The first thing that strikes when looking at the natural science heritage of Johann Wolfgang Goethe is its universality. It seems that there is no such area of nature that would escape his attention. Goethe is the author of numerous works on osteology, botany and biology, published in authoritative scientific journals, articles and reports on optics, general physics, chemistry, geology and meteorology. But we can hardly be mistaken if we say that special interest Goethe always used color phenomena, and that major achievement and, as it were, the pinnacle of it scientific activity became the famous "Teaching about color" (Farbenlehre) .
Working on this work, he total, devoted more than 40 years of his life and, according to own confession considered him his main merit. “Everything that I have achieved as a poet,” Goethe told Eckermann, “I do not consider anything special at all. Good poets lived with me, even better ones lived before me, and will live after me. But the fact that in my century I am the only one who knows the truth in the most difficult science of the doctrine of color, this is what I take to my credit, and this is why I am aware of my superiority over many.
Goethe's interest in color and color phenomena was originally inspired by his passion for painting. Not possessing by nature the ability to plastic art, he, by his own admission, sought to fill with reason and understanding the gaps that nature had left in him. He looked for the laws and rules that guide the artist when creating his works, and paid much more attention to the technique of painting than the technique of poetry.
However, the art of northern Germany, reading books and talking with local experts did not satisfy him. Therefore, after long hesitation, in 1786 he decided to go to Italy in the hope that there, in the homeland of art, in live communication with famous artists, he will finally be able to find the answer to his questions. Goethe's expectations were only partially justified. Indeed, much was revealed to him in regard to compositional construction paintings, however, the principle of its staining (coloring) continued to be unclear to him.
Johann Wolfgang Goethe, the great German poet, thinker and naturalist, devoted more than 40 years of his life (1791-1832) to the study of color phenomena. The central and most significant of his works dealing with the problems of color is the treatise "At about color, consisting of three parts: "Didactic", where Goethe sets out his own ideas about color phenomena; "Polemical", in which he refutes Isaac Newton's color theory; and "Historical", which contains materials covering the history of color science from antiquity to late XVIII in.
This edition publishes for the first time a complete Russian translation of the first part of the treatise, also called " Outline of the doctrine of color. The book introduces the reader to the original color theory Goethe, as well as a more harmonious and holistic approach to the study of nature, allowing to connect the science of color with philosophy, mathematics, physics and painting.
The publication is of interest to historians of science, artists, psychologists, philosophers and all those interested in the theory of color and color perception.
Johann Wolfgang Goethe and his doctrine of color
" and subsection " " of the article Colors in the interior in the light of Goethe's Teachings on Color. Earlier, we already touched a little on the issue of color combinations in the interior (for example, in the article "Kitchen Design"). Now let's talk about the colors in the interior in more detail.
So, the combination of colors is either a complex science or an art, formed on the verge of painting and psychology. Accordingly, color combinations are usually based on various psychological premises of various psychological schools. While there are many alternative ways to combine colors. One of which we will talk about in the current article.
The colors in the interior in the light of Goethe's "Teachings on Color" are distinguished by a slightly different theoretical base. In his book The Teaching of Color, Goethe describes color induction phenomena(the phenomenon of afterimages) - luminance, chromatic, simultaneous and sequential - and proves that the colors that appear in sequential or simultaneous contrast are not random. All these colors seem to be embedded in our organ of vision.
The contrasting color arises as the opposite of the inducing one, i.e. to the imposed eye, just as inhalation alternates with exhalation, and every action entails a reaction. Each pair of contrasting colors already contains the entire color wheel, since their sum is White color- can be decomposed into all conceivable colors and shades.
A little more about color induction(the appearance of afterimages). it small font, so you can not read if you understand what I'm talking about. So, you probably noticed such a phenomenon - if you look for some time (for example, a minute) at some bright object, and then look at a neutral light background (for example, at the ceiling), then there will be a color spot in front of your eyes (on the ceiling) (the same afterimage) of a similar shape and contrasting, opposite color. So, if you looked at the red circle, then there will be a greenish spot in front of your eyes. And, of course, vice versa. This is color induction. More details will be in future articles.
Goethe's experiments with colored shadows showed that diametrically opposite colors and are just those that mutually evoke each other in the mind of the viewer. Yellow calls for blue-violet, orange calls for cyan, and magenta calls for green, and vice versa. Goethe believed that color, "regardless of the structure and form of the material, has a certain effect on the mood of the soul.
Thus, the impression caused by color is determined, first of all, by itself, and not by its objective associations. "According to these provisions, Goethe associates certain colors with certain psychological states person.
Again, a little more about experiments with colored shadows. The experiment is done very simply - an object is taken that will cast a shadow. It is illuminated by a neutral light source (a candle, a directional lamp - anything to make a clear shadow appear). Specifies the color of the shadow. And then in front of the light source is placed colored glass. For example, red. The color of the shadow is determined (it becomes green). And so on. Differences are better seen in neutral light and when the shadow falls on a light background. I recommend doing experiments, a very interesting effect.
Based on these basic provisions of the psychological section of his teaching, Goethe divides colors into
- "positive" - yellow, red-yellow (orange) and yellow-red (red lead, vermilion) and
- "negative" - blue, red-blue and blue-red.
