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On Color
Ranging from Homer to Picasso, and from the Iranian Revolution to The Wizard of Oz, this spirited and radiant book awakens us anew to the role of color in our lives
Our lives are saturated by color. We live in a world of vivid colors, and color marks our psychological and social existence. But for all color’s inescapability, we don’t know much about it. Now authors David Scott Kastan and Stephen Farthing offer a fresh and imaginative exploration of one of the most intriguing and least understood aspects of everyday experience.
Kastan and Farthing, a scholar and a painter, respectively, investigate color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific. In ten lively and wide-ranging chapters, each devoted to a different color, they examine the various ways colors have shaped and continue to shape our social and moral imaginations. Each individual color becomes the focal point for a consideration of one of the extraordinary ways in which color appears and matters in our lives. Beautifully produced in full color, this book is a remarkably smart, entertaining, and fascinating guide to this elusive topic.
Our lives are saturated by color. We live in a world of vivid colors, and color marks our psychological and social existence. But for all color’s inescapability, we don’t know much about it. Now authors David Scott Kastan and Stephen Farthing offer a fresh and imaginative exploration of one of the most intriguing and least understood aspects of everyday experience.
Kastan and Farthing, a scholar and a painter, respectively, investigate color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific. In ten lively and wide-ranging chapters, each devoted to a different color, they examine the various ways colors have shaped and continue to shape our social and moral imaginations. Each individual color becomes the focal point for a consideration of one of the extraordinary ways in which color appears and matters in our lives. Beautifully produced in full color, this book is a remarkably smart, entertaining, and fascinating guide to this elusive topic.
272 pages, Hardcover
First published May 22, 2018
96 people are currently reading
1021 people want to read
About the author
David Scott Kastan
71 books5 followersDavid Scott Kastan, the George M. Bodman Professor of English at Yale University, is one of the general editors of the Arden Shakespeare.
George M. Bodman Professor Emeritus of English
David Kastan
Ph.D., University of Chicago
B.A., Princeton University
Although I teach broadly across the field of Renaissance literature, my primary academic concern has been with the relations of literature and history in early modern England, considered from a variety of perspectives. This interest has in large part focused on the production, transmission, and reception of texts (a focus that I like to think of as “the new boredom”). I am one of the general editors of the Arden Shakespeare, for which I edited 1 Henry IV, and I edited both Milton’s Paradise Lost and Marlowe’s Doctor Faustus for other publishers. I was the co-editor of the Bantam Shakespeare and the series editor for the Barnes and Noble Shakespeare. In addition, I edited The Oxford Encyclopedia of British Literature, and also (with John Cox), A New History of Early English Drama and (with Peter Stallybrass) Staging the Renaissance. Among my scholarly publications are Shakespeare and the Shapes of Time, Shakespeare after Theory, Shakespeare and the Book, and A Will to Believe: Shakespeare and Religion. Recently I have begun writing about the visual arts, including of number of essays written for art museum catalogues. My most recent book, entitled On Color, written with the painter Stephen Farthing, was published by Yale University Press in 2018. I am now working on a book tentatively entitled In Search of Rembrandt, as well as a book (perhaps) to be called The Problem of Beauty.
George M. Bodman Professor Emeritus of English
David Kastan
Ph.D., University of Chicago
B.A., Princeton University
Although I teach broadly across the field of Renaissance literature, my primary academic concern has been with the relations of literature and history in early modern England, considered from a variety of perspectives. This interest has in large part focused on the production, transmission, and reception of texts (a focus that I like to think of as “the new boredom”). I am one of the general editors of the Arden Shakespeare, for which I edited 1 Henry IV, and I edited both Milton’s Paradise Lost and Marlowe’s Doctor Faustus for other publishers. I was the co-editor of the Bantam Shakespeare and the series editor for the Barnes and Noble Shakespeare. In addition, I edited The Oxford Encyclopedia of British Literature, and also (with John Cox), A New History of Early English Drama and (with Peter Stallybrass) Staging the Renaissance. Among my scholarly publications are Shakespeare and the Shapes of Time, Shakespeare after Theory, Shakespeare and the Book, and A Will to Believe: Shakespeare and Religion. Recently I have begun writing about the visual arts, including of number of essays written for art museum catalogues. My most recent book, entitled On Color, written with the painter Stephen Farthing, was published by Yale University Press in 2018. I am now working on a book tentatively entitled In Search of Rembrandt, as well as a book (perhaps) to be called The Problem of Beauty.
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Displaying 1 - 30 of 95 reviews
May 13, 2022
"Our lives are saturated by color. We live in a world of vivid colors, and color marks our psychological and social existence. But for all color's inescapability, we don't know much about it."
How is it that colors have meaning? David Scott Kastan's On Color presents a history and a story of how meanings for color are created. In doing so, he reminds us that such associations are cultural constructions. That the U.S. has red and blue states almost seems natural now, but it is a very recent construction. Kastan dates other associations of blue with emotional states, some going back to ancient Greece and more recently a style of music in the early 20th century, 'the blues.'
