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ICONOSOPHY. RELATIONSHIP BETWEEN COLOUR THEORY AND ICONOGRAPHY (GOETHE AND TURNER. THE LABYRINTH OF WORD AND LIGHT)

100%

Pinero Moral R. , Dohna Y.

ARS

2011

tom 44

nr 2

222-251

The article argues that from a theoretical and philosophical point of view we must see colour as having an independent and autonomous language, which is essential for the interpretation of a work of art. The first part discusses the limits of the method of iconography, and the role of perception. The second part unveils the general meaning of the rhetoric of colour. The last part applies the theoretical observations to a specific work of art, Turners’ “Light and Colour (Goethe’s theory) – the Morning after the Deluge – Moses Writing the Book of the Genesis” interpreted through Goethe’s theory of colour.

SVETLO A FARBA

84%

Scala A.

Filozofia (Philosophy)

2017

tom 72

nr 4

271 – 282

Philosophy and visual arts seemed to agree: from an intelligible point of view, colours are submitted to the light despite the sensible fact that no light is visible without colour. The colour is submitted to the drawing as secondary qualities are to primary ones; colours are unable to create forms or figures. When Newton discovered that white differs from other colours, the latter achieved a new status especially in visual arts: they achieved a certain freedom from drawing. A long time after Newton, Kupka came. But between Newton and Kupka, Goethe wrote his Theory of colours and criticized Newton’s indifference to the visual experience. According to Goethe, colours are produced by the world itself, i.e. by a certain degree of turbidity in the air. So colours are no more obliged to give credit to the drawing as a paradigm of the forms. As Robert Delaunay says, colours create forms.