COLOUR IN ART (HB)(9789461300614) mobi 下载 网盘 caj lrf pdf txt 阿里云

Everycolourhasmanyaspectstoit,manyvariations,andmeanings.Redcanmeanpassion,orsuffering,orlove,oranger,forinstance.Howaretheseaspectsrepresentedinworksofart?FromTitianandBoschtoMatisseandWarhol,andindesignandfashion,colourisomnipresent,andincrediblyvariedinsymbolism.Paintingsusecolourstoconveyamessageasmuchasjustforsurfaceappeal.Thisfascinatingbookfocusesonthemostimportantcoloursinart:red,blue,yellow,black,white,greenandgold,andlooksatthemthroughsome200beautifullyprintedworks.

INTRODUCTION

Pigments,binders,varnishes

Treatises and theories: from symbolic interpretation to a scientific approach

The apotheosis of colour: impressionism,post-impressionism and neo-impressionism

The‘colours' of music and poetry

Colour theory in the 20th century:Itten and Albers

RED

YELLOW

BLUE

GREEN

GOLD

WHITE

BLACK

BIBLIOGRAPHY

INDEX OF PROPER NAMES

PHOTOGRAPHIC CREDITS

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书籍介绍

The ancient Romans were a very concrete people. They were not given to the poetical refinement and subtle philosophical speculation of the Greeks .For the Romans,it was of primary importance to establish standards,rules and precepts,for every aspect of life had a corresponding law as its solid basis. But even for the Romans there remained three categories that lay outside any normative legalistic scheme: De gustibus,coloribus et pulchritudine mulierum non est disputandum-Taste in food,colours and the beauty of women cannot be debated.

In other words,colours are like feminine beauty and flavours:despite scientific theory,each of us perceives them in an individual manner and has our own favourites.In the course of writing this book,three things struck me more clearly each day:

→first,the dearth of vocabulary for designating colours,regardless of language,ancient or

modern. There are about a dozen words,which are modified by adjectives and other specifiers

→second,the clash that for 350 years has been pitting those who seek to study colours as a physical phenomenon (since Newton)against those who interpret colours as connected solely with individual emotions and subjectivity (since Goethe)

→and third,the ambiguity and variation in a colour's symbolic meanings,which can often be completely contradictory.

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