How and when certain color names entered our vocabulary becomes part of the story. Notably, Kastan maintains that orange wasn't really thought of as a discrete color until the fruit was brought to Europe commercially in the 16th century. Moving from one color to the next, Kastan shows that colors have associations in nearly all aspects of our lives. The meaning of color is the meaning we invest it with. In many cultures, white is associated with innocence and purity. Yet the whiteness of the whale in Moby Dick is a malevolence that rages against the arbitrary symbolism we have amassed around white. While Melville might not have succeeded in changing the meaning of white, interpretations can and will change. Of course, our associations with color also have far-reaching consequences when it comes to race. Interesting and engaging read. 3.75 stars
How is it that colors have meaning? David Scott Kastan's On Color presents a history and a story of how meanings for color are created. In doing so, he reminds us that such associations are cultural constructions. That the U.S. has red and blue states almost seems natural now, but it is a very recent construction. Kastan dates other associations of blue with emotional states, some going back to ancient Greece and more recently a style of music in the early 20th century, 'the blues.'
How and when certain color names entered our vocabulary becomes part of the story. Notably, Kastan maintains that orange wasn't really thought of as a discrete color until the fruit was brought to Europe commercially in the 16th century. Moving from one color to the next, Kastan shows that colors have associations in nearly all aspects of our lives. The meaning of color is the meaning we invest it with. In many cultures, white is associated with innocence and purity. Yet the whiteness of the whale in Moby Dick is a malevolence that rages against the arbitrary symbolism we have amassed around white. While Melville might not have succeeded in changing the meaning of white, interpretations can and will change. Of course, our associations with color also have far-reaching consequences when it comes to race. Interesting and engaging read. 3.75 stars
January 23, 2019
This book has taught me so much about colour or, I should say, how we (humans) make colour colour.
In a semi academic yet accessible way, the authors explain how we physically ‘see’ colours. I can’t get my head around colours not actually being there but it was interesting nonetheless. The chapters are split into the seven colours of the rainbow, as defined by Newton, and then ending with black, white and gray. For each, their use by artists (particularly their place in art history), writers, politicians, human rights activists, different cultures and societies, is explored. One colour can have a complexity of meanings, except that colours in themselves don’t ‘mean’.
Color doesn’t tell us what the meaning is. We tell the color; and whatever we say it means, we make it mean..
Take black, for instance. Is black a colour or is it lack of colour?
Black is a color worn equally by mourners and monarchs, melancholic and motorcycle enthusiasts. It’s the color favoured both by beatniks (remember those?) and by Batman. By ninjas and by nuns. By fascists and by fashionistas.......It is a colour that can be both recessive and excessive: the color of abjection and of arrogance, of piety and of perversity, of restraint and of rebelliousness. It’s the color of glamour, and it is the colour of gloom.
Associations can appear arbitrary. Sometimes one colour can point us in opposite directions, e.g. blue blood, blue collar. There is usually a reason for these applications though. The sensation of color is physical; the perception of color is cultural.
In one chapter, the authors explore skin colour, particularly the politics of colour. ‘Coloured people’ is a term that has been reclaimed by ‘people of colour’ but, the authors argue, what person is not ‘coloured’? Complexions are myriad but no one is actually white / lacks colour. It is, of course, a political statement rather than a literal description. It was interesting to learn that until the end of the 19th century, the Japanese and Chinese were considered ‘white’. It was only when immigration to the USA significantly increased at that time, and Jack London coined the phrase ‘the yellow peril’, that their skin complexion was perceived differently. Then there is ‘red’ skin but that’s another story.
Another learning curve for me was the chapter on indigo, not a colour but a dye. Newton has it in his rainbow but, in England, it was known as Navy Blue and that colour certainly doesn’t appear in any rainbow. In modern times, violet usually replaces indigo. Anyway, I had no idea of the human suffering involved in its production or that it was produced on slave plantations. The conditions were appalling and life was short for those working with it. Every day is a school day.
I strongly recommend this book. I learned a great deal and every page brought a new idea or lesson to me. Sometimes a colour is just a colour but sometimes, very often, it is so much more.
With thanks to NetGalley and Yale University Press for a review copy.
In a semi academic yet accessible way, the authors explain how we physically ‘see’ colours. I can’t get my head around colours not actually being there but it was interesting nonetheless. The chapters are split into the seven colours of the rainbow, as defined by Newton, and then ending with black, white and gray. For each, their use by artists (particularly their place in art history), writers, politicians, human rights activists, different cultures and societies, is explored. One colour can have a complexity of meanings, except that colours in themselves don’t ‘mean’.
Color doesn’t tell us what the meaning is. We tell the color; and whatever we say it means, we make it mean..
Take black, for instance. Is black a colour or is it lack of colour?
