Transcript
Page 1: Roy Osborne Books on Colour 1495-2015 History and Bibliography on Colour 1495-2015.pdf · Books on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

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. www.lulu.com £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.

Page 2: Roy Osborne Books on Colour 1495-2015 History and Bibliography on Colour 1495-2015.pdf · Books on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

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

THE EARLIEST TREATISE ON COLOUR, on the Nature of Man

(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. Plato’s 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,

Müller-Boré 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, Blümner 1892, Oberthür 1905, André 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

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

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

2006.

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 Avicenna’s 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 Bingen’s Liber Scivias is noteworthy, as well as

Pope Innocent III’s 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. Cennini’s 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. Alberti’s

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 Manuzio’s portable octavo volume and Fran-

cesco Griffo’s 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, Baïf 1526, Sicile

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1527, Telesio 1528, Conti 1534 & Legh 1562. Morato’s book is amplified

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

1573, Baròcchi 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 century’s chief

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

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

Butterfield 1949. Pòrzio’s commentary on Aristotle (Aristotle 1548) was

followed by an early work on ophthalmology (Pòrzio 1550). Risner’s

translation (Alhazen 1572) and Platter 1583 explore the eye’s 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 Vasari’s 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, Rzepińska 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 II’s 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, Sedziwój 1604 & Boodt 1609. Before 1600 colour was

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

jects. Following Kepler’s Dioptrice (1611), objectivity in the study of

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

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

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

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

2012.

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 Biringùccio 1540, Merrifield 1849 & Piccolpasso

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

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

Mayerne 2001, unpublished at the time; see also Peacham 1612, Car-

ducho 1633, and Boogert’s unpublished manual of 1692. Comparable

texts include Bisagno 1642 & Pacheco 1649, but it was the belated publi-

cation of Leonardo’s theories (1651) that inspired classically biased

painters to re-examine artistic precepts: see Dufresnoy 1668, a long Latin

verse translated by Piles. About two thirds of some 80 colour books pub-

lished in the 1600s systematically examine the nature of light and colour;

the remainder offer guidance to artists and craftsmen, including Boutet

1673, La Fontaine 1679, Gautier 1687 & Corneille 1684, written with

Piles, who led the Rubenist faction against the Poussinists: see Piles 1673

& Félibien 1676, plus Byron 1930, Teyssèdre 1957 & Imdahl 1987. Of

the English art manuals (Jenner 1647, Sanderson 1658 & Browne 1669),

Salmon 1672 is the most informative.

Newton’s first contribution to the Royal Society’s Transactions (New-

ton 1672) records his initial prismatic discoveries. For other advances in

OPTICS see Voss 1662, Boyle 1664, Grimaldi 1665, Barrow 1669, Fabri

1669, Line 1675, Zahn 1685, Fischer 1689 & Junge 1703. Newton 1704

rendered almost all previous suppositions on the generation of colour

obsolete, except for Ango 1682 & Hughens 1690 (on wave theory), and

was the most influential of some 115 texts on colour published in Europe

in the 1700s; see Roberts 1934, Blay 1983 & Giudice 2009. Gravesande

1723, Musschenbroeck 1734, Rowning 1734, Algarotti 1737, Martin

1740, Euler 1746, Eberhard 1749, Harris 1775, Brougham 1796 & Jordan

1799 all support Newton (as did Voltaire), though he was not without

critics: see Mariotte 1681, Banières 1737, Castel 1743 & Gautier 1749.

Questions about perception raised by Newton and Locke are also exam-

ined in La Hire 1694, Malebranche 1699, Berkeley 1709, Le Clerc 1712,

Funck 1716, Calandrini 1722 & Place 1738.

Italy produced few exceptional artists in the 1600s, other than the

sculptor Bernini, though Elsum 1703, Lairesse 1707, Richardson 1715,

Cröker 1719, Hoofnail 1738 & Algarotti 1749 confirm that its

PAINTING was still much admired, as do Joshua Reynolds’ Discourses

(1769-90). Rejection of this reverence occurs in Hogarth 1753, which

proposes a novel spectral palette, inspired by Newton. Ochres were rein-

stated by Bardwell 1756 at least until Harris 1776 reconfirmed that red,

yellow and blue were optimum primary pigments. The theory had previ-

ously been stated in Scarmiglioni 1601, Aguilon 1613, Boyle 1664, Glis-

son 1677, Scheffer 1669, Mariotte 1681 & Waller 1686. For early three-

colour printing see Le Blon 1725 & Lilien 1985. Wünsch 1792 identifies

the primary colours of light as red, green and violet. Caraccioli 1760

(printed in coloured inks) catches the frivolity of Louis XV’s court, and

Saint-Aubin 1770 emphasises the importance of embroidery prior to the

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widespread use of textile printing; see also Bancroft 1794, Bastos 1846 &

Delany 2009.

