‘The Most Beautiful Blue’: Painting, Science, and the Perception of Coloured Shadows

British Journal of Aesthetics 58 (4):401-421 (2018)
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Abstract

This article examines first of all how painters’ ability to perceive transient coloured shadows was both facilitated, and impoverished, by scientific theories of their causes. It then investigates how developing techniques of viewing the scene through a frame or half-closed eyes allowed artists to apprehend these elusive phenomena in something approaching their full richness.

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10.1093/aesthj/ayy030

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References found in this work

Eye and Mind.Maurice Merleau-Ponty - 1964 - In The Primacy of Perception. Evanston, USA: Northwestern University Press. pp. 159-190.
Cézanne's Doubt.Maurice Merleau-Ponty - 1964 - In Sense and Non-Sense. [Evanston, Ill.]: Northwestern University Press. pp. 1-25.
Color Constancy.David H. Foster - 2011 - Vision Research 51:674-700.

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