"Those who make light colors with lights only and mainly white, are the true reactionaries." Goethe
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Goethe would change his poetry, his stories, and probably the rest of his works for his "Theory of Colors." Johann Eckermann, the confidant of the last years of his life, shows his amazing words: "Of all the things I did as a poet, I get no vanity. I had as good contemporary poets, they are also better lived before me and there will be others after. But, being the only my century that has seen clearly in this difficult science of colors, yes, I'm proud of this and are conscious of being superior to many essays. "For Goethe, it is not so much a confirmation and scientific demonstration, but of understanding and truth. The color would know to be understood by instrumental reason. There are fields of knowledge beyond that, because of its nature, mathematical analysis of science and instrumental, as through the issue of the Goethe's color is looming on the question of modernity his century, the Enlightenment and the ways of thinking that affect speech and mental representations. "I revere the mathematical (...) But I do not agree that we are given to abuse of things that do not belong to their camp and where this noble science becomes absurd, as if only what can be proven mathematically! For Goethe, the theme of color became a personal matter, obviously because of the psycho-sociological explanations (very often so vulgar as illusory) incurred by the young Eckermann, but because the question called into question what he was, starting with his worldview, as is the reasoning developed in the Theory of Colors "that in the" Metamorphosis of Plants "is a matrix-type and Goethe is without doubt one of the highest representatives of his century. The color must not be understood globally analytically, must be made a purely sensual view. The perception of color depends on the balance of the ambient light: darkness everything is black and no one can tell whether the brightness is excessive. Goethe sets in the fourth part of his treatise two essential ideas: the origin of the colors (blue and yellow) from the darkness and light, up to the birth of color "final", the red, for intensification of each of the two previous colors. So, the red, is the result of obscuration of the yellow and blue fill. The three intermediate colors (green, purple, orange) round out the available colors as the evolution and a mixture of the three primary colors, in fact yellow, which comes from light, darkness and light blue are mixed to give the green and you step up to give the orange and purple to red to finally arrive. The genetic theory of colors, which opposes the testing Newtonian Goethe, that the spectral decomposition of white light into seven basic colors (including, indigo, which is artificial and no doubt introduced to satisfy the similarity between the color gamut and the musical), brings together the experience of artisans dyers and painters such as Leonardo da Vinci, who distinguishes the colors of light (such as yellow and red) from those of the shadow (blue and green). Explained in another way, we can also say that Goethe opposed to the empirical testing of light instrumental, sensory perception and observation of "natural" objects and their color tones brought to light. This is less of objectivity and subjectivity - the point of the thinker of Weimar is as objective as that of its predecessor-that a material difference in the quality of perception is a natural and universal, the other is the media, and manipulated the result exclusive of a culture defined by that obtained confirmation that equipment, it needs to assert its "universality" and his "objectivity" even if in disagreement with the common perception. The colors of Goethe may be arranged in a circle cromatico, nel quale i colori complementari si oppongono diametralmente, o incluso, in uno schema triangolare con i tre colori fondamentali agli angoli, ed i tre colori intermedi ai lati. Questo tema tuttavia non esaurisce tutte le possibilità del colore, come per esempio trattare il castano, il rosa o il grigio, prodotti dal mix tra il rosso, il nero ed il bianco. Sebbene possiamo costituire un secondo circolo o triangolo cromatico, in questa occasione col rosso come ultima componente della decompressione del bianco come del nero, il rosa ed il marrone sarebbero i passi intermedi, mentre il grigio il mix tra nero e bianco. Nel 1969, i linguisti Berlin e Kay dimostrarono che i termini utilizzati dalla maggior parte delle lingue per designare i colori, si riassumono in 11 key items, namely those that define the colors of the two chromatic circles "even if there is a different number of basic color categories within each language, we find that in 11 key is shared by all, from which the eleven items (and sometimes even less) of the basic colors in any language we want to analyze, are still represented. These are eleven categories of colors: white, black, red, green, yellow, blue, purple, orange and gray. " On the other hand, Berlin and Kay found that there was an order of priority concerning the items discovered in the case that some languages \u200b\u200bpossess a very limited number of terms to designate color: "All languages \u200b\u200bpossess a term for white and black. If a language has three words to describe the colors of this design, then a red mark, if it uses four to indicate a green or yellow, and so on to get to where the language possessed more than 7 words, which do mean that in addition to those listed above may indicate other as resulting from different combinations and shades of the same base. "We can then imagine a available dual-color circle, with the red spot in the center, essential color for Goethe, and which the American linguists emphasize its importance, or even a provision in a star, which brings together the two diagrams precedenti e nella quale ognuno degli undici colori si situa nelle vicinanze dei colori che gli sono affini in quanto a tonalità cromatica. Di Patrice Guinard , traduzione di Riccardo Sottani .
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