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Theory of Colours



Description Theory of Colours


Newton's observations on the optical spectrum were widely accepted but Goethe noticed the difference between the scientific explanation and the phenomena as experienced by the human eye. He did not try to explain this, but rather collected and presented data, conducting experiments on the interplay of light and dark. His work was rejected as 'unscientific' by physicists but his color wheel is still used by artists today. - Summary by Lynne Thompson

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Translator's Preface and Preface to the First EditionIntroductionPart I - Physiological Colours Section 1 - Effects of Light and Dark on the EyeSection II - Effects of Black and White Objects on the EyeSection III - Grey Surfaces and Objects; Section IV - Dazzling Colourless ObjectsSection V - Coloured ObjectsSection VI - Coloured ShadowsSection VII - Faint Lights; Section VIII - Subjective HalosPathological Colours - AppendixPart 2 - Physical Colours - Section IX - Diotropical ColoursSection X - Diotropical Colours of the First ClassSection XI - Diotropical Colours of the Second Class - RefractionSubjective Experiments - Section XII - Refraction Without the Appearance of Colour; Section XIII - Conditions of the Appearance of ColourSection XIV - Conditions Under Which the Appearance of Colour IncreasesSection XV - Explanation of the Foregoing PhenomenaSection XVI - Decrease of the Appearance of Colour; Section XVII - Grey Objects Displaced by RefractionSection XVIII - Coloured Objects Displaced by RefractionSection XIX - Achromatism and Hyperchromatism; Section XX - Advantages of Subjective Experiments. - Transition to the ObjectiveObjective Experiments - Section XXI - Refraction Without the Appearance of Colour; Section XXII - Conditions of the Appearance of ColourSection XXIII - Conditions of the Increase of Colour; Section XXIV - Explanation of the Foregoing PhenomenaSection XXV - Decrease of the Appearance of Colour; Section XXVI - Grey Objects ; Section XXVII - Coloured Objects; Section XXVIII - Achromatism and HyperchromatismSection XXIX - Combination of Subjective and Objective Experiments; Section XXX - TransitionSection XXXI - Catatropical ColoursSection XXXII - Paroptical ColoursSection XXXIII - Epoptical ColoursPart III - Chemical Colours - Section XXXIV - Chemical ContrastSection XXXV - White; Section XXXVI - Black; Section XXXVII - First Excitation of ColourSection XXXVIII - Augmentation of Colour; Section XXXIX - Culmination; Section XL - Fluctuation; Section XLI - Passage Through the Whole ScaleSection XLII - Inversion; Section XLIII - Fixation; Section XLIV - Intermixture, Real; Section XLV - Intermixture, ApparentSection XLVI - Communication, Actual; Section XLVII - Communication, ApparentSection XLVIII - Extraction; Section XLIX - NomenclatureSection L - Minerals; Section LI - PlantsSection LII - Worms, Insects, Fishes; Section LIII - BirdsSection LIV - Mammalia and Human BeingsSection LV - Physical and Chemical Effects of the Transmission of Light Through Coloured Mediums; Section LVI - Chemical Effect in Dioptrical Achromatism;Part IV - General CharacteristicsPart V - Relation to Other PursuitsPart VI - Effect of Colour With Reference to Moral Associations; Yellow; Red-Yellow; Yellow-Red; Blue; Red-Blue; Red; GreenCompleteness and Harmony; Yellow and Blue; Yellow and Red; Blue and Red; Yellow-Red and Blue-Red; Combinations Non-Characteristic; Relations of the Combinations to Light and Dark; Considerations Derived from the Evidence of Experience and HistoryAesthetic Influence; Chiaro-Scuro; Tendency to Colour; Keeping; Colour in General Nature; Characteristic ColouringHarmonious Colouring; Genuine Tone; False Tone; Weak Colouring; The Motley; Dread of Theory; Ultimate Aim; Grounds; PigmentsAllegorical, Symbolic, Mystical Application of Color; Concluding Observations
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