The colors of the first group create a cheerful, lively, active mood, and the second - restless, soft and dreary. Green Goethe referred to the "neutral".
There is also a division of colors into
- "characteristic" and
- "characterless".
The first are pairs of colors located in color wheel through one color, and to the second - pairs of neighboring colors.
Harmonic color, according to Goethe, occurs when "when all neighboring colors are brought into balance with each other."
Goethe's teaching on color also contains several very subtle definitions of color. For example, in painting there is a method of shifting all colors to any one color, as if the picture were viewed through colored glass, for example, yellow. Goethe calls such coloring false.
For reference: color is the nature of the color elements of the image, their relationship, consistency of colors and shades. Coloring can be according to the nature of color combinations calm or tense, cold(with the predominance of blue, green, purple tones) or warm(with the predominance of red, yellow, orange), light or dark, and according to the degree of saturation and color strength - bright, restrained, faded, etc.
Goethe worked on his "Teaching about Color" from 1790 to 1810, i.e. twenty years, and the main value of this work lies in the formulation of subtle psychological states associated with the perception of contrasting color combinations. It is known that Goethe himself valued his color work above his own. poetic creativity. The great poet did not agree with Newton's theory of light and color and, in contrast, created his own theory.
According to http://ias.kiev.ua/interior_style/507
Teaching about color. Theory of knowledge
War'nicht das Auge sonnenhaft,
Wie konnten wir das Licht erblicken?
Lebt'nicht in uns des Gottes eigne Kraft,
Wie konnt'uns Gottliches entziicken?
Foreword
When you are going to talk about colors, the question naturally arises whether it is necessary to mention light first of all. To this question we will give a short and direct answer: since so many different opinions have been expressed about light so far, it seems superfluous to repeat what has been said or multiply the statements that have been so often repeated.
Actually, after all, all our efforts to express the essence of any thing remain in vain. Actions are what we perceive and full story these actions would embrace - no doubt, the essence of this thing. In vain do we try to describe the character of man; but compare his actions, his deeds, and a picture will arise before you. his character.
Colors are deeds of light, deeds and suffering states. In this sense, we can expect them to clarify the nature of light. Colors and light stand, it is true, in the most exact relationship to each other, however, we must imagine them as inherent in all nature: through nph, nature is completely revealed to the sense of sight.
In the same way, the whole nature is revealed to another sense. Close your eyes, open, sharpen your ears, and from the most gentle breath to a deafening noise, from the simplest sound to greatest harmony, from the most passionate cry to the meekest words of the mind, you will hear nature and only nature, which speaks, which reveals its being, its strength, its life and its relationships, so that the blind, for whom the infinite is closed visible world, can in audible embrace the infinitely living world.
So says nature to the rest of the senses - to the familiar, and the unrecognized and unfamiliar senses; thus she speaks to herself and to us through a thousand manifestations. To the careful observer, she is nowhere dead or mute; and even to the inert earthly body she gave a breastplate, metal, in the smallest parts of which we could see what is happening in the whole mass.
However verbose, confusing, and incomprehensible this language may often seem to us, its elements remain the same. Quietly tilting first one and then the other pan of the scales, nature oscillates here and there, and in this way two sides arise, there arises an up and down, before and after, and all the phenomena that you encounter in space and time are determined by this duality.
These general movements and definitions we perceive most in various ways, sometimes as a simple repulsion and attraction, sometimes as a peeping and again disappearing light, like the movement of air, like a shaking of the body, like oxidation and deoxidation; but they always unite or separate, set things in motion and serve life in one form or another.
Assuming that these two directions are unequal to each other in their action, they tried to somehow express this ratio. Everywhere they noticed and called plus and minus, action and reaction, activity and passivity, advancing and restraining, passionate and moderating, male and female; this is how a language arises, a symbolism that can be used by applying it to similar cases as a likeness, a close expression, a immediately suitable word.
To apply these universal designations, this language of nature also to the doctrine of colors, to enrich and expand this language, relying on the variety of phenomena studied here, and thereby facilitate the exchange of higher views among the friends of nature - that's the main task of the present essay.
The work itself is divided into three parts. The first gives an outline of the doctrine of colors. Innumerable occurrences of phenomena are subsumed in this part under the known basic Phenomena, arranged in an order which the introduction is to justify. Here it can be noted that although we everywhere adhered to experience, everywhere we laid it at the basis, nevertheless we could not pass over in silence the theoretical view, according to which this selection and order of phenomena arose.
And in general, the demand sometimes put forward, although it is not fulfilled even by those who put it, is extremely surprising: to present the evidence of experience without any theoretical connection and leave the reader, the student, to form a conviction for himself to his liking. But when I only look at a thing, it does not move me forward. Every looking turns into looking, every looking into thinking, every thinking into binding, and therefore it can be said that already with every attentive look thrown at the world, we theorize. But to do and apply it consciously, with self-criticism, with freedom, and - to use a bold expression - with a certain irony: such a device is necessary so that the abstraction that we fear is harmless, and the experimental result that we expect is sufficiently alive and useful.
