{"id":732,"date":"2024-04-22T08:34:52","date_gmt":"2024-04-22T08:34:52","guid":{"rendered":"https:\/\/szmz.hu\/teaching\/?page_id=732"},"modified":"2025-12-03T12:01:17","modified_gmt":"2025-12-03T12:01:17","slug":"on-color","status":"publish","type":"page","link":"https:\/\/szmz.hu\/teaching\/media-history\/on-color\/","title":{"rendered":"Media History: On Color"},"content":{"rendered":"\n

I. Concepts of Color<\/p>\n\n\n\n

The ancient Greeks had a unique understanding of color that differed significantly from our modern perception. They didn’t focus on categorizing specific hues like we do today. Instead, they described colors based on qualities like brightness, darkness, saturation, and light. The meaning of color terms could be quite fluid. A single term could encompass a range of hues depending on the context. “Kyanos,” for instance, could refer to various shades from dark blue to blue-green.<\/p>\n\n\n\n

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Pythagoras<\/strong> saw colors as analogous to musical notes, each with a specific vibrational frequency. Harmony arose from proper proportions between colors, like in music. Numbers were associated with colors, reflecting cosmic connections<\/strong>. Colors held symbolic meanings beyond their appearance, like white representing purity and black symbolizing the unknown. This idea of color as vibrational energy<\/strong> influenced later thinkers. Though specific color associations may seem arbitrary today, they reflected a worldview seeking harmony and order in the universe, expressed through numbers and proportions.<\/p>\n\n\n\n

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Hendrick ter Brugghen: Democritus, 1628, 87.5×70 cm, Rijksmuseum<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Johannes Moreelse: Democritus, 1630, 84.5×73 cm, Rijksmuseum<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

Democritus<\/strong>, known for his atomic theory, also proposed a color theory rooted in atomism. He believed colors emerge from the specific configuration of atoms constituting objects, not inherent properties. The shape, size, arrangement, and motion of atoms determined the perceived color. Smooth, round atoms produced white, while rough ones produced black,<\/strong> with other colors resulting from varying combinations. He recognized that color perception could also be influenced by the observer and environment. Although speculative, his theory represented an early attempt to explain color based on physical properties, foreshadowing later developments in optics and color science.<\/p>\n\n\n\n

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Plato<\/strong>‘s concept of color was rooted in his broader philosophical views. He believed colors were real properties of objects, not subjective experiences. In his dialogue Timaeus, he described colors as “flames” emanating from objects, interacting with the “visual fire” in the eye<\/strong>. Different colors arose from variations in the size and shape of these emanations. He focused on four basic colors: white, black, red, and “lampron” (yellow\/gold)<\/strong>. These colors held symbolic meaning and were linked to moral and aesthetic qualities.<\/p>\n\n\n\n

Plato acknowledged that color perception could vary depending on the individual and environment, but he ultimately believed in the objective reality of colors, perhaps seen as imperfect reflections of ideal Forms.<\/p>\n\n\n\n

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Schematic of the explanation for the rainbow, from Ren\u00e9 Descartes, Discours de la m\u00e9thode (1637).<\/figcaption><\/figure>\n\n\n\n

Aristotle<\/strong>‘s color theory was grounded in his empirical observations and philosophical framework. It differed from Plato’s focus on emanations and ideal forms, emphasizing instead the role of light and the medium through which it passes.<\/p>\n\n\n\n