Black is a color worn equally by mourners and monarchs, melancholic and motorcycle enthusiasts. It’s the color favoured both by beatniks (remember those?) and by Batman. By ninjas and by nuns. By fascists and by fashionistas.......It is a colour that can be both recessive and excessive: the color of abjection and of arrogance, of piety and of perversity, of restraint and of rebelliousness. It’s the color of glamour, and it is the colour of gloom.
Associations can appear arbitrary. Sometimes one colour can point us in opposite directions, e.g. blue blood, blue collar. There is usually a reason for these applications though. The sensation of color is physical; the perception of color is cultural.
In one chapter, the authors explore skin colour, particularly the politics of colour. ‘Coloured people’ is a term that has been reclaimed by ‘people of colour’ but, the authors argue, what person is not ‘coloured’? Complexions are myriad but no one is actually white / lacks colour. It is, of course, a political statement rather than a literal description. It was interesting to learn that until the end of the 19th century, the Japanese and Chinese were considered ‘white’. It was only when immigration to the USA significantly increased at that time, and Jack London coined the phrase ‘the yellow peril’, that their skin complexion was perceived differently. Then there is ‘red’ skin but that’s another story.
Another learning curve for me was the chapter on indigo, not a colour but a dye. Newton has it in his rainbow but, in England, it was known as Navy Blue and that colour certainly doesn’t appear in any rainbow. In modern times, violet usually replaces indigo. Anyway, I had no idea of the human suffering involved in its production or that it was produced on slave plantations. The conditions were appalling and life was short for those working with it. Every day is a school day.
I strongly recommend this book. I learned a great deal and every page brought a new idea or lesson to me. Sometimes a colour is just a colour but sometimes, very often, it is so much more.
With thanks to NetGalley and Yale University Press for a review copy.
June 20, 2021
Audiobook. Quite in-depth on the cultural, philosophical, linguistic, political (and many other) usages and connotations of colour and their derived meanings
September 14, 2018
David Scott Kastan, a George M. Bodman Professor of English at Yale University and Stephen Farthing, an artist and elected member of the Royal Academy of Arts in London and Emeritus Fellow of St. Edmund Hall, the University of Oxford have collaborated on this beautiful, and educational book about the history of color and how it plays out in the world through art, politics, perceptions and more.
On Color encourages us to think about what we see, what each color symbolizes and how it makes us feel. According to the authors, scientists believe there are more than 17 million different colors. Red is known to be the color of roses, yet is the rose red or does it just appear to be red? In trying to understand what each individual actually sees, Kastan discusses how length, an objective property, is something that can be proven and verified by measurement, while color is perceived and can only be classified as an aspect… a vague property.
Did you know there was no Orange before oranges came to Europe? Van Gogh celebrated the depth of the color in his Basket With Six Oranges, while other artists utilized Orange differently. How did Yellow become associated with asians and what does color have to do with racial identity? Green may be a political color in Ireland but in the United States it has become the color of our environmental movement, and ecological concerns.
About 20% of people choose Green as their favorite color (I am one of those people).
For centuries, Blue has been the color of despair. Paintings from Picasso’s Blue period depict his depression. In the 1670s Newton named the color Indigo – at the time, it was a dye to color things blue. He also changed ROYGBIP (Purple) to ROYGBIV (Violet) and then, in the late 1800s Impressionism embraced Violet. Controversy surrounded the use of Violet in art because it did not represent the truth, only the trick of the light. Black is the color of funerals, the fashionable LBD (little black dress) and the color of darkness. Is White a mixture of all colors? Does it mean purity?
“Color doesn’t tell us what that meaning is. We tell the color; and whatever we say it means, we make it mean…”
So much to enjoy and absorb in this insightful and sophisticated exploration of color, art and history within each chapter, along with current perceptions and discussions…
This beautiful book wouldn’t be complete without mention of the infamous black and blue/white and gold dress that brought color discussion to the forefront and became an internet sensation!
I highly recommend this book to history lovers, artists, and all who see in color! The hardcover edition makes a beautiful gift!
On Color is part of the Bedside Reading program and will be complimentary for guests at the Conrad Hotel in NY later this year.
Follow my blog Book Nation by Jen for all my reviews and recommendations.
On Color encourages us to think about what we see, what each color symbolizes and how it makes us feel. According to the authors, scientists believe there are more than 17 million different colors. Red is known to be the color of roses, yet is the rose red or does it just appear to be red? In trying to understand what each individual actually sees, Kastan discusses how length, an objective property, is something that can be proven and verified by measurement, while color is perceived and can only be classified as an aspect… a vague property.
Did you know there was no Orange before oranges came to Europe? Van Gogh celebrated the depth of the color in his Basket With Six Oranges, while other artists utilized Orange differently. How did Yellow become associated with asians and what does color have to do with racial identity? Green may be a political color in Ireland but in the United States it has become the color of our environmental movement, and ecological concerns.
About 20% of people choose Green as their favorite color (I am one of those people).
