The so-called inverted spectrum arises in optical arrangements when transparent and opaque, dark and bright elements are mutually exchanged. In looking through a prism to black-white patterns, e.g, switching black and white results in complementary colours and in particular the inverted spectrum. In...

Ausführliche Beschreibung

Bibliographische Detailangaben

1. Verfasser:	Steinle, Friedrich 1957- (VerfasserIn)
Format:	Elektronisch Artikel
Sprache:	German
Veröffentlicht:	2024
Online-Zugang:	Volltext
Zusammenfassung:	The so-called inverted spectrum arises in optical arrangements when transparent and opaque, dark and bright elements are mutually exchanged. In looking through a prism to black-white patterns, e.g, switching black and white results in complementary colours and in particular the inverted spectrum. In the 18th century debate between trichromacy and the Newtonian seven-colour mixing scheme, many took it for granted that these approaches applied both to material colours and those of light. The trichromaticist Tobias Mayer was the first to state, in 1758, that the three primary colours of trichromacy were equal to the three main colours of the inverted spectrum. That insight was shared by others and was central in the various attempts, around 1800, to create a unified colour theory that embraced both the material, the optical, and even those colours that arose by contrast phenomena: Sowerby, Klotz and, most broadly, Goethe. Realizing the historical importance of the inverted spectrum, also for painters, provides new perspectives for our understanding of those attempts.
Beschreibung:	Illustrationen
ISSN:	2750-6185