With a revival of classicism, colour succumbed to CLASSIFICATION

and orderly analysis. Lambert 1772 is based on Mayer’s proposal of

1758. Other systems are described in Harris 1776, Pfannenschmid 1781,

Prange 1782, Sowerby 1809 & Runge 1810, which features a colour

sphere not unlike one sketched in 1611 but unpublished: see Forsius

1952, plus Glisson 1677 & Doppler 1842. Lambert’s major work (1760)

was on photometry; see also Castelli 1669, Bouguer 1729 & Johnson

2001. Harris 1704 anticipates L’Encyclopédie (1751-72), the century’s

greatest publishing project, edited by Diderot and D’Alembert, which

included entries on colour, and helped to phase out the widespread use of

Latin by scientists (making Hayne 1814 and especially Saccardo 1891 &

Gründer 1911 unusual for their time). Other art-and-science lexicons

include Palomino 1715, Barrow 1735, Dossie 1758, Croker 1764 & Elli-

ott 1780. Scientific developments are also recorded in Priestley 1772,

Scheele 1786 & Hochheimer 1792, plus Marat 1780, Marivetz 1780 &

Lavoisier 1789, books by three prominent scientists lost in the French

Revolution; see also Schmitz 1981 (5 volumes) & Sloane 1991. For fur-

ther enquiries into PERCEPTION, afterimages and ‘accidental colours’

(reported in Castelli 1669) see Leclerc 1743, Hartley 1749, Porterfield

1759, Scherffer 1761, Harris 1776, Westfeld 1767, Schiffermüller 1772,

Hassenfratz 1782, Darwin 1786, Palmer 1777, Carvalho 1787, Goethe

1791, Darwin 1794, Thompson 1794, plus Pastore 1971 & Wade 1998.

Accounts of abnormal VISION are recorded in Smith 1738 (by James

Jurin), Huddart 1777, Palmer 1786 & Dalton 1798.

Until Lavoisier, publications on CHEMISTRY were primarily con-

cerned with commercial DYEING: see Colbert 1671, Tallieri 1704, Hel-

lot 1750, Miller 1758, Macquer 1763, Le Pileur 1776, Bischoff 1780 &

Berthollet 1781. In the following century, dyeing manuals start with Be-

miss 1806 (the earliest North American inclusion), Chaptal 1807, Packer

1816, Vinçard 1820 & Partridge 1823. New COLORANTS augment the

palettes of dyers, printers, artists and decorators: see Hermbstädt 1802 (2

volumes), Chevreul 1829, Leuchs 1829 (2 volumes), Muston 1830, Vau-

quelin 1830, Field 1835, Bachhoffner 1837, Gonfréville 1848, Smith

1849, Napier 1852, Lefort 1855, Tschelnitz 1857, Sellers 1865 & San-

sóne 1888, plus Harley 1970. Lavoisier listed 31 chemical elements in

1790 compared with the dozen known in 1500. A total of 54 had been

identified by 1850, and a further 30 by 1900; see Opoix 1808, Dumas

1828 (8 volumes), Ridner 1850, Runge 1850, Standage 1886, Church

1887, Hurst 1892, Bersch 1893, Terry 1893 & Halphen 1895.

Over 430 original books and mémoires on colour were issued during

the 1800s. ... etc ....

