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.
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 (offering condensed histories in each category), and alphabetical indexes of
authors follow it. Cross-references are offered in many of the boxed entries. Publications are categorised under 27 general headings: Architecture, 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 & MaxwellStuart 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, including 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 Lucretius, Vitruvius, Ptolemy, Gellius and Pliny the Elder (Pliny 1896); see
also Delitzsch 1888, Gradwohl 1963 & Brenner 1982. For classical colour 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
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 Heraclius 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 science. 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), Theodoric (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, Carvalho 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 writings 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 Roman texts were augmented by unfamiliar Greek ones. Their accessibility
was transformed by Aldo Manuzio’s portable octavo volume and Francesco 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 references from antique literature; see also Equicola 1525, Baïf 1526, Sicile
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 Biringùccio 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 artists. Lomazzo 1584 offers an invaluable record, written by an artistadmirer of Titian who suffered blindness aged 33; parts were translated
by Haydocke (Lomazzo 1598) who commissioned another manual (Hilliard 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 objects. Following Kepler’s Dioptrice (1611), objectivity in the study of
OPTICS is increasingly evident in Aguilon 1613, Scheiner 1619 (examining 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 fenestration 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,
modelled on Armenini 1587. Rubens’ presence in England influenced De
Mayerne 2001, unpublished at the time; see also Peacham 1612, Carducho 1633, and Boogert’s unpublished manual of 1692. Comparable
texts include Bisagno 1642 & Pacheco 1649, but it was the belated publication 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 published 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 (Newton 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 examined 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 reinstated by Bardwell 1756 at least until Harris 1776 reconfirmed that red,
yellow and blue were optimum primary pigments. The theory had previously been stated in Scarmiglioni 1601, Aguilon 1613, Boyle 1664, Glisson 1677, Scheffer 1669, Mariotte 1681 & Waller 1686. For early threecolour 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
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 & Elliott 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 further 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 concerned with commercial DYEING: see Colbert 1671, Tallieri 1704, Hellot 1750, Miller 1758, Macquer 1763, Le Pileur 1776, Bischoff 1780 &
Berthollet 1781. In the following century, dyeing manuals start with Bemiss 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, Vauquelin 1830, Field 1835, Bachhoffner 1837, Gonfréville 1848, Smith
1849, Napier 1852, Lefort 1855, Tschelnitz 1857, Sellers 1865 & Sansóne 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 ....
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 BICKERTON*, 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
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 GEGENFURTNER, 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
1838
Optics
L
1890
Classification
1989
Therapy
Psychology
1989
Decoration
Architec-
KÜTHE, Erich (1940-2003) & VENN, Axel (1967- )
Marketing mit Farben (‘Marketing with colours’)
[German designer & educator. 212 pages. YFB]
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]
L
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]
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]
LADAU, Robert F., SMITH, Brent K. (1950-2007) &
PLACE, Jennifer (1969- )
Color in Interior Design and Architecture
Cologne
(Germany)
DuMont
London (UK)
Longman, Orme,
Brown, Green
& Longmans
L
Paris (France)
Gauthier-Villars
Wellingborough
(UK)
Aquarian
1996 London
New York (USA)
Van Nostrand
Reinhold
ture
1929
Vision
1679
Painting
Colorants
1694
Perception
1707
Painting
1735
Painting
1787
Painting
1995
Painting
Vision
1760
Metrology
Optics
1772
Classifica-
[North American editor. Includes case studies. 157
pages. See Beach 1988 & Heer 1986. BL LC YFB]
LADD-FRANKLIN, Christine (1847-1930)
Color and Color Theories
[North American physiologist & logician. On a compound theory of colour vision. 287 pages. See Hering
1964 & Müller 1930. BL LC RCA YFB]
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]
LA HIRE, Philippe de (1640-1718)
Dissertation sur les différens accidens de la vue (‘Discourse on various illusions of vision’)
[French mathematician, cartographer & painter. 69
pages. Mémoire. See Le Clerc 1712. BL]
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]
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]
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]
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]
LAMBERT, Johann Heinrich (1728-77)
Photometria, sive, de mensura et gradibus luminis,
colorum et umbrae (‘Photometry, or, on the measurement and gradations of light, colour and shadows’)
[Swiss astronomer & mathematician. 547 pages. See
Bouguer 1729, Crone 1999 & Lovibond 1893. BL]
LAMBERT, Johann Heinrich (1728-77)
Beschreibung einer mit dem calauschen Wachse
New York (USA)
Harcourt, Brace
& London (UK)
Kegan Paul
1999 London
Paris (France)
Jean-Baptiste
Loyson
Paris (France)
Jean Anisson
Amsterdam
(Netherlands)
Willem de Coup
1740 Haarlem
London (UK)
John
Brotherton
1778 London
1817 London
Paris (France)
Hôtel de Thou
1857 Paris
1972 Geneva
Cambridge (UK)
Cambridge
University Press
Augsburg
(Germany)
Eberhard Klett
1892 Leipzig
Berlin (Germany)
Ambrosius
tion
2001
Metrology
Optics
1986
Design
1984
Architecture
1996
Architecture
1977
Perception
1993
Vision
Optics
1898
Optics
1989
Philosophy
Perception
1898
Perception
Vision
1995
Optics
Printing
ausgemalten Farbenpyramide (‘Description of a
colour-pyramid painted with encaustic wax’)
[Describes 108-unit colour model based on RYBprimary mixtures, based on Mayer 1775/1758. YFB]
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]
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]
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]
LANCASTER, Michael (1928-2004)
Colourscape
[On colour in the environment. 123 pages. See Foote
1983, Lenclos 1982 & Taverne 1992. BL RCA YFB]
LAND, Edwin Herbert (1909-91)
The Retinex Theory of Colour Vision
[North American inventor. FRS. Polaroid Corporation
(1937). Proceedings: 35 pages. See Scientific 1972]
LAND, Edwin Herbert (1909-91) & McCANN, Mary
Edwin H. Land’s Essays
[3 volumes: 590 pages. Volume 3 on vision. LC YFB]
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]
LANDESMAN, Charles (1932- )
Color and Consciousness: An Essay in Metaphysics
[North American philosopher & educator. 135 pages.
Bibliography. See Mausfield 2003. BL LC YFB]
LANE, Wilmot Burkemar (1871-1960) et al
The Space-Threshold of Colours and Its Dependence
upon Contrast
[Canadian psychologist. 100 pages. LC YFB]
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]
Haude &
Karl Spener
New York (USA)
Illuminating
Engineering
Society
West Chester PA
(USA)
Schiffer
London (UK)
Quiller
London (UK)
Academy
London (UK)
Royal Institution
Springfield VA
(USA)
Society IS&T
New York (USA)
John Wiley
1907 New York
Philadelphia PA
(USA)
Temple
University Press
Toronto
(Canada)
Toronto University Library
Göttingen
(Germany)
Musterschmidt
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.
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.
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