Goethe's Theory of Colours


Book Description

This work by Johann Wolfgang von Goethe (1749-1832) was translated into English in 1840 by Sir Charles Eastlake (1793-1865), painter and later keeper of the National Gallery. Goethe's 1810 work was rejected by many contemporary scientists because it appeared to contradict the physical laws laid down by Newton. However, its focus on the human perception of the colour spectrum, as opposed to the observable optical phenomenon, was attractive to, and influential upon, artists and philosophers. As Eastlake says in his preface, the work's dismissal on scientific grounds had caused 'a well-arranged mass of observations and experiments, many of which are important and interesting', to be overlooked. Eastlake also puts Goethe's work into its aesthetic and scientific context and describes its original reception. His clear translation of Goethe's observations and experiments on colour and light will appeal to anyone interested in our responses to art.




Goethe's "Exposure Of Newton's Theory": A Polemic On Newton's Theory Of Light And Colour


Book Description

Johann Wolfgang von Goethe, although best known for his literary work, was also a keen and outspoken natural scientist. In the second polemic part of Zur Farbenlehre (Theory of Colours), for example, Goethe attacked Isaac Newton's ground-breaking revelation that light is heterogeneous and not immutable, as was previously thought.This polemic was unanimously rejected by the physicists of the day, and has often been omitted from compendia of Goethe's works. Indeed, although Goethe repeated all of Newton's key experiments, he was never able to achieve the same results. Many reasons have been proposed for this, ranging from the psychological — such as a blind hatred of Newtonism, self-deceit and paranoid psychosis — to accusations of incapability — Goethe simply did not understand the experiments. Yet Goethe was never to be dissuaded from this passionate conviction.This translation of Goethe's polemic, published for the first time in English, makes it clear that Goethe did understand the thrust of Newton's logic. It demonstrates that Goethe's resistance to Newton's theory stemmed from something quite different; his pantheism — the belief in the spiritual nature of light. This prevented him from allowing himself to think of light in physical terms and accepting that it is anything other than simple, immutable, and unknowable.This important new translation will be useful to natural scientists, historians, philosophers and theologians alike and will delight anyone hoping to add a further layer of nuance to Goethe's complex portrait.




On Vision and Colors; Color Sphere


Book Description

During the first two decades of the nineteenth century, two of the most significant theoretical works on color since Leonardo da Vinci's Trattato della Pittura were written and published in Germany: Arthur Schopenhauer's On Vision and Colors and Philipp Otto Runge's Color Sphere. For Schopenhauer, vision is wholly subjective in nature and characterized by processes that cross over into the territory of philosophy. Runge's Color Sphere and essay "The Duality of Color" contained one of the first attempts to depict a comprehensive and harmonious color system in three dimensions. Runge intended his color sphere to be understood not as a product of art, but rather as a "mathematical figure of various philosophical reflections." By bringing these two visionary color theories together within a broad theoretical context—philosophy, art, architecture, and design—this volume uncovers their enduring influence on our own perception of color and the visual world around us.




Theory of Colours


Book Description

The author of Faust provides a unique perspective on the nature of color, compensating for his scientific inaccuracy with inimitable prose and stimulating ideas.




Goethe's Theory of Colours


Book Description

Reproduction of the original: Goethe's Theory of Colours by Charles Lock Eastlake