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Sample from the chronological index

VISION (Including Visual Colour Deficiency*)

See 1535 WITELO, 1550 PÒRZIO, 1572 ALHAZEN, 1583 PLATTER, 1604

KEPLER, 1611 MAUROLICO, 1619 SCHEINER, 1645 PÉLICAN, 1664

BOYLE, 1669 CASTELLI, 1681 MARIOTTE, 1682 ANGO, 1694 LA HIRE,

1704 NEWTON, 1712 LE CLERC, 1738 PLACE, 1738 SMITH*, 1759

PORTERFIELD, 1767 WESTFELD, 1772 PRIESTLEY, 1777 HUDDART*,

1777 PALMER, 1780 ELLIOTT, 1780 MARAT, 1780 MARIVETZ, 1793

BARATTIÈRI, 1798 DALTON*, 1802 1807 YOUNG, 1820 NOBILI, 1823

PURKINJE, 1828 TREVIRANUS, 1837 SEEBECK*, 1841 SZOKALSKI*,

1854 TORTIMA*, 1855 WILSON*, 1856 HELMHOLTZ, 1858 BRETT, 1861

MAXWELL, 1866 SCHULTZE, 1860 FECHNER, 1866 BRÜCKE, 1867

HELMHOLTZ, 1876 BOLL, 1876 STILLING*, 1877 HOLMGREN*, 1878

HERING, 1878 HOLMGREN*, 1879 ALLEN, 1879 JEFFRIES*, 1879

MARTY, 1879 WOLFE*, 1881 MAGNUS, 1881 ROBERTS*, 1882

GEISSLER*, 1882 KRIES, 1884 HOCHEGGER, 1888 CHARPENTIER, 1888

LUBBOCK, 1889 EDRIDGE-GREEN*, 1889 RYERSON*, 1890 BICKER-

TON*, 1891 ABNEY*, 1891 EDRIDGE-GREEN*, 1891 CARTER*, 1892

HUNT, 1892 RUTHERFORD, 1982 STRUTT, 1896 JENNINGS*, 1898

LANE*, 1900 SCRIPTURE*, 1900 WHEELER, 1902 RAEHLMANN, 1903

MAYER, 1905 BAIRD, 1907 HEINE, 1912 KÖLLNER*, 1913 ABNEY, 1913

ROSENSTIEHL, 1915 PARSONS*, 1916 FORICHON, 1916 MACH, 1917

BOUASSE, 1917 ISHIHARA*, 1920 EDRIDGE-GREEN*, 1921 FRÖHLICH,

1922 OSTWALD, 1922 PEDDIE, 1923 BOIGEY, 1924 HELMHOLTZ, 1924

HOGBEN, 1924 MÜLLER*, 1925 COLLINS*, 1926 MACH, 1927 ÒVIO,

1929 BLUM*, 1929 LADD-FRANKLIN, 1929 OBLATH*, 1930 MÜLLER,

1931 KOCH, 1932 HOUSTOUN*, 1934 KARDOS, 1934 PIERCE*, 1936

HENNING, 1936 RABKIN, 1937 BARBIÈRI, 1937 LUCKIESH, 1937

SOUTHALL, 1938 HECHT, 1938 WRIGHT, 1940 AMERICAN*, 1941

BARTLEY, 1941 PODESTÀ, 1941 WILTBERGER*, 1942 KÜHN*, 1942

WALLS, 1943 DETWILER, 1943 GÖTHLIN, 1944 DVORINE*, 1946 BOLL,

1946 WILLMER, 1946 WRIGHT*, 1947 BOUMA, 1947 FARNSWORTH*,

1947 GRANIT, 1948 BOUMA, 1948 PIRENNE, 1951 PICKFORD*, 1952

VELHAGEN*, 1952 WALLS*, 1953 PHYSICAL, 1953 SÉGAL, 1955

GRANIT, 1955 RONCHI, 1957 BRAUN, 1957 DARTNALL, 1957 LE

GRAND, 1957 POLYAK, 1958 PACLT, 1959 BERGMANS, 1960

BRINDLEY, 1960 RAMAN, 1961 TEEVAN, 1962 DAVSON, 1962

RUSHTON, 1963 WALRAVEN, 1963 WEALE, 1964 HERING, 1964

LINKSZ*, 1964 MAIONE, 1965 GRAHAM, 1965 KALMUS*, 1966

FECHNER, 1966 MUELLER, 1967 WAALER*, 1967 WRIGHT, 1967

WYSZECKI, 1968 WEALE, 1969 LEBENSOHN, 1970 CORNSWEET, 1970

CRUZ-COKE*, 1970 MOTOKAWA, 1970 TREVOR-ROPER*, 1971

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PASTORE, 1971 PINCKERS*, 1972 JAMESON, 1973 HABER, 1974