For centuries, Blue has been the color of despair. Paintings from Picasso’s Blue period depict his depression. In the 1670s Newton named the color Indigo – at the time, it was a dye to color things blue. He also changed ROYGBIP (Purple) to ROYGBIV (Violet) and then, in the late 1800s Impressionism embraced Violet. Controversy surrounded the use of Violet in art because it did not represent the truth, only the trick of the light. Black is the color of funerals, the fashionable LBD (little black dress) and the color of darkness. Is White a mixture of all colors? Does it mean purity?
“Color doesn’t tell us what that meaning is. We tell the color; and whatever we say it means, we make it mean…”
So much to enjoy and absorb in this insightful and sophisticated exploration of color, art and history within each chapter, along with current perceptions and discussions…
This beautiful book wouldn’t be complete without mention of the infamous black and blue/white and gold dress that brought color discussion to the forefront and became an internet sensation!
I highly recommend this book to history lovers, artists, and all who see in color! The hardcover edition makes a beautiful gift!
On Color is part of the Bedside Reading program and will be complimentary for guests at the Conrad Hotel in NY later this year.
Follow my blog Book Nation by Jen for all my reviews and recommendations.
July 6, 2018
On Color should "investigate color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific." It tries, but, unfortunately, tells nothing about everything. E. g. It doesn't say anything about red color in the whole chapter about the red. The chapter is full of blah blah about colors in general. It contains some interesting parts but even they will bore you to death because they're on one hand sooo o o o talkative and on the other unfinished. Don't waste your time with this book.
October 21, 2021
This is potentially the most misleading book I've ever encountered. Posing as a book on pigments, it actually reads like a shopping list of humanity's racist crimes.
Don't get me wrong. A book on colour... Maybe mention the fact that indigo was made by slaves and that Crayola was right to rename insensitive colour shades of crayon.
But don't pitch me a book that says its going to explore individual colours from the perspective of a writer and a painter and then go on endlessly about slavery. I want etymology, science (real science, not a grazing over its surface), more depth. Don't waste it on trying to appear virtuous. Write a different book for that. Then you'll have two strong books instead of one shallow one.
And not even because I have a dumbass rightwing aversion to the truth. But because you're not actually saying anything. You're just listing things and saying how bad they are. That don't impress me much and it includes none of the voices involved. Plenty of awful things slave owners said, nothing from the slaves.
I loved the section on blue though. Was it chapter 8? That section spoke to me on a really core level. After reading the section on ultramarine and it's links to the church. Derek Jarman's film was not something I was aware of and it was amazing to hear about. And in a way which is common to me, but nevertheless extraordinary to me every time it happens... I walked the dog and we came across a dog we had never met before called Blue. And I turned the corner to a van with words Royal Blue painted on its side. And the next corner held a film crew. Three massive vans of lighting. Multiple trailers. We don't have films recorded around the corner from my house often.
So in a weird way, it was important that I read this book. The reason will probably make itself clear at some point in the future. So that's why it is at 2.5 stars. There was a little enough to lift it, though not enough to recommend it.
Don't get me wrong. A book on colour... Maybe mention the fact that indigo was made by slaves and that Crayola was right to rename insensitive colour shades of crayon.
But don't pitch me a book that says its going to explore individual colours from the perspective of a writer and a painter and then go on endlessly about slavery. I want etymology, science (real science, not a grazing over its surface), more depth. Don't waste it on trying to appear virtuous. Write a different book for that. Then you'll have two strong books instead of one shallow one.
And not even because I have a dumbass rightwing aversion to the truth. But because you're not actually saying anything. You're just listing things and saying how bad they are. That don't impress me much and it includes none of the voices involved. Plenty of awful things slave owners said, nothing from the slaves.
I loved the section on blue though. Was it chapter 8? That section spoke to me on a really core level. After reading the section on ultramarine and it's links to the church. Derek Jarman's film was not something I was aware of and it was amazing to hear about. And in a way which is common to me, but nevertheless extraordinary to me every time it happens... I walked the dog and we came across a dog we had never met before called Blue. And I turned the corner to a van with words Royal Blue painted on its side. And the next corner held a film crew. Three massive vans of lighting. Multiple trailers. We don't have films recorded around the corner from my house often.
So in a weird way, it was important that I read this book. The reason will probably make itself clear at some point in the future. So that's why it is at 2.5 stars. There was a little enough to lift it, though not enough to recommend it.
October 23, 2022
Have you ever considered that the colour orange is named after a fruit, and it's the only one out of the seven shades in the rainbow which is named after something tangible? This is because in the English language there was no name for the colour orange, so the colour was named after the fruit following it being imported into Europe. Prior to this, orange wasn't even considered a colour, rather it was a shade of brown or yellow.
On Color is a dense read for anyone who loves learning; it combines a good mix of history, art, literature, and science and is littered with fun facts just like this one! A peak nerd read.
On Color is a dense read for anyone who loves learning; it combines a good mix of history, art, literature, and science and is littered with fun facts just like this one! A peak nerd read.
