Click here to load reader

Roy Osborne Books on Colour 1495-2015 History and on Colour 1495-2015.pdf · PDF fileBooks on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

  • View

  • Download

Embed Size (px)

Text of Roy Osborne Books on Colour 1495-2015 History and on Colour 1495-2015.pdf · PDF...

  • Roy Osborne

    Books on Colour 1495-2015 History and Bibliography

    ISBN 978-1-326-45971-0 (275 pages).

    Published November 2015 by Lulu Press,

    Raleigh, NC, USA. 14.50 UK.

    BOOKS ON COLOUR 1495-2015 offers a definitive reference to

    2,500 authors and editors and over 3,200 titles published by them.

  • Following a historical survey of colour literature, individual authors are

    listed in an A-Z directory, together with titles, dates of first editions and

    translations for all non-English titles. Essential details are included

    (where known), including publisher(s) and place(s) of publication.

    Chronological indexes of authors precede the bibliographical listing (of-

    fering condensed histories in each category), and alphabetical indexes of

    authors follow it. Cross-references are offered in many of the boxed en-

    tries. Publications are categorised under 27 general headings: Architec-

    ture, Chemistry, Classification, Colorants, Computing & Television,

    Decoration, Design, Dress & Cosmetics, Dyeing, Flora & Fauna, Food,

    Glass, History, Lighting, Metrology, Music, Optics, Painting, Perception,

    Philosophy, Photography & Cinema, Printing, Psychology, Symbolism,

    Terminology, Therapy and Vision.

    Roy Osborne email [email protected]

    From the historical survey


    (about 400 BC), examines distinctions between the phlegmatic, choleric,

    sanguine and melancholic humours: see Hippocrates 1931. Such was its

    influence that its theories were current over 2,000 years later: see Fage

    1606, Savot 1609 & Boehme 1621. Platos Timaios considers colour and

    vision (see also Empedocles, Epicurus and Democritus), but the most

    substantial surviving GREEK writings on colour are those of Aristotle:

    see Aristotle 1548, Fleischer 1571 & Restaurand 1682. Further insights

    are found in Veckenstedt 1888, Schultz 1904, Schmitz 1981, Crone 1992

    & Stromer 2000. For ancient TERMINOLOGY see Gladstone 1858,

    Mller-Bor 1922, Kober 1932, Vels Heijn 1951, Irwin 1974 & Maxwell-

    Stuart 1981; for ancient Greek arts see Hittorff 1830 & Kugler 1835, plus

    Phillipps 1915, Birren 1963, Gage 1993 & Pavey 2003.

    Passing references to colour occur in many ROMAN writings, includ-

    ing those by Cicero, Varro, Virgil, Horace, Ovid, Livy and Albinovanus.

    Hippocrates humoral theory was restated by Galen: see Galen 1976 &

    Fuchs 1542. Other significant colour references are included by Lu-

    cretius, Vitruvius, Ptolemy, Gellius and Pliny the Elder (Pliny 1896); see

    also Delitzsch 1888, Gradwohl 1963 & Brenner 1982. For classical col-

    our SYMBOLISM see Morato 1535, Dolce 1565, Portal 1837, Kees

    1943, Luzzatto 1988 & Edgeworth 1992. For Latin TERMIN-OLOGY

    see Telesio 1528, Fuchs 1542, Sachs 1665, Roesztler 1868, Ridgway

    1886, Blmner 1892, Oberthr 1905, Andr 1949, Grossman 1988, Arias

    1994, Clarke 2003 & Bradley 2009; for ancient PAINTING see Du Jon

    1638, Doering 1788, Wiegmann 1836, Linton 1852, Gullick 1859, Berger

    mailto:[email protected]

  • 1893, Laurie 1910, Raehlmann 1910, Partington 1935, Reinhold 1970,

    Guineau 1990, Gage 1993, DuQuesne 1996, James 1996 & Rouveret


    Though surviving artworks and artefacts confirm adept use of colour

    throughout the MIDDLE AGES, little original colour literature survives.

    Skills were communicated by word of mouth by generations of craftsmen

    reluctant or forbidden to circulate trade secrets; exceptions include Hera-

    clius 1873 & Theophilus 1847. While Christians suppressed the legacy of

    Pagan learning, significant ancient writings were preserved in Arabia, out

    of which emerged Avicennas Canon Medicinae and the optical treatise

    of Ibn al-Haytham: see Alhazen 1572 & Lindberg 1976. For colour terms

    in Arabian poetry see Fischer 1965.