GREGORY, 1974 KAUFMAN, 1975 PADGHAM, 1976 LINDBERG, 1976

SCHIFFMAN, 1978 HOLLWICH, 1978 KOWALISKI, 1978 STILES, 1978

WASSERMAN, 1979 BOYNTON, 1979 PÉLISSIER, 1979 POKORNY*, 1980

GOLDSTEIN, 1980 VARLEY, 1981 HURVICH, 1981 JACOBS, 1981

SHERMAN, 1981 UTTAL, 1982 BARLOW, 1982 FEIN, 1982 OVERHEIM,

1983 PARITSIS, 1983 ZRENNER, 1984 FROVA, 1985 FALK, 1985

FLETCHER*, 1987 HILBERT, 1987 McDONALD, 1988 HUBEL, 1988

SERRANO, 1991 DAVIDOFF, 1991 FOSTER*, 1991 GOURAS*, 1993

BIRCH*, 1993 LAND, 1993 ZEKI, 1995 LAMB, 1995 THOMPSON, 1995

WANDELL, 1996 SÈVE, 1998 BACKHAUS, 1998 WADE, 1999 GEGEN-

FURTNER, 2000 ATCHISON, 2001 MALACARA, 2001 PURVES, 1999

ROSSING, 2001 WIJK*, 2002 LIVINGSTONE, 2002 McINTYRE*, 2003

MAUSFELD, 2003 MOLLON*, 2004 CHALUPA, 2004 KLEIN, 2005

VALBERG, 2006 PÉLISSIER, 2007 EBNER, 2007 SCHAWELKA, 2009

LANTHONY*, 2010 COHEN, 2010 GULRAJANI, 2011 VALEUR, 2012

BEST, 2012 INGS, 2012 LANTHONY, 2013 LILLO* & 2015 CHIRIMUUTA

Sample from the A-Z directory

1996

Design

KÜTHE, Erich (1940-2003) & VENN, Axel (1967- )

Marketing mit Farben (‘Marketing with colours’)

[German designer & educator. 212 pages. YFB]

Cologne

(Germany)

DuMont

1838

Optics

KYAN, John Howard (1774-1850)

On the Elements of Light and Their Identity with Those

of Matter, Radiant and Fixed

[British physicist. Influenced by Field 1817. 130 pages.

See Brewster 1833 & Exley 1834. BL LC YFB]

London (UK)

Longman, Orme,

Brown, Green

& Longmans

L L L

1890

Classifica-

tion

LACOUTURE, Charles (1832-1908)

Répertoire chromatique: solution raisonnée et pratique

des problèmes plus usuels dans l’étude et l’emploi des

couleurs (‘Chromatic repertory: logical and practical

solution to the most frequent problems in the study and

application of colours’)

[French botanist. 144 pages. 28 colour plates showing

1,300 optical mixtures using fine parallel lines. See

Chevreul 1839 & Marx 1982. BL LC RCA YFB]

Paris (France)

Gauthier-Villars

1989

Therapy

Psychology

LACY, Marie Louise (1930- )

The Power of Colour to Heal the Environment

[British therapist & consultant. 212 pages. See also

Know Yourself through Colour (1993). BL]

Wellingborough

(UK)

Aquarian

1996 London

1989

Decoration

Architec-

LADAU, Robert F., SMITH, Brent K. (1950-2007) &

PLACE, Jennifer (1969- )

Color in Interior Design and Architecture

New York (USA)

Van Nostrand

Reinhold

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ture

[North American editor. Includes case studies. 157

pages. See Beach 1988 & Heer 1986. BL LC YFB]

1929

Vision

LADD-FRANKLIN, Christine (1847-1930)

Color and Color Theories

[North American physiologist & logician. On a com-

pound theory of colour vision. 287 pages. See Hering

1964 & Müller 1930. BL LC RCA YFB]

New York (USA)

Harcourt, Brace

& London (UK)

Kegan Paul

1999 London

1679

Painting

Colorants

LA FONTAINE, Jean de (1621-95)

L’Académie de la Peinture, nouvellement mis au jour

pour instruire la jeunesse à bien Peindre en huile et

en Mignature (‘The academy of painting, newly brought

to light for instructing the young to paint well in oil

and in miniature’)

