光的科学观和艺术观.docVIP

光的科学观和艺术观 The Theory of Colour in Science and Art Introduction The subjects under discussion in this essay will be the following: an overview of Colour Theory and its leading exponents in the scientific field, related to the effects of their findings upon two artists, whose oeuvre spans the period 1890-1940; to discuss the theories and oeuvre of George Seurat related specifically to colour and form. George Seurats work has become important in the study of any research into related colour theory. His theories and the way he developed his ideas will be discussed in relation to several of his paintings; to discuss the theories of Wassily Kandinsky including his time at the Bauhaus and relating to his relationships between colour, sound and form. The History of Colour Theory According to basic colour theory, Colour choices are subjective. Artists choose colours based on design, aesthetic or emotional responses. It is commonplace to make references to colour when referring to human behaviour, for example, telling white lies, and caught red handed, as these word associations immediately conjure up a picture in the mind. Humans live in a world where they are bombarded with colours. Nature itself is generally gentle on the eye unless it is giving out a variety of warnings to the relevant species. It has been left to artists and designers to capture our attention, by using colour in a variety of ways. This has resulted in changes in fashion throughout history, often depending on the current scientific research of the relevant period. Sir Isaac Newton (1642-1727) carried out a great deal of research into colour theory. According to Birren, In the development of method and order in colour, Newton stands as the first man ever to conceive an organised colour circle. [Birren,p.24] This was however, related to the properties of light and not pigment. Goethe in direct opposition to Newton tried to revive the theories of Aristotle, that colours were manifestations of light and d