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Theory of Colours
Theory of Colours (German: Zur Farbenlehre, lit. 'On color theory') is a book by Johann Wolfgang von Goethe about the poet's views on the nature of colours and how they are perceived by humans. It was published in German in 1810 and in English in 1840. The book contains detailed descriptions of phenomena such as coloured shadows, refraction, and chromatic aberration. The book is a successor to two short essays titled "Contributions to Optics" (German: Beiträge zur Optik).
The work originated in Goethe's occupation with painting and primarily had its influence in the arts, with painters such as (Philipp Otto Runge, J. M. W. Turner, the Pre-Raphaelites, Hilma af Klint, and Wassily Kandinsky).
Although Goethe's work was rejected by some physicists, a number of philosophers and physicists have concerned themselves with it, including Thomas Johann Seebeck, Arthur Schopenhauer (see: On Vision and Colors), Hermann von Helmholtz, Ludwig Wittgenstein, Werner Heisenberg, Kurt Gödel, and Mitchell Feigenbaum.
Goethe's book provides a catalogue of how colour is perceived in a wide variety of circumstances, and considers Isaac Newton's observations to be special cases. Unlike Newton, Goethe's concern was not so much with the analytic treatment of colour, as with the qualities of how phenomena are perceived. Philosophers have come to understand the distinction between the optical spectrum, as observed by Newton, and the phenomenon of human colour perception as presented by Goethe—a subject analyzed at length by Ludwig Wittgenstein in his comments on Goethe's theory in Remarks on Colour and in Jonathan Westphal's Commentary on this work (1991).
At Goethe's time, it was generally acknowledged that, as Isaac Newton had shown in his Opticks in 1704, colourless (white) light is split up into its component colours when directed through a prism.
Along with the rest of the world I was convinced that all the colours are contained in the light; no one had ever told me anything different, and I had never found the least cause to doubt it, because I had no further interest in the subject.
But how I was astonished, as I looked at a white wall through the prism, that it stayed white! That only where it came upon some darkened area, it showed some colour, then at last, around the window sill all the colours shone... It didn't take long before I knew here was something significant about colour to be brought forth, and I spoke as through an instinct out loud, that the Newtonian teachings were false.
— Goethe
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Theory of Colours
Theory of Colours (German: Zur Farbenlehre, lit. 'On color theory') is a book by Johann Wolfgang von Goethe about the poet's views on the nature of colours and how they are perceived by humans. It was published in German in 1810 and in English in 1840. The book contains detailed descriptions of phenomena such as coloured shadows, refraction, and chromatic aberration. The book is a successor to two short essays titled "Contributions to Optics" (German: Beiträge zur Optik).
The work originated in Goethe's occupation with painting and primarily had its influence in the arts, with painters such as (Philipp Otto Runge, J. M. W. Turner, the Pre-Raphaelites, Hilma af Klint, and Wassily Kandinsky).
Although Goethe's work was rejected by some physicists, a number of philosophers and physicists have concerned themselves with it, including Thomas Johann Seebeck, Arthur Schopenhauer (see: On Vision and Colors), Hermann von Helmholtz, Ludwig Wittgenstein, Werner Heisenberg, Kurt Gödel, and Mitchell Feigenbaum.
Goethe's book provides a catalogue of how colour is perceived in a wide variety of circumstances, and considers Isaac Newton's observations to be special cases. Unlike Newton, Goethe's concern was not so much with the analytic treatment of colour, as with the qualities of how phenomena are perceived. Philosophers have come to understand the distinction between the optical spectrum, as observed by Newton, and the phenomenon of human colour perception as presented by Goethe—a subject analyzed at length by Ludwig Wittgenstein in his comments on Goethe's theory in Remarks on Colour and in Jonathan Westphal's Commentary on this work (1991).
At Goethe's time, it was generally acknowledged that, as Isaac Newton had shown in his Opticks in 1704, colourless (white) light is split up into its component colours when directed through a prism.
Along with the rest of the world I was convinced that all the colours are contained in the light; no one had ever told me anything different, and I had never found the least cause to doubt it, because I had no further interest in the subject.
But how I was astonished, as I looked at a white wall through the prism, that it stayed white! That only where it came upon some darkened area, it showed some colour, then at last, around the window sill all the colours shone... It didn't take long before I knew here was something significant about colour to be brought forth, and I spoke as through an instinct out loud, that the Newtonian teachings were false.
— Goethe
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