One of the most prevalent schools of artistry is color theory. All art is subjective, but there is a certain science to the way colors and light interact with each other. Arts and science have always had a close connection with each other, but what is the science behind it?
The Aristotelian tradition of primary colors and Isaac Newton’s prismatic theory blend the concepts of art and scientific theory. Light and color’s interaction, and how they are used in art, has been the subject of artistic work and scientific study alike.
Michael Treco explores several periods through history where the science of art helped establish color theory practices that are still in use with artists to this day.
Aristotle
The first recorded color theory came about when Aristotle theorized that the visible color spectrum was sent by God through light. He then suggested that all visible colors were born from lightness and darkness and held specific relations to the four elements.
The Aristotelian understanding of the primary colors considered blue and yellow to be the only primary hues. He associated this with a binary view of life, sun and moon, stimulus and sedation, out and in, and so on.
These were the publicly accepted views about color in the artistic world for 2000 years. It was Isaac Newton’s prismatic theory that shook both the worlds of art and science that would replace it.
Isaac Newton’s Prismatic Theory
Renowned physicist and mathematician Isaac Newton experimented with the way light passed through clear prisms. From this experimentation, our earliest understanding of the seven visible colors of white light took root.
In doing so, Newton identified the ROYGBIV (red, orange, yellow, green, blue, indigo, violet) color spectrum of visible light. He created the first iteration of a color wheel. To this day, artists use this color wheel to study color theory, such as that of complimentary colors.
Goethe’s Rebuttal
Over one hundred years later, the poet Goethe offered a rebuttal the theory Newton had established about color – at least from an artistic standpoint. He argued that color was not quite as objective as Newton insisted. Rather it should be subjective, based on the perceptions of the viewer.
He began to study the effects of color on the human mind. From this, he penned his ‘Theory of Colors’ in 1810. Newton’s studies were scientifical, but Goethe’s were based on the human reaction to different colors. These studies would branch into modern color psychology.
Chevreul’s Color System
A French chemist, Chevreul, was attempting to study the chemistry associated with dyeing pigments. This scientific work gave wings to an artistic movement; the color system that Chevreul developed was a cornerstone of pointillism and neo-impressionism.
It was so popular that the artists Seurat and Signac used this color palette almost exclusively in their works.
Conclusion
While they may seem to be separate disciplines, art and science have always been interwoven. Artists use certain colors and establish lighting to evoke emotions or establish mood and theme. The science of art is the science of color, psychology, and light working together.
