Theory of Colours
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134
1840
English
- Translator's Preface and Preface to the First Edition
- Introduction
- Part I - Physiological Colours Section 1 - Effects of Light and Dark on the Eye
- Section II - Effects of Black and White Objects on the Eye
- Section III - Grey Surfaces and Objects; Section IV - Dazzling Colourless Objects
- Section V - Coloured Objects
- Section VI - Coloured Shadows
- Section VII - Faint Lights; Section VIII - Subjective Halos
- Pathological Colours - Appendix
- Part 2 - Physical Colours - Section IX - Diotropical Colours
- Section X - Diotropical Colours of the First Class
- Section XI - Diotropical Colours of the Second Class - Refraction
- Subjective Experiments - Section XII - Refraction Without the Appearance of Colour; Section XIII - Conditions of the Appearance of Colour
- Section XIV - Conditions Under Which the Appearance of Colour Increases
- Section XV - Explanation of the Foregoing Phenomena
- Section XVI - Decrease of the Appearance of Colour; Section XVII - Grey Objects Displaced by Refraction
- Section XVIII - Coloured Objects Displaced by Refraction
- Section XIX - Achromatism and Hyperchromatism; Section XX - Advantages of Subjective Experiments. - Transition to the Objective
- Objective Experiments - Section XXI - Refraction Without the Appearance of Colour; Section XXII - Conditions of the Appearance of Colour
- Section XXIII - Conditions of the Increase of Colour; Section XXIV - Explanation of the Foregoing Phenomena
- Section XXV - Decrease of the Appearance of Colour; Section XXVI - Grey Objects ; Section XXVII - Coloured Objects; Section XXVIII - Achromatism and Hyperchromatism
- Section XXIX - Combination of Subjective and Objective Experiments; Section XXX - Transition
- Section XXXI - Catatropical Colours
- Section XXXII - Paroptical Colours
- Section XXXIII - Epoptical Colours
- Part III - Chemical Colours - Section XXXIV - Chemical Contrast
- Section XXXV - White; Section XXXVI - Black; Section XXXVII - First Excitation of Colour
- Section XXXVIII - Augmentation of Colour; Section XXXIX - Culmination; Section XL - Fluctuation; Section XLI - Passage Through the Whole Scale
- Section XLII - Inversion; Section XLIII - Fixation; Section XLIV - Intermixture, Real; Section XLV - Intermixture, Apparent
- Section XLVI - Communication, Actual; Section XLVII - Communication, Apparent
- Section XLVIII - Extraction; Section XLIX - Nomenclature
- Section L - Minerals; Section LI - Plants
- Section LII - Worms, Insects, Fishes; Section LIII - Birds
- Section LIV - Mammalia and Human Beings
- Section LV - Physical and Chemical Effects of the Transmission of Light Through Coloured Mediums; Section LVI - Chemical Effect in Dioptrical Achromatism;
- Part IV - General Characteristics
- Part V - Relation to Other Pursuits
- Part VI - Effect of Colour With Reference to Moral Associations; Yellow; Red-Yellow; Yellow-Red; Blue; Red-Blue; Red; Green
- Completeness and Harmony; Yellow and Blue; Yellow and Red; Blue and Red; Yellow-Red and Blue-Red; Combinations Non-Characteristic; Relations of the Combinations to Light and Dark; Considerations Derived from the Evidence of Experience and History
- Aesthetic Influence; Chiaro-Scuro; Tendency to Colour; Keeping; Colour in General Nature; Characteristic Colouring
- Harmonious Colouring; Genuine Tone; False Tone; Weak Colouring; The Motley; Dread of Theory; Ultimate Aim; Grounds; Pigments
- Allegorical, Symbolic, Mystical Application of Color; Concluding Observations
Newton's observations on the optical spectrum were widely accepted but Goethe noticed the difference between the scientific explanation and the phenomena as experienced by the human eye. He did not try to explain this, but rather collected and presented data, conducting experiments on the interplay of light and dark. His work was rejected as 'unscientific' by physicists but his color wheel is still used by artists today. - Summary by Lynne Thompson
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