And that's what I tried to do," Stella said. "I tried to keep the paint as good as it was in the can." That's a very chewy problem for painters. This richly thoughtful book deserves to be read by lots of painters and anyone else with more than a passing interest in visual culture. An elegant dissection of the fear of colour within Western art, architecture, literature and beyond.

Galt, Rosalind (2011). Pretty: Film and the Decorative Image. Columbia University Press. pp.44–. ISBN 9780231153478 . Retrieved 22 August 2014. Goethe: "...it is also worthy of remark, that savage nations, uneducated people, and children have a great predilection for vivid colors, that animals are excited to rage by certain colors; that people of refinement avoid vivid colors in their dress and the objects around them, and seem inclined to banish them altogether from their presence."In David Batchelor's rented garage in north London, one wall is filled with his photographs of signs and billboards that have been painted or papered over with a single color. He calls them "found monochromes." Muted, sea green walls in a guest bathroom in Edward Bulmer's house Lucas Allen Choosing the colour

Colour and pattern can be useful; they’re forgiving of spills and the general detritus of life, they bring warmth and calm, and yet some of us struggle to employ them, even if we want to. The word chromophobia, when used by Batchelor, literally refers to an aversion of the use of colour in product or design – but there are ways of introducing it, gradually, if desired, and in a way that isn’t overwhelming. “I believe that every man, woman and child alive has within him a true instinct for colour,” wrote the great American designer Dorothy Draper in Decorating is Fun!, while conceding that “sometimes that instinct has been neglected till it is rather deeply buried.” (We should add a disclaimer here that chromophobia is a spectrum, and the more intense end is far from trivial for those who suffer from it.) Getting started Names exist that mean fear of specific colors such as erythrophobia for the fear of red, xanthophobia for the fear of yellow and leukophobia for the fear of white. [2] A fear of the color red may be associated with a fear of blood. [2] Overview [ edit ] Todo este análisis que hace Batchelor me parece súper revelador y tremendamente interesante. Sin embargo, el autor, despacha estas ideas en breves paginas y se centra en unas implicaciones más filosóficas que pragmáticas, entre otras cosas debido a sus referentes casi todos señoros de pro. Además en muchos casos no se sabe cuándo analiza o crítica las ideas de estos referentes o son los pensamientos del propio Batchelor. A new book from one of Reaktion’s bestselling authors, which examines the use of colour and luminosity in science, art and the modern world, uniquely posing questions about the ultimate non-colour: grey.The literary gems shine throughout, as when he references Salman Rushdie on The Wizard of Oz and "the joys of going away, of leaving the grayness and entering the color … it is a celebration of escape, a great paean to the Uprooted Self, a hymn -- the hymn -- to elsewhere." El color, desde el punto de vista de la cultura occidental, es decir, desde el punto de vista hegemónico se ha relacionado con lo femenino, con lo infantil, con lo "primitivo", con lo LGTB, con lo "vulgar". El color está vinculado con toda la disidencia del sistema clasista, racista, misógino, homófobo, tránsfobo y adultocentrista en el que estamos. And the king of design psychopaths, Le Corbusier, said that color was suited to "simple races, peasants and savages." En cuanto al propio texto, aunque la prosa es bastante buena, la organización del texto y de las ideas no me llevaban hacia conclusiones claras sino que más bien eran nexos para ideas, muchas de ellas, interesantes pero sin una gran conclusión clara. In a study, hatchling Loggerhead sea turtles were found to have an aversion to lights in the yellow wave spectrum which is thought to be a characteristic that helps orient themselves toward the ocean. [10] [11] The Mediterranean sand smelt, Atherina hepsetus, has shown an aversion to red objects placed next to a tank while it will investigate objects of other colors. [12] In other experiments, geese have been conditioned to have adverse reactions to foods of a particular color, although the reaction was not observed in reaction to colored water. [13]

Ph.D., Gregory Korgeski (2009-11-03). The Complete Idiot's Guide to Phobias. DK Publishing. pp.232–. ISBN 9781101149546 . Retrieved 23 August 2014. Chromophobia may also refer to an aversion of use of color in products or design. [4] Within cellular biology, " chromophobic" cells are a classification of cells that do not attract hematoxylin, [5] and is related to chromatolysis. [6] Terminology [ edit ] The central argument of Chromophobia is that a chromophobic impulse - a fear of corruption or contamination through color - lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge color, either by making it the property of some "foreign body" - the oriental, the feminine, the infantile, the vulgar, or the pathological - or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic.Chromophobia manifests itself in the many and varied attempts to purge colour from culture, to devalue colour, to diminish its significance, to deny its complexity. More specifically: this purging of colour is usually accomplished in one of two ways. In the first, colour is made out to be the property of some ‘foreign’ body - usually the feminine, the oriental, the primitive, the infantile, the vulgar, the queer or the pathological. In the second, colour is relegated to the realm of the superficial, the supplementary, the inessential or the cosmetic. In one, colour is regarded as alien and therefore dangerous; in the other, it is perceived merely as a secondary quality of experience, and thus unworthy of serious consideration. Colour is dangerous, or it is trivial, or it is both. (It is typical of prejudices to conflate the sinister and the superficial.) Either way, colour is routinely excluded from the higher concerns of the Mind. It is other to the higher values of Western culture. Or perhaps culture is other to the higher values of colour. Or colour is the corruption of culture. [...] The Luminous and the Grey is a study of the places where colour comes into being and where it fades away, an inquiry into when colour begins and when it ends, both in the material world and in the imagination. Batchelor draws on a wide range of material, including neuroscience, philosophy, literature, film and the writings of artists; and makes use of his own experience as an artist who has worked with colour for more than twenty years. YAX (yax) (T16) 1> adjective "green" 2> adjective "blue" 3> adjective "blue-green" 4> adjective "first." The central argument of Chromophobia is that a chromophobic impulse – a fear of corruption or contamination through colour – lurks within much Western cultural and intellectual thought. This is apparent in the many and varied attempts to purge colour, either by making it the property of some foreign body – the oriental, the feminine, the infantile, the vulgar, or the pathological – or by relegating it to the realm of the superficial, the supplementary, the inessential, or the cosmetic. Chromophobia has been a cultural phenomenon since ancient Greek times; this book is concerned with the motivations behind chromophobia and with forms of resistance to it. Batchelor considers the work of a wide range of writers and artists and explores diverse imagery including Herman Melville's ‘Great White Whale’, Aldous Huxley's ‘Reflections on Mescaline’, Le Corbusier's Journey to the East and L Frank Baum’s Wizard of Oz. Batchelor also discusses the use of colour in Pop, Minimal, and more recent art.