    Medieval scholars contributed little that was objective to colour sci-

    ence. St Hildegard of Bingens Liber Scivias is noteworthy, as well as

    Pope Innocent IIIs liturgical colour canon: see Conti 1534, Piazza 1682

    & Portmann 1974. For medieval SYMBOLISM see Portal 1837, Pugin

    1844, Wackernagel 1872, Rolfe 1879, Haupt 1941, Pastoureau 1986,

    Gage 1993, Pavey 2003, Pleij 2004, Bucklow 2009 & Jones 2013, plus

    incidental references by contemporary poets and minstrels. In the 1200s,

    rudimentary OPTICS was explored by Robert Grosseteste, Roger Bacon

    (Bacon 1983), Erazmus Witelo (Witelo 1535 & Fleischer 1571), Theo-

    doric (Dietrich 1914), Albertus Magnus and Thomas Aquinas, whose

    integration of Aristotle into Catholic doctrine impeded scientific research

    for at least three centuries. For colour in Gothic art see Warrington 1848,

    Wyatt 1848, Tymms 1860, Audsley 1882, Speltz 1906, Saint 1913,

    Bossert 1928, Thompson 1936, Leggett 1944, Ploss 1962, Raguin 2003 &

    Panzanelli 2008. Cenninis manual on PAINTING (circa 1395) is a rare

    survival; see Cennini 1821, plus Merrifield 1849, Guerrini 1887, Car-

    valho 1904, Loumyer 1914, Thompson 1936, Leggett 1944, Guineau

    1990 & Clarke 2001.

    The only quattrocento book wholly on colour is Sicille 1495 (written

    about 1420) which examines the seven tinctures of armory. Albertis

    theoretical text of 1435 (Alberti 1540) touches on colour, as do later writ-

    ings by Marsilio Ficino, but the most important RENAISSANCE colour

    theorist was Leonardo da Vinci, whose observations on colour were not

    published until 1561. After the fall of Constantinople (1453), known Ro-

    man texts were augmented by unfamiliar Greek ones. Their accessibility

    was transformed by Aldo Manuzios portable octavo volume and Fran-

    cesco Griffos compact type. Of some 40 books with significant colour

    content published in the 1500s, most are in Latin with a dozen in Italian,

    four in English, two in French and two in German. Half of them touch on

    SYMBOLISM and DRESS, notably Morato 1535, grouping colour refer-

    ences from antique literature; see also Equicola 1525, Baf 1526, Sicile

  • 1527, Telesio 1528, Conti 1534 & Legh 1562. Moratos book is amplified

    in Dolce 1565, Occulti 1568, Rinaldi 1584 & Calli 1595; see also Alciati

    1573, Barcchi 1971 (6 volumes), Gavel 1979 & Brusatin 1983.

    Very little was printed on the craft of dyeing until Rosetti 1548; see

    also Merrifield 1849, Ploss 1962, Brunello 1968, Robinson 1969, Rebora

    1970, Reinhold 1970 & Feeser 2009. A short text on OPTICS by

    Maurolico (circa 1520) remained unpublished, so that the centurys chief

    scientific publication was Porta 1558 (enlarged 1589); see also Biringc-

    cio 1540 on alchemy, Ruel 1536 & Fuchs 1542 on botany, plus

    Butterfield 1949. Przios commentary on Aristotle (Aristotle 1548) was

    followed by an early work on ophthalmology (Przio 1550). Risners

    translation (Alhazen 1572) and Platter 1583 explore the eyes interior.

    The symbolism and authenticity of gemstones are examined in Fibonacci

    1502, Sicile 1527, Cardano 1562, Boodt 1609 & Nicols 1652. Despite

    several centuries of magnificence in Italian PAINTING, few early works

    other than Vasaris Lives (written 1543-68) recorded theories of its art-

    ists. Lomazzo 1584 offers an invaluable record, written by an artist-

    admirer of Titian who suffered blindness aged 33; parts were translated

    by Haydocke (Lomazzo 1598) who commissioned another manual (Hil-

    liard 1981) unpublished at that time; see also Pino 1548 & Zaccolini 1983

    (circa 1620), plus Byron 1930, Linzi 1930, Titian 1935, Rzepiska 1970,

    Barasch 1978, Kemp 1990, Hall 1992, Gage 1993 & Pavey 2003.

    The Index of Prohibited Books (1559) hindered the spread of scientific

    discoveries in southern Europe, though Telesio, Porta and Campanella

    continued their studies in Naples; see Telesio 1570 & Porta 1593. Greater

    freedom prevailed in the north, notably at Rudolf IIs court in Prague,

    where Arcimboldo devised a colour-music chart (Comanini 1591) and

    Tycho Brahe inspired Willebrord Snel to examine refractive indices of

    transparent media; other collaborations resulted in Scarmiglioni 1601,

    Kepler 1604, Sedziwj 1604 & Boodt 1609. Before 1600 colour was

    widely perceived as a divinely endowed and indicative property of ob-

    jects. Following Keplers Dioptrice (1611), objectivity in the study of

    OPTICS is increasingly evident in Aguilon 1613, Scheiner 1619 (examin-

    ing the eye), Descartes 1637, Plican 1645, Kircher 1646, Marci 1648,

    Cureau 1650 & Prizac 1657; see also Dupuy 1700, Gregory 1715, Wilde

    1838, Wolf 1935, Schmitz 1981, Cantor 1983, Crone 1999 & Darrigol


    Chemistry was undeveloped as a science though its principles had

    long been employed in the firing clay and glass and in preparing dyes,

    paints, inks and cosmetics. Gothic cathedrals displayed imposing fenes-

    tration but it was not until Neri 1612 that the first book on colour glazing

    was printed; see also Biringccio 1540, Merrifield 1849 & Piccolpasso

    1934 (circa 1560). Mander 1604 is a significant text on PAINTING,

  • modelled on Armenini 1587. Rubens presence in England influenced De

    Mayerne 2001, unpublished at t

Search related