January 28, 2023
Książka jest dobra i rzetelna. Przez pierwsze rozdziały odnoszące się do biologii i fizyki trochę się nudziłam i za to tylko 3 gwiazdki. Za to rozdziały o rasizmie i kolorach w polityce to jest złoto.
September 9, 2018
A wonderful book wherein each chapter is devoted to the colors of ROY G BIV plus black, white, and grey. They discuss the various connotations and uses of these colors across ages and cultures in a fascinating way. Definitely recommend.
August 30, 2019
I skipped around, it's a pretty book and reasonably well-written, but had my quarrels with some statements. They lost me sometimes. Here's my response to the claim that "Not many things are orange . . ." https://janpriddyoregon.wordpress.com...
October 16, 2021
I found this absolutely captivating. Now, I can't help but think about, and perhaps overthink about, how much color exists as physiological phenomena versus as cultural constructions.
November 10, 2020
This is exactly the book I wished it would be though it was too short.
Mildly philosophical, mildly scientific but written like a good novel.
Mildly philosophical, mildly scientific but written like a good novel.
December 8, 2021
Quick read and fascinating.
April 20, 2022
This was a free audiobook. I had loads of issues with it, as I knew I would. The structure follows the seven agreed-upon colors of the rainbow, plus black, white, and gray. It mostly talks about what they symbolize in English idioms after a brief discussion of some of the scientific mechanics of color, ranging from physics, chemistry, to biology and neuroscience. As expected, I took issue with the author's rather brief and hypocritical look at color-blindness. I'm color-blind myself, and he briefly dismisses it as a defect, then mentions how pigeons can see more colors than humans, but we can disregard them because they don't talk about colors, and never comes back to the fact that, yes, color-blind humans are in fact humans, so maybe we shouldn't dismiss them so casually. He briefly mentions Ishihara tests, but conveniently leaves out that there are Ishihara tests that color-blind people can see, but people with normal color vision cannot.
Anyhow, apart from my own axe to grind on this, there really isn't all that much about color after the first chapter or so, with most of the time just addressing things that use color, and not things about the colors themselves. I probably should have gone with my gut and skipped this, instead of going in expecting to be disappointed and having my expectations met.
Anyhow, apart from my own axe to grind on this, there really isn't all that much about color after the first chapter or so, with most of the time just addressing things that use color, and not things about the colors themselves. I probably should have gone with my gut and skipped this, instead of going in expecting to be disappointed and having my expectations met.
October 21, 2020
Surprisingly interesting! I never would have thought there was so much to say about colors (literal colors, not racism, though that did come up of course.) This Great Courses study was oriented by a different color for each chapter, and it spanned the scientific progression of thinking of colors as properties of objects, to recognizing it instead as a property of light, and thus, existing only in the mind. Then the historical etymology and literary and artistic usage of each color was discussed--for example, I did not know that in Geoffrey Chaucer's day, the color orange was described as "somewhere between red and yellow," and had no name of its own. Even in Shakespeare's time, it was scarcely described except to refer to the fruit. Then, blue: Homer famously called the ocean the "wine-dark sea," which seems a very odd way to refer to the color blue. This led to the speculation: were the ancient Greeks colorblind? Or did they see blue, but simply have no word for it? And did you know that pigeons see more colors than humans do, based on the number of cones in their retinas? Lots of fun facts. Very cool read.
July 26, 2018
Wasn't what I hoped for. On Color features essays that are more like gentle, aimless pokes than forceful stabs at how colors accumulate meaning. The prose is a stumbling block for me; every chapter agonizingly teases out puns and phrases related to various colors. The arguments fall back on linguistic origins too often, and their attention to the art world seems random. There are a lot of nice facts about color but they're too often mashed together without a strong through-line. Some chapters wield a pronounced skepticism about color associations, while others assume them as a starting point. The Indigo chapter is an exception, because it has a tighter focus on the process of making the indigo dye and its connection with slavery.
July 26, 2020
An absolute waste of time...
If you want to find a book without useful information and without entertaining values, this is your choice! If you want to find a book as a present for someone you hate, just buy this!
The "science" part contained several mistakes, the art part was extremely boring... I do love art but hate when someone wants to explain it... E.g. the author wrote the mesosphere is 12 miles above us (WHAT THE F*CK??? The mesosphere begins at 31 miles and end at 53 miles altitude...)
If you want to find a book without useful information and without entertaining values, this is your choice! If you want to find a book as a present for someone you hate, just buy this!
The "science" part contained several mistakes, the art part was extremely boring... I do love art but hate when someone wants to explain it... E.g. the author wrote the mesosphere is 12 miles above us (WHAT THE F*CK??? The mesosphere begins at 31 miles and end at 53 miles altitude...)
May 6, 2021
A book about the history of color. Each chapter is on a different color and is well researched. But overall it was really dry. I felt like reading a research paper on each color.
January 28, 2022
Idk what I expected colour theory to be but this just felt very pedantic throughout.
