De la teoría de los colores de Goethe a la interacción del color de Albers
[EN] In this article a basic common thread is drawn between Goethe’s Theory of Colours and Albers’ Interaction of colour. For Goethe, colour had a sensual-moral effect and could be used for the highest aesthetic purposes. This was later brilliantly exemplified by Albers in his series Homage to the S...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2015 |
| País: | España |
| Institución: | Universitat Politècnica de València (UPV) |
| Repositorio: | RiuNet. Repositorio Institucional de la Universitat Politécnica de Valéncia |
| Idioma: | español inglés |
| OAI Identifier: | oai:riunet.upv.es:10251/76232 |
| Acceso en línea: | https://riunet.upv.es/handle/10251/76232 |
| Access Level: | acceso abierto |
| Palabra clave: | Johann Wolfgang von Goethe Josef Albers Schopenhauer Analógico versus digital Theory of colours Interaction of colour Teoría de los colores |
| Sumario: | [EN] In this article a basic common thread is drawn between Goethe’s Theory of Colours and Albers’ Interaction of colour. For Goethe, colour had a sensual-moral effect and could be used for the highest aesthetic purposes. This was later brilliantly exemplified by Albers in his series Homage to the Square, in a way that has been defined in his latest and most complete retrospective as “minimal means, maximum effects”. The academic side of Albers reaches its highest expression in the aforementioned work, whose evolution from analogue to digital format will surely lead to a new wider circulation, hitherto hampered by the limited paperback versions and the unattainable nature of the full printed versions |
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