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  • Light and Transparency:<\/strong> Aristotle believed that colors were modifications of light as it interacted with transparent media<\/strong>, like air or water. The degree of transparency and the specific nature of the medium influenced the resulting color.<\/li>\n\n\n\n
  • Primary Colors:<\/strong> He identified seven primary colors: black, white, red, yellow, green, blue, and violet<\/strong>. These were considered fundamental, and other colors arose from their mixtures and variations.<\/li>\n\n\n\n
  • Color Mixing:<\/strong> Aristotle recognized that colors could be mixed to produce new hues. He emphasized the role of white and black in creating lighter and darker shades, respectively.<\/li>\n\n\n\n
  • Natural Phenomena:<\/strong> He sought to explain various natural phenomena, like rainbows and the colors of the sky, through his color theory.<\/strong><\/li>\n\n\n\n
  • Subjective Perception:<\/strong> Aristotle acknowledged that color perception could be influenced by factors like lighting conditions, individual differences, and the presence of other colors. However, he maintained that colors existed objectively in the natural world, independent of human perception.<\/li>\n<\/ul>\n\n\n\n
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    Descartes\u2019 tennis-ball model of refraction<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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    Descartes\u2019 prism model<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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    • Aristotle’s color theory is primarily presented in his work “On Sense and the Sensible,” where he discusses various aspects of sensory perception.<\/li>\n\n\n\n
    • His approach was empirical, drawing from observations of natural phenomena and everyday experiences.<\/li>\n\n\n\n
    • While influenced by earlier thinkers like Plato and Empedocles, Aristotle’s theory marked a departure from purely metaphysical explanations, seeking more grounded, physical explanations.<\/li>\n<\/ul>\n\n\n\n
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      Schematic of the explanation for the rainbow, from Ren\u00e9 Descartes, Discours de la m\u00e9thode (1637).<\/figcaption><\/figure>\n\n\n\n

      Alhazen<\/strong>, also known as Ibn al-Haytham (~965-1040), made significant contributions to the understanding of color, challenging earlier theories and paving the way for a more scientific approach.  <\/p>\n\n\n\n

      Light as the Source of Color:<\/strong> Alhazen recognized that light is the fundamental source of color perception. Colors are not inherent properties of objects but rather result from the interaction of light with those objects.<\/p>\n\n\n\n

      Transparency and Modification of Light<\/strong>: He observed that colors arise from the modification of light as it passes through or reflects from transparent or translucent media. The degree of transparency and the nature of the medium influence the resulting color.<\/p>\n\n\n\n

      Color Constancy:<\/strong> Alhazen explained the phenomenon of color constancy, noting that we perceive an object’s color as relatively stable even under varying lighting conditions. He attributed this to the visual system’s ability to separate the effects of illumination from the object’s intrinsic color.<\/p>\n\n\n\n

      Primary and Secondary Light<\/strong>: He distinguished between primary light (emitted directly from luminous sources) and secondary light (reflected from illuminated objects). He recognized that secondary light carries the color information of the object it reflects from.<\/p>\n\n\n\n

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      16th century Latin edition of Ibn al-Haytham’s Book of Optics (Alhazen, Opticae Thesaurus).<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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      Front page of the Latin Opticae Thesaurus, which included Alhazen’s Book of Optics, showing rainbows, the use of parabolic mirrors to set ships on fire, distorted images caused by refraction in water, and other optical effects.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

      Alhazen’s work, particularly his “Book of Optics,” revolutionized the understanding of light and color. His emphasis on experimentation and observation laid the groundwork for the scientific method in optics. His ideas influenced later scientists and artists, including Roger Bacon, Leonardo da Vinci, and Johannes Kepler, contributing to the development of modern color theory and optics.<\/p>\n\n\n\n

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      Magia Naturalis, by Giovanni Battista Porta, first published 1558, this edition 1644.<\/figcaption><\/figure>\n\n\n\n

      Giovanni Battista Della Porta<\/strong> (1535-1615) made significant contributions to the understanding of color during the Renaissance period. He proposed a color theory that challenged the prevailing view of colors as intrinsic qualities of objects, instead suggesting that they arise from the interaction of light and shadow. Furthermore, he developed an early model of the color wheel, identifying four primary colors – white, black, yellow, and blue – and postulating that other colors were derived from their combination.<\/strong><\/p>\n\n\n\n