February 2, 2022
More color theory than science.
March 21, 2019
Color me charmed
On Color, by Kastan and Farthing, is a charming little book that, like color itself, is hard to pin down with any sense of clarity. Just as we can never know what “purple” looks like to another person, On Color will mean different things to different readers. It’s equal parts philosophy, science, art history and design, and it uses color to investigate deeper topics around culture, psychology, racism, politics, language and more.
There are a few things to know about the book. First off, it’s beautiful. The design and images are striking, and work together to bring the topic to life.
Second, it doesn’t follow the typical linear progression found in many nonfiction books. It’s more of a ramble through a countryside of color led by two knowledgeable but quirky guides (a scholar and a painter) who share stories and insights as the topic moves them. Their tour follows a simple structure: the visible spectrum (ROYGBIV) as well as black, white and gray. Each chapter is focused on a color, and each chapter drifts immediately into unexpected territory.
In the chapter on orange, we learn there wasn’t a word for the color in English until the eponymous fruit made its way to Europe. And in talking about Vincent Van Gogh’s Still Life with Basket and Six Oranges, they highlight that it’s not only a celebration of this pure color, but also a nod to the word’s unusual character. “…it wouldn’t work exactly the same way if were a still life with a basket and six lemons. Lemons are yellow; oranges are orange.”
In the chapter on yellow, the authors talk about how Asians were considered “white” for centuries until they became a threat and the “yellow peril,” pointing out how color and the politics of skin tone has deadly ramifications. A fascinating part of this is how for decades Crayola had a flesh color, but it was only the color of a very narrow band of flesh — approximating what is often considered “white” skin tones. In 1962, the name was changed to “peach.”
In the chapter on indigo, they write: “Has anyone ever seen the color indigo? While is impossible to know the exact colors that people see, remarkably … no one, at least in English, seems to have used “indigo” as a word naming a specific color before Newton did. But Newton was convinced that the light that his prism had shattered into individual shards of color had to contain seven pure colors.” And so indigo, named for a kind of dye, was born.
Each chapter is a series of quiet revelation, but the magic fades into gray “the color of dust and disappointment” too quickly. Like trying to remember a vivid color from years long gone, the moments of illumination slip away. I suggest keeping a copy nearby to thumb through to keep the colors bright and alive.
On Color, by Kastan and Farthing, is a charming little book that, like color itself, is hard to pin down with any sense of clarity. Just as we can never know what “purple” looks like to another person, On Color will mean different things to different readers. It’s equal parts philosophy, science, art history and design, and it uses color to investigate deeper topics around culture, psychology, racism, politics, language and more.
There are a few things to know about the book. First off, it’s beautiful. The design and images are striking, and work together to bring the topic to life.
Second, it doesn’t follow the typical linear progression found in many nonfiction books. It’s more of a ramble through a countryside of color led by two knowledgeable but quirky guides (a scholar and a painter) who share stories and insights as the topic moves them. Their tour follows a simple structure: the visible spectrum (ROYGBIV) as well as black, white and gray. Each chapter is focused on a color, and each chapter drifts immediately into unexpected territory.
In the chapter on orange, we learn there wasn’t a word for the color in English until the eponymous fruit made its way to Europe. And in talking about Vincent Van Gogh’s Still Life with Basket and Six Oranges, they highlight that it’s not only a celebration of this pure color, but also a nod to the word’s unusual character. “…it wouldn’t work exactly the same way if were a still life with a basket and six lemons. Lemons are yellow; oranges are orange.”
In the chapter on yellow, the authors talk about how Asians were considered “white” for centuries until they became a threat and the “yellow peril,” pointing out how color and the politics of skin tone has deadly ramifications. A fascinating part of this is how for decades Crayola had a flesh color, but it was only the color of a very narrow band of flesh — approximating what is often considered “white” skin tones. In 1962, the name was changed to “peach.”
In the chapter on indigo, they write: “Has anyone ever seen the color indigo? While is impossible to know the exact colors that people see, remarkably … no one, at least in English, seems to have used “indigo” as a word naming a specific color before Newton did. But Newton was convinced that the light that his prism had shattered into individual shards of color had to contain seven pure colors.” And so indigo, named for a kind of dye, was born.
Each chapter is a series of quiet revelation, but the magic fades into gray “the color of dust and disappointment” too quickly. Like trying to remember a vivid color from years long gone, the moments of illumination slip away. I suggest keeping a copy nearby to thumb through to keep the colors bright and alive.
