you are curious about learning color theory, I suggest that you experiment with some watercolor. If you are serious about color theory, I suggest you read Aaron Fine's book. This is the intelligent and active approach to the subject. Placed on a spectrum between John Gage's heady and densely academic, historical color books and the excellent semester-minded color texts of the like of Pentak and Zelanski, Fine's book provides toothsome material for the advanced student with opportunities for practical application and testing of theory. While many color texts have slapped a global color chapter at the last of the book, Fine squares the world and its people into the beginning perspectives in chapter 1 and works out from there. This is, I hope, the beginning of a new generation of color writing that embraces a thoughtful, world perspective -- Scott Betz, Professor of Art, Winston-Salem State University, USA

Muu info

A critical and historical introduction to theories of color, explaining the cultural context in which ideas about color have developed, from antiquity to the present day.
List of Illustrations
ix
Acknowledgments xiv
Introduction: Color in Context--Pink is Primary 1(6)
Color activities
3(1)
Of paradigm shifts
3(1)
Critical principles
4(1)
What is color?
5(2)
1 Natural Resources and Trade: Color Use in Traditional Cultures
7(28)
Faber Birren
9(1)
Dark and light
10(2)
Red
12(1)
Environment and trade
12(5)
Mandalas
17(3)
Race, gender, and class
20(1)
Color use activity 1.1
21(2)
Other colors--color as substance
23(1)
Berlin and Kay, and the absence of blue
24(2)
Ancient Egyptian color
26(2)
Esoteric color and the decline of the senses
28(2)
Color use activity 1.2
30(1)
Conclusion
31(4)
2 Knowing at a Distance: Color Problems in Ancient Greek Thought
35(36)
Introduction
36(1)
General notes on color in ancient Greek philosophy
37(1)
Attitudes to color in ancient Greek culture
38(1)
Pre-Socratic philosophy, a brief overview
39(1)
Is/Becomes
40(1)
The opposites
41(2)
Color use activity 2.1
43(1)
The achromatic imagination
44(2)
The invalidity of the senses
46(1)
Ancient Greek epistemology
46(2)
Optics
48(1)
Conclusions about Pre-Socratic color theory
49(1)
Color use activity 2.2
50(2)
Socrates and the Sophists
52(1)
Plato
53(2)
Aristotle
55(2)
Color use in Greek art
57(8)
Color use activity 2.3
65(1)
Alternative narratives about Greek culture
65(2)
Conclusion
67(4)
3 Stained Glass and Illuminations: European and Islamic Color Theory Before Galileo
71(46)
Differing color needs, differing color applications
72(1)
The Byzantine period
73(1)
Iconoclasts and iconophiles
73(2)
Color use in Byzantine art
75(3)
Color use activity 3.1
78(1)
Islam
79(2)
Color in Islamic art and architecture
81(7)
Medieval color theory
88(3)
Color use in medieval art
91(5)
Color use activity 3.2
96(1)
Renaissance color theory
97(1)
Alberti
98(2)
Vasari
100(1)
Color in Renaissance art
101(8)
Color use activity 3.3
109(1)
Leonardo
110(4)
Conclusion
114(3)
4 Prisms, Mirrors, and Lenses: The Newtonian Revolution
117(32)
The scientific revolution
117(4)
Galileo on color
121(1)
Rationalism
122(1)
Empiricism
123(1)
Newton's Opticks
124(4)
Color use activity 4.1
128(1)
Cultural impact of Newton's Opticks
129(1)
British empiricism after Locke
130(3)
Color use activity 4.2
133(1)
Color use during the scientific revolution
134(10)
Conclusion
144(5)
5 Romanticism and Chromophobia: The Creation of Color Theory in the Nineteenth Century
149(44)
Poetry in the Romantic tradition
150(2)
Ideologies of the nineteenth century
152(3)
Goethe as scientist
155(2)
Goethe's Farbenlehre
157(4)
Color use activity 5.1
161(1)
The evolution of color models
162(5)
Color theory in the wake of Goethe
167(6)
Color use during the Industrial Revolution
173(3)
The invention of photography
176(1)
Color use activity 5.2
177(1)
Chromolithography and mass visual culture
178(1)
The Crystal Palace and the Grammar of Ornament
179(3)
Color use in painting: Romanticism and other alternatives to the academy
182(8)
Conclusion
190(3)
6 The Science of the Invisible: Color Classification Systems and Spiritual Color
193(52)
Color nomenclature for naturalists
194(4)
Contending with disciplinary fragmentation
198(1)
Early childhood education during the Industrial Revolution
199(3)
Smuttynose Island and the origins of the Munsell color system
202(2)
The Munsell color sphere and its successors
204(3)
Evolving uses of the Munsell color system
207(7)
Colorimetry and color forecasting
214(1)
Color use activity 6.1
215(1)
Spiritualism and the occult
216(2)
Rudolf Steiner
218(1)
Steiner on art and color
219(5)
Occult theory, science, color, and race
224(3)
Claude Bragdon
227(3)
Color use activity 6.2
230(1)
Color use: culture and counterculture
231(1)
Color use: from Manet to the Fauves
232(4)
Color use on the Electric Avenue
236(1)
Hilma af Klint and spiritual color use
237(4)
Conclusion
241(4)
7 High Modern: Color Use at the Bauhaus and in Abstract Expressionism
245(48)
Before the Bauhaus
246(2)
The Bauhaus idea
248(1)
Bauhaus terminology
249(2)
Color use activity 7.1
251(1)
The "Basic Course"
252(1)
Itten's color wheel
253(3)
Ostwald
256(2)
Klee
258(3)
The dadaist counter-narrative
261(1)
The surrealist counter-narrative
261(3)
Color use activity 7.2
264(1)
Early modern color use
265(5)
Migration to the US
270(1)
Black Mountain College
270(1)
Albers
271(2)
Color use activity 7.3
273(2)
Interaction of color
275(1)
Hofmann
276(2)
Pollock
278(4)
Greenberg
282(2)
Color use activity 7.4
284(1)
Photography and color
285(2)
Architecture and color
287(2)
High modern color theory
289(1)
Conclusion
289(4)
8 Postmodern: Contemporary Directions in Color Use
293(50)
Benjamin and color in the age of mechanical reproduction
294(2)
Ludwig Wittgenstein
296(1)
Wittgenstein on color
297(2)
Language and color
299(3)
Color science in the age of color standardization
302(5)
Chirimuuta
307(3)
Color and information
310(2)
Color use through the turn of the millennium
312(5)
Color in the age of information
317(1)
Color use activity 8.1
318(1)
Postmodernism and post-formal color
319(3)
Conceptualism in postmodern art: pop and feminist art
322(5)
Contemporary exploration of color as racial signifier
327(2)
Contemporary exploration of color science and technology
329(4)
Vexillogical color
333(1)
Color use activity 8.2
334(1)
The modernist stance among diverse perspectives
334(1)
Approaches to color use
335(5)
Commencement
340(3)
Glossary 343(8)
Index 351
Aaron Fine is Professor of Art, and Chair, at Truman State University, USA, where he teaches drawing, painting, and history of design among other topics. He has 10 solo exhibitions and over 50 group exhibitions on his CV and 20 years experience teaching in art and interdisciplinary studies at the college level. He received an MFA in Painting from Claremont Graduate University, USA. He is the author of the mixed genre creative nonfiction book Dialogues on Color (2017).