De la Loi Du Contraste Simultané Des Couleurs
This monumental masterwork by the renowned nineteenth century scientist and authority on color, M.E. Chevreul, is unquestionably one of the greatest books ever written on color; the first English translation is reprinted here with the original color restored and an introduction and explanatory notes by Faber Birren, the leading color authority of the present time. Chevreul's book dominated the schools of Impressionism and Neo-Impressionism, and exerted profound influence on later schools of painting including today's Op Art. Chevreul set forth principles that have become basic in color training throughout the Western world. In his illuminating commentary Mr. Birren shows how many of Chevreul's ideas on color harmony, contrast effects, optical mixtures, and legibility have been validated by modern scientific research in visual perception. mr. Birren also provides a helpful glossary of Chevreul's terminology. Lavishly illustrated, the volume contains many color plates, including 15 plates from the original French edition, photographs of Gobelins tapestries, and full-page reproductions of outstanding Impressionist and Neo-Impressionist paintings. Essential as a reference book for artist and art educators, this volume will also be a source of fresh inspiration for fashion designers, interior decorators, and all others concerned with color in any medium-and it makes good reading for all those interested in the history of men and ideas.
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The English Edition
On the law of simultaneous contrast of colours SECOND DIVISION
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aerial perspective afterimages agreeable appear artists association assortment White bands BEAUVAIS TAPESTRY binary assortments Blue and Violet bluer brilliant CHAPTER COLOR PLATE coloured light coloured materials coloured objects complementary colour contiguous contrast effects contrast of colours contrast of tone different colours employed example experiment fact flat tints flowers France Gobelins tapestry Green threads Greenish-Yellow Grey harmonies of analogy harmony of contrast hues imitation impr Impressionism Indigo influence Institut de France intensity juxtaposed juxtaposition latter law of contrast LAW OF SIMULTANEOUS less light tones luminous M. E. Chevreul mixed contrast mixture modifications Neo-Impressionism normal tone observations Orange Orange-Yellow painter painting in flat paper Paris patterns perceive phenomena picture pigments placed portion preceding present principle produced pure colour rays falling reflected relation remark render reproduce result retina Savonnerie carpets scale sciences seen simultaneous contrast spectator stripes stuff successive contrast surface tion Violet weft White ground white light