[French poet & fabler. 168 pages. Includes section on

artists’ colours. See Boutet 1673 & Félibien 1676]

Paris (France)

Jean-Baptiste

Loyson

1694

Perception

LA HIRE, Philippe de (1640-1718)

Dissertation sur les différens accidens de la vue (‘Dis-

course on various illusions of vision’)

[French mathematician, cartographer & painter. 69

pages. Mémoire. See Le Clerc 1712. BL]

Paris (France)

Jean Anisson

1707

Painting

LAIRESSE, Gérard de (1640-1711)

Het groot schilderboeck (‘The large painting-book’)

[Dutch-Walloon painter & engraver. Artists’ manual. 2

volumes. Book 5 (of 13) on colour. German translation

1728-30 (Grosses Mahler-Buch). BL LC YFB]

Amsterdam

(Netherlands)

Willem de Coup

1740 Haarlem

1735

Painting

LAIRESSE, Gérard de (1640-1711)

The Art of Painting, in All Its Branches, Methodically

Demonstrated by Discourses and Plates

[Translation of Lairesse 1707 by John Frederick

Fritsch. 2 volumes: 654 pages. BL RCA YFB]

London (UK)

John

Brotherton

1778 London

1817 London

1787

Painting

LAIRESSE, Gérard de (1640-1711)

Le Grand Livre des peintres, ou, l’art de la peinture

(‘The large book for painters, or, the craft of painting’)

[Translation of Lairesse 1707 by Hendrik Jansen

(1741-1812). 2 volumes. See Watin 1772. BL LC YFB]

Paris (France)

Hôtel de Thou

1857 Paris

1972 Geneva

1995

Painting

Vision

LAMB, Trevor David (1948- ) & BOURRIAU, Janine

D. (1941- ), editors

Colour: Art and Science

[Australian-British neuroscientist. FRS. 1993 Darwin

Lectures (Cambridge University). 237 pages. BL RCA]

Cambridge (UK)

Cambridge

University Press

1760

Metrology

Optics

LAMBERT, Johann Heinrich (1728-77)

Photometria, sive, de mensura et gradibus luminis,

colorum et umbrae (‘Photometry, or, on the measure-

ment and gradations of light, colour and shadows’)

[Swiss astronomer & mathematician. 547 pages. See

Bouguer 1729, Crone 1999 & Lovibond 1893. BL]

Augsburg

(Germany)

Eberhard Klett

1892 Leipzig

1772

Classifica-

LAMBERT, Johann Heinrich (1728-77)

Beschreibung einer mit dem calauschen Wachse

Berlin (Germany)

Ambrosius

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tion

ausgemalten Farbenpyramide (‘Description of a

colour-pyramid painted with encaustic wax’)

[Describes 108-unit colour model based on RYB-

primary mixtures, based on Mayer 1775/1758. YFB]

Haude &

Karl Spener

2001

Metrology

Optics

LAMBERT, Johann Heinrich (1728-77) & DILAURA,

David Lynn (1946- ), editor

Photometry, or, On the Measurement and Gradations

of Light, Colors, and Shade

[Translation of Lambert 1760. 423 pages. LC YFB]

New York (USA)

Illuminating

Engineering

Society

1986

Design

LAMBERT, Patricia (1932- ), STAEPELAERE,

Barbara (1941- ) & FRY, Mary G.

Color and Fiber

[North American fibre artist & educator. 255 pages. See

also Controlling Color (1991). LC RCA YFB]

West Chester PA

(USA)

Schiffer

1984

Architec-

ture

LANCASTER, Michael (1928-2004)

Britain in View: Colour and the Landscape

[English architect, photographer & colour consultant.

128 pages. See Porter 1982. BL LC RCA YFB]

London (UK)

Quiller

1996

Architec-

ture

LANCASTER, Michael (1928-2004)

Colourscape

[On colour in the environment. 123 pages. See Foote

1983, Lenclos 1982 & Taverne 1992. BL RCA YFB]

London (UK)

Academy

1977

Perception

LAND, Edwin Herbert (1909-91)

The Retinex Theory of Colour Vision

[North American inventor. FRS. Polaroid Corporation

(1937). Proceedings: 35 pages. See Scientific 1972]

London (UK)

Royal Institution

1993

Vision

Optics

LAND, Edwin Herbert (1909-91) & McCANN, Mary

Edwin H. Land’s Essays

[3 volumes: 590 pages. Volume 3 on vision. LC YFB]

Springfield VA

(USA)

Society IS&T

1898

Optics

LANDAUER, John (1848-?)

