A Quote by Gabriel Lippmann
The plate at each point only sends back to the eye the simple colour imprinted. The other colours are destroyed by interference. The eye thus perceives at each point the constituent colour of the image.
Related Quotes
Put a colour upon a canvas - it not only colours with that colour the part of the canvas to which the colour has been applied, but it also colours the surrounding space with the complementary.
I became intrigued with colour theory. The absurd pronouncements of the Colour Institute, a group that decides what colours are hot each year or season, amused me.
Turning to the colour-classification methodology: The starting point are the four pure colours red, yellow, green and blue; their in-between shades and scales of brightness result in colour schemes containing 16, 64, 256 and 1,024 shades. More colours would be pointless because it wouldn't be possible to distinguish between them clearly.
I had an idea for a story about a young woman who was living with people who were different, not just superficially different - such as hair colour, or eye colour, or skin colour - but different in some significant way.
The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.
Thinking... is no more and no less an organ of perception than the eye or ear. Just as the eye perceives colours and the ear sounds, so thinking perceives ideas
Fred didn't have a favourite colour. He was just pleased that he could see all of the colours in the colour chart. That was his wish for everyone. Fred wanted people to experience the joy of seeing vivid colours - in nature: the greens and browns of the mountains; in their work: the orange, red and black of the back of the retina; and in life.
I often use colour to attack form, to break it down a little or begin to dissolve it. But I am not at all interested in 'pure' colour or in colour as a transcendental presence... So if I use colours to begin to dissolve forms, I also use forms to prevent colours becoming entirely detached from their everyday existence.
The eye and soul are caressed in the contemplation of form and colour. The subtle changes of colour over a surface - transitions that are like music - are intangible in their reaction upon us. There is an immediate sensuous appeal!
There is a brain mechanism that works to identify colour differences directly, without first identifying the absolute colour of each surface. So on my view there is no reason to suppose anything like ten million colour responses to surface viewed singly.
A beautiful feature in the colour wood-cut, and one unique in printing, is colour gradation... Two brushes are sometimes used, one charged with more potent colour than the other. Line blocks are nearly always printed with some variation of tone, and often in colour too.
Take a portion of wit, And fashion it fit, Like a needle, with point and with eye: A point that can wound, An eye to look round, And at folly or vice let it fly
Fine colour implies a unified relationship, in which each part is subordinate to the whole, and the transitions between them are felt to be as precious and beautiful as the colours themselves. In fact, the colours themselves must be continuously modified and broken as part of the transition.
Clairvoyants can see flashes of colour, constantly changing, in the aura that surrounds every person: each thought, each feeling, thus translating itself in the astral world, visible to the astral sight.
The most admirable method is that by which each wash of colour, large or small, is never disturbed. It admits of practically no overpainting, sponging or scrubbing. The colour stays where it is put.
The true colour of life is the colour of the body, the colour of the covered red, the implicit and not explicit red of the living heart and the pulses. It is the modest colour of the unpublished blood.
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