Tag Archives: Theory of Colours

Divisible Indivisibility of Color (or love)

The number of colors is infinite, yet every two opposite colors contain elements, the full possibility, of all the others. – Arthur Schopenhauer, On Vision and Colors

ImageI have to admit, I may have skimmed a few paragraphs of Schopenhauer’s On Vision and Color – it was too painful. After keeping me enthralled with his passionate explanation of his theory of the subjectivity of color, he spent a few pages lambasting and taunting all the idiots of the world who disagreed with him. Of Scherffer, for example, he writes:

He reaches for all kinds of wretched and absurd hypotheses, wriggles pathetically, and in the end lets the issue rest (84).

Ouch. They would be harsh words had Schopenhauer been correct. But the fact that he is mostly wrong makes it quite uncomfortable to read. I say “mostly” because there is an interesting truth to his ideas when we consider Copernicus’s words (which Schopenhauer quotes) “compare, when allowed, small things with great.”

This explains their striking, every other color combination surpassing harmony, the power with which they call for each other and bring each other about, and the outstanding beauty that we confer on each of them by itself and even more so on both together (66).

To what is he referring? None other than the par excellent purity of red and green. “They call for each other,” I love that. He uses words like, “marriage,” “intimate union,” “affinities,” and “attractions.” He mathematically computes the amount of…love between colors and speaks to the impossibility of separation:

Therefore, chromatically we may not speak at all of individual colors, but only of color pairs: each pair represents the totality of the activity of the retina divided by two halves (70).

It’s a love story. Clearly.

Schopenhauer’s theory (which in the book I read is followed by Philip Otto Runge’s Color Sphere) rests on his idea that color is wholly subjective- an activity of the retina in which the the retina divides and then intellectually perceives colors rather than the objective color wave theory. So he got it wrong. But the beauty of his prose, the philosophy and artistry of his thinking was not lost on all. According to the introduction by Georg Stahl, Gerrit Rietveld (of the De Stijl group) was particularly influenced by Schopenhauer’s theory. Klee was equally enamored with Runge’s Color Sphere and used it in his teaching at the Bauhaus. Although Runge’s spheres are beautiful he pulls back from the romance of Schopanhauer’s prose a bit:

All five elements to each other – through their differences and affinities – form a perfect sphere, the surface of which contains all the elements and those mixtures that produced through a friendly mutual affinity of the qualities for each other (131). – Runge, Color Sphere

From lovers to friends, oh well.

Everyone must therefore carry within them a norm, an ideal, an Epicurean anticipation, about yellow and every color, independent of experience, with which they compare each actual color (69).

“An Epicurean anticipation” is a fabulous use of language. And the discussion of ideals in music and colors that Schopenhauer goes into relates so nicely to Semir Zeki’s book (which is of course the reason I read Goethe’s Theory of Color and On Vision and Color in the first place). Politely disregarding Schopenhauer’s hubris and considering the time in which he lived, where an invention such as the Daguerreotype might encourage him to draw false conclusions:

[reproducing] in its purely objective way, everything visible about bodies, but not color (97). (emphasis mine)

one can, at the very least, appreciate the philosophy of subjectivity that, I think, has some merit. After all, just yesterday I forwarded, to a pink-loathing friend of mine, an article which showed that pink does not actually exist as a color. It is merely our minds (groping for closure) filling in the gap left by the color waves that the human eye can not perceive. It seems to me one must be taken with the other, after all.

There can be no object without subject and no subject without object, since perceptions are defined by both (17).

 

 

Quiddity of the False Azure

All colors made me happy: even gray. — Vladimir Nabokov, Pale Fire (line 29)

The weaker the organ the longer the impression of the image lasts. — Johann Wolfgang von Goethe, Theory of Colours (pg 51, section 121. )

Scan 13My recent inquiries into perception made me curious to know the oft-cited primary text of Goethe’s Theory of Colours. It is an interesting read, particularly as the content has been thoroughly disapproved making the reading of it a philosophical or poetical exercise more than a scientific one.

Time means succession, and succession, change:
Hence timelessness is bound to disarrange
Schedules of sentiment…
 —Pale Fire (lines 567-569)

Thus inspiration already presupposes expiration; thus every systole its diastole. —Theory of Colour (15, section 38.)

The beautiful fiction in the non-fiction that is twisted inadvertently by Goethe is  conversely, in Pale Fire, “written” by John Shade in four cantos, and yet, similarly, bent. Nabokov elegantly distorts fiction and non-fiction and intentionally plays a stark psychology off the poetical and philosophical posit. The ruse of John Shade is elaborate…what is the purpose? It seems to me that by creating, for example through the officialness of the “About the Author” page followed by “Other Books by the Author,” a Nabokovian mocking of the surety of our perception of truth gains a profoundly moving and tender, if tremulous, capital T Truth.

Life Everlasting-based on a misprint!
I mused as I drove homeward: take the hint,
And stop investigating my abyss?
But all at once it dawned on me that
this
Was the real point, the counterpuntal theme;
Just this: not text, but texture; not dream
But topsy-turvical coincidence,
Not flimsy nonsense, but a web of sense.
Yes! It sufficed that I in life could find
Some kind of link-and-bobolink, some kind
Of correlated pattern in the game,
Plexed artistry, and something of the same
Pleasure in it as they who played it found.
 —Pale Fire (lines 803-815)

If Goethe is correct that the longer an impression lasts, the weaker the organ, than I must have a very weak heart. In Pale Fire (particularly the Ginko Press edition I experienced— because it was more than something to be merely read) a persistent ache of a melancholy color bleeds and stains, and yet, and yet… there is a rising blush of “Faint hope.”

*Theory of Colours  translated from the German with notes by Charles Lock Eastlake

**Title from opening stanza of Pale Fire –
I was the shadow of the waxwing slain
By the false azure in the windowpane

*** “Faint Hope.” final sentence of Pale Fire