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Cargando... Color and Meaning: Art, Science, and Symbolismpor John Gage
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Es el color tan slo una reaccin psicolgica, o una pura sensacin fsica? Tiene un efecto en nuestros sentimientos o estados de nimo? John Gage examina desde una perspectiva nueva y extraordinaria el fenmeno del color, convencido de que, como el lenguaje, es un hecho histricamente determinado cuyo significado reside en los diversos contextos en los que se experimenta e interpreta. As, su erudita investigacinilustrada con ms de cien imgenes, treinta y siete de ellas en colorabarca temas tan diversos como las mezclas pticas en una tcnica como el mosaico, la simbologa medieval de los colores, la sintaxis de los colores y sus usos en Latinoamerica en tiempos de la conquista, la temprana historia de la ptica y el prisma, o las ideas sobre el color en la obra de Goethe y Runge, Blake y Turner o Seurat y Matisse. Un texto lleno de ideas, tan esencial como ameno. No se han encontrado descripciones de biblioteca. |
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Google Books — Cargando... GénerosSistema Decimal Melvil (DDC)701.85The arts Modified subdivisions of the arts Philosophy and theory of fine and decorative arts Inherant features ColorClasificación de la Biblioteca del CongresoValoraciónPromedio:
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This is denser, with more theories of perception and language of color. There is some repetition of material, chapters appearing to be modified from lectures or previously published articles. It’s also jumpier, lacking a steady flow of exposition. This is probably meant to be a textbook for art majors, but I was able to mine good stuff as a layperson.
Early Christian mosaics used raked tiles for halos in order to catch the light and glow. These works were built particularly to be experienced by lamplight and with the observer in motion, contrary to the electric lights now used for display. He quotes an early patriarch, Photius (how apt!), concerning the impressions of spectators on entering his church: “It is as if one had entered heaven itself with no one barring the way from any side, and was illuminated by the beauty in all forms shining all around like so many stars, so one is utterly amazed. Thenceforth, it seems that everything is in ecstatic motion, and the church itself is circling round. For the spectator, through his whirling about in all directions and being constantly astir, which he is forced to experience by the variegated spectacle on all sides, imagines that his personal condition is transferred to the object.” ( )