January 11, 2019
The best thing about this book might be the cover, which is beautiful. David Scott Kastan is clearly a guy who likes to hear himself talk; it is unclear exactly what "with Stephen Farthing" means... presumably as "an artist" he brought some technical expertise in colors and painting. Is it fair to downgrade a book because it didn't give me what I was hoping for, instead of judging it for how well it does what the author(s) intended to do? (The eternal reviewer's dilemma.) According to the jacket blurb, the book "investigate[s] color from numerous perspectives: literary, historical, cultural, anthropological, philosophical, art historical, political, and scientific." That's an awful lot for a book clocking in at just over 200 small-format pages, and definitely too much to deliver more than a pretty superficial skim of the subjects. Arranged in chapters each devoted to a particular color, they can be read (the author assures us) in any order. Which means there is no arc, no building, no synthesis, and a fair amount of repetition (including rather too much about artist Yves Klein and his famous blue, who I'm thinking must be a particular favorite of Farthing's?). The chapter on green spends a lot of words on how red and blue became codes for political leanings... so, all right, maybe the intent is to hang each chapter on a conceptual hook, rather than focusing on the actual color? Well, not really. Kastan is good at library (or internet) research, and cheerfully marshals lots of anecdotes and examples - many of which are interesting - in a chatty tone that too often veers into cute, punny, smart-aleck asides. The best chapter is the one on the color (or non-color) white, as he chooses to weave Moby Dick well into it, and as a literary scholar, this is what he's best at. Overall, though, the book reads more like a conglomeration of Wikipedia content processed with his own random ruminations and commentary. And yes, "The Dress" is mentioned (with photos) - but with very little serious examination or explication. Disappointing.
April 21, 2019
This is a cultural history journey. As someone intensely affected by colors around me, I looked for books on color. I was expecting more a book on color theory than this tactile experience of color. Intelligent and built with absolute care, the Audible is fantastic for gentle listening. This book does not require consistent constant attention like a biogenetics book; I have listened to "On Color" two times while doing alternative tasks. I listened twice to make sure I heard every word. It was like making love in a way you hadn't expected. The only complaint I might have could feed another book - - -the orientation is heavily EuroAmerican but that may reflect the interests and expertise of the contributors. Literature, art, a little cinema, and cultural lore add to the story. I was not very comfortable with the "orange" chapter, though, but perhaps I have my own issues here. My first experience with orange as a controversy was in second grade. I remember an argument with my classmates who insisted the sun was yellow and I countered the sun was orange. Perhaps it depends on time of day. . . and story books with compound attributions that teach "A is for a apple" (invariably a red apple) and "S is for the sun" (invariably yellow? gold? orange)? In any event, I think a little more revision on the color orange would have been possible. So glad you wrote the book and spent a decade perfecting it to your satisfaction; I enjoyed it immensely. The Audible version was absolutely well done with conversational accents you cannot as well convey in written words. I found myself googling images and terms once in awhile. I worried that a book on color could not be successful on Audible. I was wrong. Highly recommend.
July 31, 2019
On Color is a book full of surprises. It has been written as cooperation between an artist and a writer but it goes much deeper than I would have expected. Kastan and Farthing have decided to create a special type of monograph. The main topic or rather the central point of reference is color. However, it isn’t the only theme. On Color is a mixture of essays and scientific articles dealing with philosophical, political, historical, and psychological topics. The theme is only a starting point for many different reflections and observations. The fact that Kastan and Farthing were writing and weren’t writing about colors at the same time distracted and frustrated me at first but I got used it pretty quickly.
On Color isn’t book for everyone. If you are looking for a classical book about colors you might be disappointed. In case you are ready to let the writers be in charge of their associations and reflections about colors, you should definitely give it a try. On Color is extremely well researched and fascinating book full of stimulating thoughts.
On Color isn’t book for everyone. If you are looking for a classical book about colors you might be disappointed. In case you are ready to let the writers be in charge of their associations and reflections about colors, you should definitely give it a try. On Color is extremely well researched and fascinating book full of stimulating thoughts.
June 24, 2024
While not an advanced book, this is a light read. This book, while reading it, felt like the best college essay on color symbolism and how color relates to humanity. I'm glad I read it, but this is a very rudimentary introduction to color and art history. I had a discussion in a required college class about this topic in art and saw a lot more in the discussion than in this book. There wasn't any mentions about the color wheel and opposite colors. I wish there were references as some sources conflicted when I looked online to cross-check.
If you are an artist looking for a recommendation of something a bit more in depth, I'd recommend books on colorimetry if you want to quantify and describe color. The main goals of colorimetry are to create a systematic and standardized way to measure and communicate color thus ensuring consistency and accuracy across different applications.
This is a good read if the reader uses critical thinking while reading this.
If anyone has any recommendations based on my review, please let me know!
If you are an artist looking for a recommendation of something a bit more in depth, I'd recommend books on colorimetry if you want to quantify and describe color. The main goals of colorimetry are to create a systematic and standardized way to measure and communicate color thus ensuring consistency and accuracy across different applications.
This is a good read if the reader uses critical thinking while reading this.
If anyone has any recommendations based on my review, please let me know!
August 22, 2021
Breve saggio sui colori, si divide in capitoli in base al colore (o non colore come bianco e nero), all'interno troviamo anche delle fotografie che aiutano quanto spiegato. In fondo le note (elemento che a me disturba dover saltare avanti e indietro se voglio rapidamente leggerle), indice dei nomi, mentre manca la bibliografia.
