How do color names relate to the perception of colors?
Why will Newton and Helmholtz's equation of wavelength and color not suffice to explain color perception?
How do the coloring of museum walls and the nature of the lighting affect the perception of paintings?
Why do observers not agree on where the principal colors appear at their purest?
How does Arnheim apply his gestalt perspective in his discussion of color?
How does color illustrate the differences and relationships between verbal and visual thinking that Arnheim wants us to contemplate? (The exercise below should help with this contemplation.)
A Little Exercise:
Consider Arnheim's sketch of Matisse's painting Luxury on page 365. Use your 'mind's eye' to try to imagine the colored version of the painting solely on the basis of the color names that Arnheim provides. I can only do this for two neighboring colored objects at one time - I am not able to produce a colored mental image of the whole painting, but you may fare better (especially if you are a painter). A reproduction of the colored painting is available in the set of color images for Arnheim chapter VII - on myslc.
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