Spectrum Analysis

[German physicist. 236 pages. Translation by John

Bishop Tingle (1866-1918) of Die Spectralanalyse

(1896). See Baker 1907. BL LC RCA YFB]

New York (USA)

John Wiley

1907 New York

1989

Philosophy

Perception

LANDESMAN, Charles (1932- )

Color and Consciousness: An Essay in Metaphysics

[North American philosopher & educator. 135 pages.

Bibliography. See Mausfield 2003. BL LC YFB]

Philadelphia PA

(USA)

Temple

University Press

1898

Perception

Vision

LANE, Wilmot Burkemar (1871-1960) et al

The Space-Threshold of Colours and Its Dependence

upon Contrast

[Canadian psychologist. 100 pages. LC YFB]

Toronto

(Canada)

Toronto Uni-

versity Library

1995

Optics

Printing

LANG, Heinwig (1935- )

Farbwiedergabe in den Medien: Fernsehen, Film,

Druck (‘Colour-reproduction in the media: television,

film, print’)

[German optical engineer & philosopher. 419 pages.

See also Farbmetrik und Farbfernsehen (1978). LC]

Göttingen

(Germany)

Musterschmidt

Page 11: Roy Osborne Books on Colour 1495-2015 History and Bibliography on Colour 1495-2015.pdf · Books on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

Roy Osborne (2012),

Fulvio Pellegrino Morato On the

Signification of Colours 1535.

The first full English translation of

the most influential book on colour

and symbolism of the cinquecento,

with a commentary, 400 footnotes

and biography of Morato.

ISBN 978-1-61233-670-1

160 pages.

Published by BrownWalker, Boca

Raton, FL, USA.

£26 approx.

Don Pavey, Roy Osborne & David

Lenartowicz (2012), Colour

Concepts, Palettes and Pigments.

An introduction to the historical

development of artists’ selections of

paints and palettes.

ISBN 978-1-291-05729-4

Abridged 2014, 240 pages.

Published by Micro Academy,

London, and Lulu Press, Raleigh,

NC, USA.

£41 approx.

Janet Best (2012), Colour Design:

Theories and Applications. An extensive anthology, with

authoritative chapters by 2 dozen

writers on history, colour vision,

metrology, terminology, forecasting,

printing, food and conservation.

ISBN 978-1-84569-972-7

635 pages.

Published by Woodhead, Cambridge

£200 approx.

Expanded edition to be published.

Page 12: Roy Osborne Books on Colour 1495-2015 History and Bibliography on Colour 1495-2015.pdf · Books on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

Don Pavey & Roy Osborne (2010),

Colour Engrained in the Mind:

Character Profiling.

A holistic analysis of archetypal

colours in relation to psychology

and personality profiling.

ISBN 978-1-4457-6834-2

170 pages.

Published by Micro Academy,

London, and Lulu Press, Raleigh,

NC, USA.

£34 approx.

Don Pavey (2009), Colour

Symbolism, from Prehistory to

Modern Aesthetics.

An illustrated historical and

multicultural survey of colour

symbolism and interpretations.

ISBN 978-1-4452-0471-0

134 pages.

Published by Micro Academy,

London, and Lulu Press, Raleigh,

NC, USA.

£34 approx.

Don Pavey (2003), Colour and

Humanism: The Psychology and

Art of Colour from Greek Times

until Today

A survey of colour practice and

symbolism in the history of European

painting and literature

ISBN 1-58112-581-X

Revised 2009, 304 pages.

Published by Micro Academy,

London, and Universal, Boca Raton,

FL, USA.

£22 approx.

Page 13: Roy Osborne Books on Colour 1495-2015 History and Bibliography on Colour 1495-2015.pdf · Books on Colour 1495-2015 History and Bibliography ... Photography & Cinema, Printing, Psychology,

ROY OSBORNE

ARTIST, AUTHOR, LECTURER, HISTORIAN

email [email protected]

web www.newconstructivists.co.uk/royosborne

web www.coloracademy.co.uk

web www.putneyartists.org/royosborne

web www.pictify.com/royosborne

web www.amazon.co.uk/royosborne


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