I capitoli sono brevi e l'argomento è brevemente raccontato, essendo un libretto di poco più di 200 pagine è più un trampolino dell'argomento piuttosto che esserne esaustivo.
Da allieva di un liceo artistico ho apprezzato il contenuto, anche se breve, perché offre la possibilità di conoscere elementi nuovo senza risultare troppo accademico o settoriale.
La leggenda dell'arancione delle carote ha colpito il mio debole cuore, ancora rotto dopo la piramide feudale o Carlo Magno che inventa e promuove una scrittura uniforme nel regno.
Sono sicura che un domani mi servirà per qualche lezione.
I capitoli sono brevi e l'argomento è brevemente raccontato, essendo un libretto di poco più di 200 pagine è più un trampolino dell'argomento piuttosto che esserne esaustivo.
Da allieva di un liceo artistico ho apprezzato il contenuto, anche se breve, perché offre la possibilità di conoscere elementi nuovo senza risultare troppo accademico o settoriale.
La leggenda dell'arancione delle carote ha colpito il mio debole cuore, ancora rotto dopo la piramide feudale o Carlo Magno che inventa e promuove una scrittura uniforme nel regno.
Sono sicura che un domani mi servirà per qualche lezione.
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December 13, 2020If you are looking for a book that takes you through the spiritual and chakra meanings of colors, this is not what you want. If you wondered about how the People of Asian Descent came to be known as 'Yellow' among Americans, or why People of African and Middle Eastern Descent came to be known as 'Black' among Americans then this is the book for you. While Kastan and Farthing do some looking into how colors are perceived they spend more time discussing the social and sociological impact of color. There is some etymology and a few debunked theories on why some ancient peoples did not have words for 'Blue' as an example, as well as a lot of fascinating trivia. If you are looking for a slightly new way of looking at the world through a different lens, one made of the colors surrounding you, then this might be a good read for you.
April 21, 2021
On Color is a really interesting and concise exploration of the effect, history, symbolism, and importance of various colors, each one getting its own chapter. It's not really a visual book - because color is so subjective, there's far more importance placed on how colors have been viewed and described rather than pointing to a picture and saying 'this color' - but the authors drew so much on historical references and the historical role of color that their reliance on text rather than image was actually an advantage. There's a lot of interesting information and analysis ranging from the emergence of skin 'color' as a matter or sociopolitical importance to how the rainbow became popularly known as a seven color band. On Color is a book I'm really happy to have stumbled across while browsing and it is a book that I would recommend.
June 21, 2023
There are really interesting stories about colour, but some of them are just loosely connected to the topic, metaphoric or a bit forced. Some of the chapters are just associations around a specific colour.
The cultural and historical connections are very enjoyable but I found a mistake in the book at chapter red, where it is discussed that in Hungarian language we use two different word for red: piros and vörös. The book states that "blood is always vörös, but a dark red wine, possibly the same color would be piros." That is false. In modern Hungarian language red wine is never piros, but always vörös. In some old, historic texts you can find piros wine, but it is very very rare and only associated with a specific type of wine. Thanks to this book I read tones of documents about this topic (vörös-piros) in Hungarian. :)
Altogether it is not a bad book, I just expected something else.
The cultural and historical connections are very enjoyable but I found a mistake in the book at chapter red, where it is discussed that in Hungarian language we use two different word for red: piros and vörös. The book states that "blood is always vörös, but a dark red wine, possibly the same color would be piros." That is false. In modern Hungarian language red wine is never piros, but always vörös. In some old, historic texts you can find piros wine, but it is very very rare and only associated with a specific type of wine. Thanks to this book I read tones of documents about this topic (vörös-piros) in Hungarian. :)
Altogether it is not a bad book, I just expected something else.
January 23, 2023
I don't share my professional duties on Goodreads, but I must for this review.
I'm a college professor who has taught color theory for twenty years.
Kaftan's approach is refreshing and unique. More literary than the countless tomes on my office shelf, this volume acknowledges the complexities of color through specific (and often), esoteric examples. The examples are fun and entertaining. I can envision the topics addressed over a pint or three at the pub. In the classroom? Not as much. I'll cite them as interesting anecdotes; "Consider this!"
In all, a beautifully poetic and philosophical examination of our human experience we call 'color.' I can't use it a course textbook, but I'm glad I read it and will most certainly do so again.
I'm a college professor who has taught color theory for twenty years.
Kaftan's approach is refreshing and unique. More literary than the countless tomes on my office shelf, this volume acknowledges the complexities of color through specific (and often), esoteric examples. The examples are fun and entertaining. I can envision the topics addressed over a pint or three at the pub. In the classroom? Not as much. I'll cite them as interesting anecdotes; "Consider this!"
In all, a beautifully poetic and philosophical examination of our human experience we call 'color.' I can't use it a course textbook, but I'm glad I read it and will most certainly do so again.
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