      Della Porta’s research also delved into the concept of color harmony and its practical applications. Through extensive experimentation with pigments and colored lenses, he investigated how different colors could be blended and utilized to evoke specific emotional responses. While his theory may not fully align with contemporary scientific understanding, it undeniably exerted a significant influence on subsequent generations of artists and scientists, contributing to the evolution of color theory and its practical applications in various fields.<\/p>\n\n\n\n

      Della Porta’s work represents a pivotal moment in the history of color studies, demonstrating a shift towards a more empirical and systematic approach to understanding the complexities of color perception and its implications. His legacy endures as a testament to his pioneering spirit and dedication to unraveling the mysteries of the visual world.<\/p>\n\n\n\n

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      Aron Sigfrid Forsius: seeing color in three dimensions: hue, saturation and value<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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      Aron Sigfrid Forsius<\/strong> (1550-1637) was a Finnish astronomer and priest who is credited with creating the first known color wheel. He included this color wheel in a treatise on physics that he wrote in 1611. His color system was designed within a sphere, and included the primary colors of red, yellow, green, and blue.<\/strong><\/p>\n\n\n\n

      While Forsius’ work was groundbreaking, it was largely unknown until the mid-20th century. His treatise was essentially lost in the Royal Library in Stockholm and was only rediscovered in 1969. As a result, his color wheel had little influence on the development of color theory or artistic practices during his lifetime or in the centuries that followed.<\/p>\n\n\n\n

      Despite its obscurity, Forsius’ color wheel represents an important early attempt to systematically organize and understand color. His work paved the way for later color theorists like Isaac Newton, whose color wheel is far more widely recognized today.<\/p>\n\n\n\n

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      2: Tri colour system by Franciscus Aguilonius. Franciscus Aguilonius’ system of colour was based primarily on red, yellow, blue, and their combinations.<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n

      Franciscus Aguilonius<\/strong> (1567-1617), also known as Fran\u00e7ois d’Aguilon<\/strong>, was a Belgian Jesuit mathematician, physicist, and architect. He is best known for his work in the field of optics, particularly his book “Opticorum libri sex” (Six Books of Optics), published in 1613<\/strong>. In this book, Aguilonius explored various aspects of optics, including the nature of light, vision, and the geometry of light rays. He also made significant contributions to the understanding of color theory.<\/p>\n\n\n\n

      One of Aguilonius’ notable achievements was his proposal of a tri-color system based on red, yellow, and blue as the primary colors<\/strong>. This system, though not entirely novel, was presented in a clear and systematic manner, contributing to the ongoing development of color theory during the 17th century.<\/p>\n\n\n\n

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      Illustration by Rubens for Fran\u00e7ois d’Aguilon’s Opticorum Libri Sex demonstrating how a stereographic projection is computed (1613).<\/figcaption><\/figure>\n\n\n\n
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      Robert Fludd<\/strong> was a prominent 17th-century English physician, philosopher, and occultist known for his mystical and hermetic views on the universe.<\/inline-footnote> He was deeply influenced by Neoplatonism, the Kabbalah, and other esoteric traditions.<\/inline-footnote> Fludd’s work often involved exploring the relationship between the microcosm (human) and macrocosm (universe), incorporating concepts from medicine, astrology, alchemy, and music.<\/inline-footnote> Robert Fludd created the first color wheel around 1629-1631 based on Aristotle\u2019s theory.<\/strong><\/p>\n\n\n\n

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      Sir Isaac Newton <\/strong>(1642-.1727)<\/p>\n\n\n\n

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      I took a bodkin gh and put it between my eye & the bone as near to the backside of my eye as I could: and pressing my eye with the end of it (soe as to make the curvature a, bcdef in my eye) there appeared several white dark & colored circles r, s, t, &c. Which circles were plainest when I continued to rub my eye with the point of the bodkin, but if I held my eye & the bodkin still, though I continued to press my eye with it yet the circles would grow faint & often disappear until I renewed them by moving my eye or the bodkin.<\/em><\/strong><\/p>\n\n\n\n

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