MacH Bands: Quantitative Studies on Neural Networks in the Retina

RATLIFF, Floyd

Holden-Day, 1965

Paul Signac and Color in Neo-Impressionism is a groundbreaking examination of the artistic technique of "divisionism" in terms of modern scientific theory of color. Truly interdisciplinary in his approach, Floyd Ratliff treats the evolution of both color theory and artistic practice in an integrated way. Signac was the principal advocate for the new movement launched by Georges Seurat in the 1880s. The book is handsomely illustrated with both Neo-Impressionist paintings and scientific drawings and diagrams. Ratliff's five-part essay provides an extended introduction to a translation of Signac's monograph, From Eugene Delacroix to Neo-Impressionism, widely regarded as the basic document of the movement, but never before available in English. This will be an invaluable reference for scholars in art and design, as well as students of the psychology and neurophysiology of color vision and those interested in the relation between the arts and the sciences. Its clarity of style also makes it accessible to the general reader interested in art history, painting, or the perception of color, particularly with its glossary of technical and art terms, index, and bibliography.

Paul Signac and Color in Neo-Impressionism

History

Rockefeller Univ Pr

This publication addresses the nature and function of color in painting. Since perception is subjective, two prominent scholars have written essays to describe how the mind perceives what the eye sees. The artists whose works are contemplated in this volume - Josef Albers and two of his students - Julian Stanczak and Richard Anuszkiewicz, use geometric abstraction to commence their inquiries into the function of color. These artists are frequently labeled as "Optical" or "Op" artists because the Op Art movement was named for Stanczak’s first exhibition in New York in 1964, and all three artists were included in the 1965 Museum of Modern Art exhibition, "The Responsive Eye." Although the Op Art label is historically accurate, all three of these artists are foremost colorists. As a result, they are different than most Op Artists, since most Op Artists focus more on pattern than color. This publication was issued in connection with an exhibition at Wake Forest University in 1996. It contains essays by Sanford Wurmfeld, a color painter and professor at Hunter College in New York, and Floyd Ratliff, Professor Emeritus of Rockefeller University. Ratliff’s essay is perhaps the best, most understandable essay ever written to explain the psychological and physiological processes involved in color vision.

Color Function Painting: The Art of Josef Albers, Julian Stanczak and Richard Anuszkiewicz

Rector, Neil K.

Wurmfeld, Sanford

Arts & Photography

Contemporary Collections

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