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Pictorial Art and Science: A case Study
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Pictorial Art and Science: A case Study

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Pictorial Art and Science is intended for readers with an interest in philosophy, art and science, for specialists and non-specialists in one or more of these domains. It is a strong plea for an empirical interdisciplinary approach of art. For a long time aesthetics has belonged to the domain of philosophy and art theories have been metaphysical and idealistic, implying a strong relationship between truth and beauty. The author wants to discard a number of misunderstandings about what painters have in mind when they declare that they want to render reality `as it really is'.
Her view is that for understanding the use of colour in pictorial art we must be informed about colour on the most fundamental cognitive levels. We must ask
ourselves what are the peculiarities of our visual system, of what colour terms people of different cultures dispose and how children learn them, and finally
what is the role of colour concepts in ordering reality and giving meaning to it.
Mia Gosselin also gives a fascinating account of the evolution of the meaning of colours in successive periods of western culture throwing light on ideological,
social, economical and technical factors playing a part in the process. She treats of colour in the Middle Ages, in Modern Times after Newton had developed
his famous scientific theory of colour, and in the more recent period after the industrial revolution. Her thesis is that it is only against such a complex background that it becomes possible to interpret the use of colour in works of art.
Mia Gosselin is Research Director of the Fund for Scientific Research Flanders and Professor Emeritus of the Free University Brussels, where she taught
philosophy. She is Director of the Centre for Empirical Epistemology of the same University. She is specialised in epistemology and applies her ideas in this
domain to art. In several articles and contributions she has advocated an empirical and interdisciplinary approach to pictorial art.
Her best known work is Nominalism and Contemporary Nominalism. Ontological and Epistemological Implications of the Work of W.V.O. Quine and of N.
Goodman, Synthese Library, Kluwer, Dordrecht, Boston, London, 1990.

Table of Contents

Pictorial Art and Science. A case study: the role of scientific facts, socio-economic factors and cultural conventions in the interpretation of the use of colour in pictures

M. Gosselin

Introduction, p. 5
Part I. Truth and Art, p. 9
1. Essentialism and truth in aesthetics, p. 9
2. Art and ‘reality as it really is’, p. 22
2.1 Traditionalism and innovation, p. 22
2.2 Conventionalism versus realism, p. 27
Part II. Case study. Colour, a natural and cultural phenomenon, p. 37
1. The first level. Colour perception, p. 38
1.1 Why colour? An ethological account of our visual system, p. 38
1.2 The human visual system, p. 45
2. The second level: our linguistic skills and colours, p. 55
3. The third level: conceptual schemes and cultural conventions, p. 68
3.1 Primitive thought, p. 68
3.2 Colour in the Middle Ages, p. 85
3.2.1 Historical, cultural, social and economical factors, p. 90
3.2.2 The perception of colours in the Middle Ages, p. 101
4. The scientific view. Colour in Modern Times and our own time, p. 116
4.1 Newton’s colour theory, p. 116
4.2 Newton’s theory and the artists, p. 124
4.3 Goethe’s theory of colours and its reception by scientists and artists, p. 128
4.4 The loss of meaning of colour after the industrial revolution, p. 138
4.5 Colour: and instrument, p. 145
Illustration, p. 151
Notes, p. 153
References, p. 163
Index of subjects, p. 169
Index of names, p. 175





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Last Updated: Tuesday, 18 June 2013 07:03


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