Goethe's Theory of Colours


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Goethe's Theory of Colours


Book Description




Goethe's Theory of Knowledge


Book Description

Written 1884-1885; first published 1886 (CW 2) As the editor of Goethe's scientific writings during the 1880s, Rudolf Steiner became immersed in a worldview that paralleled and amplified his own views in relation to epistemology, the interface between science and philosophy, the theory of how we know the world and ourselves. At the time, like much of the thinking today and the foundation of modern natural science, the predominant theories held that individual knowledge is limited to thinking that reflects objective, sensory perception. Steiner's view was eventually distilled in his Anthroposophical Leading Thoughts in 1924: There are those who believe that, with the limits of knowledge derived from sensory perception, the limits of all insight are given. Yet if they would carefully observe how they become conscious of these limits, they would find in the very consciousness of the limits the faculties to transcend them. In this concise volume, Steiner lays out his argument for this view and, moreover, begins his explication of how one goes beyond thinking to the observation of thinking itself. Goethe's Theory of Knowledge is essential reading for a deeper understanding of Rudolf Steiner's seminal work, Intuitive Thinking as a Spiritual Path: A Philosophy of Freedom. CONTENTS: Introduction by Christopher Bamford Preface to the Edition of 1924 by Rudolf Steiner Foreword to the First Edition (1886) by Rudolf Steiner A. Preliminary Questions 1. The Point of Departure 2. Goethe's Science According to Schiller's Method 3. The Purpose of Our Science B. Experience 4. Establishing the Concept of Experience 5. Examining the Essence of Experience 6. Correcting the Erroneous View of Experience as a Totality 7. The Experience of Each Individual Reader C. Thinking 8. Thinking as a Higher Experience within Experience 9. Thinking and Consciousness 10. The Inner Nature of Thinking D. Knowledge 11. Thought and Perception 12. Intellect and Reason 13. The Act of Cognition 14. Cognition and the Ultimate Ground of Things E. Knowing Nature 15. Inorganic Nature 16. Organic Nature F. The Humanities 17. Introduction: Mind and Nature 18. Psychological Cognition 19. Human Freedom 20. Optimism and Pessimism G. Conclusion 21. Knowledge and Artistic Creation Notes to the First Edition 1886] Annotations to the Edition of 1924 A Theory of Knowledge is a translation from the German of Grundlinien einer Erkenntnistheorie der Goetheschen Weltanschauung, mit besonderer R cksicht auf Schiller (GA 2). Previous translations were published as The Science of Knowing (1988) and The Theory of Knowledge implicit in Goethe's World-Conception: Fundamental Outlines with Special Reference to Schiller (1940).




A Brief History of Colour Theory


Book Description

This book offers a comprehensive introduction in to the various theories of colour and how they developed over the centuries and millennia. As colour is the perception of light by our brains, the book captures not only the physical phenomena but also psychological and philosophical aspects of colours. It starts with ancient studies of Greek philosophers and their insights into light and mirrors, then reviews the theory of colors in the middle ages in Europe and Middle East. The last big part of the book explains the theories of colours by modern scientists and philosophers, starting with Isaac Newton and ending colour schemes of modern digital pictures.




Goethe's Theory of Colours


Book Description

It became necessary to connect all these incongruous parts and additions by the strangest galleries, halls and passages. All damages, whether inflicted by the hand of the enemy or the power of time, were quickly made good. As occasion required, they deepened the moats, raised the walls, and took care there should be no lack of towers, battlements, and embrasures. This care and these exertions gave rise to a prejudice in favour of the great importance of the fortress, and still upheld that prejudice, although the arts of building and fortification were by this time very much advanced, and people had learnt to construct much better dwellings and defences in other cases. But the old castle was chiefly held in honour because it had never been taken, because it had repulsed so many assaults, had baffled so many hostile operations, and had always preserved its virgin renown. This renown, this influence lasts even now: it occurs to no one that the old castle is become uninhabitable. Its great duration, its costly construction, are still constantly spoken of. Pilgrims wend their way to it; hasty sketches of it are shown in all schools, and it is thus recommended to the reverence of susceptible youth. Meanwhile, the building itself is already abandoned; its only inmates are a few invalids, who in simple seriousness imagine that they are prepared for war. Thus there is no question here respecting a tedious siege or a doubtful war; so far from it we find this eighth wonder of the world already nodding to its fall as a deserted piece of antiquity, and begin at once, without further ceremony, to dismantle it from gable and roof downwards; that the sun may at last shine into the old nest of rats and owls, and exhibit to the eye of the wondering traveller that labyrinthine, incongruous style of building, with its scanty, make-shift contrivances, the result of accident and emergency, its intentional artifice and clumsy repairs. Such an inspection will, however, only be possible when wall after wall, arch after arch, is demolished, the rubbish being at once cleared away as well as it can be. To effect this, and to level the site where it is possible to do so, to arrange the materials thus acquired, so that they can be hereafter again employed for a new building, is the arduous duty we have undertaken in this Second Part. Should we succeed, by a cheerful application of all possible ability and dexterity, in razing this Bastille, and in gaining a free space, it is thus by no means intended at once to cover the site again and to encumber it with a new structure; we propose rather to make use of this area for the purpose of passing in review a pleasing and varied series of illustrative figures.