In the second part we are engaged in the exposure of Newton's theory, which imperiously and influentially closed the way to a free view of color phenomena up to now; we contest a hypothesis which, though no longer considered valid, still retains traditional authority among men. In order that the doctrine of colors should not lag behind, as hitherto, from so many better processed parts of natural science, it is necessary to clarify true value this hypothesis, old misconceptions must be eliminated.
Since this second part of our work will seem dry in content, perhaps too harsh and passionate in presentation, then, in order to prepare for this more serious matter and at least somewhat justify this lively attitude towards it, let me give here the following comparison.
Newton's theory of colors can be compared to an old fortress, which was at first founded with youthful haste by the founder, subsequently gradually expanded and furnished by him according to the needs of the time and circumstances, and strengthened to the same extent, in view of hostile collisions.
So did his successors and heirs. We were forced to enlarge the building, to attach it here, to complete it there, to build an outbuilding somewhere else - we were forced, thanks to the growth of internal needs, the pressure of external enemies and many accidents.
All these alien parts and outbuildings had to be connected again with the most amazing galleries, halls and passages. What was damaged by the hand of the enemy or the power of time was immediately restored again. As needed, they made deeper ditches, raised walls and did not skimp on towers, towers and loopholes. Thanks to these careful efforts, a prejudice about high value this fortress, despite the fact that architecture and fortification during this time have greatly improved, and in other cases people have learned to arrange much better dwellings and fortifications. But the old fortress was in honor, especially because it had never yet been possible to take it, that many assaults were repulsed by it, not a few enemies were put to shame, and it always kept a virgin. This name, This glory does not die to this day. No one comes to mind that old building became uninhabited. Everyone is again talking about> her remarkable strength, her excellent device. Pilgrims go there to worship; sketchy drawings of her are shown in all schools and instill in the receptive youth respect for the building, which meanwhile is already empty, guarded by a few invalids who quite seriously imagine themselves fully armed.
Thus, there is no question here of a long siege or a strife with a dubious outcome. In fact, we find this eighth wonder of the world already as an abandoned monument of antiquity, threatening to collapse, and immediately, without any fuss, we begin to demolish it, from the ridge and roof, in order to finally let the sun into this old nest of rats and owls and open the eyes of the astonished traveler all this incoherent architectural labyrinth, its appearance for the sake of temporary needs, all its random heaps, everything deliberately sophisticated, somehow patched in it. But to throw such a glance is possible only if wall after wall falls, vault after vault, and the garbage is removed as soon as possible.
It is known that Goethe himself valued his work in color above his own poetic creativity. The great poet did not agree with Newton's theory of light and color and, in contrast, created his own. Goethe's interest in color has been noted since childhood. As W. Voigt and W. Zukker (1983) note, Goethe's sensually visual method was the reason why Goethe's concept was received "with hostility" by his contemporaries. Goethe was accused of dilettantism and advised to do his own thing. Goethe complains about the cold attitude of his contemporaries to his theory in one of his letters to Schiller. We are primarily interested in that part of Goethe's teaching, which he calls the "Sensual-moral action of flowers."
Goethe believed that color "regardless of the structure and form of the material (to which it belongs - author's note) has a certain effect ... on the mood of the soul" (# 758). Thus, the impression caused by color is determined, first of all, by itself, and not by its objective associations. "Individual colorful impressions ... must act specifically and ... cause specific states" (#761). And further, in #762: "individual colors cause special states of mind". According to these provisions, Goethe associates certain colors with certain psychological states of a person. Goethe illustrates this property of color by describing those changes in the “state of mind” that occur when a person is exposed to color for a sufficiently long time, for example, through colored glasses.
Based on these basic provisions of the psychological section of his teaching, Goethe divides the colors into "positive" - yellow, red-yellow (orange) and yellow-red (red lead, cinnabar) and "negative" - blue, red-blue and blue-red. The colors of the first group create a cheerful, lively, active mood, and the second - restless, soft and dreary. Green Goethe referred to the "neutral". Let's take a closer look at psychological characteristics flowers given by Goethe.
Yellow. If you look through the yellow glass, then “the eye will be delighted, the heart will expand, the soul will become more cheerful, it seems that ... it breathes with warmth” (# 769). Pure yellow is pleasant. However, when it is contaminated, shifted towards cold tones (sulfur color) or applied to an “ignoble” surface, yellow acquires a negative sound and negative symbolic meaning. According to Goethe, such yellow symbolizes debtors, cuckolds and belonging to the Jewish nation.
Orange. What is said (positively) about yellow is also true for orange, but in a more high degree. Orange is "more energetic" than pure yellow. Maybe that's why this color, according to Goethe, is more preferred by the French than by the British and Germans.
Yellow-red. The pleasant and cheerful feeling evoked by orange rises to unbearably powerful in bright yellow-red (#774). The active side in this color reaches its highest energy. As a result of this, according to Goethe, energetic, healthy, stern people especially "rejoice" (prefer) this paint. This color attracts savages and children. Causes a sense of shock.
Blue. “Like a color, this is energy: however, it stands on negative side and in its greatest purity is, as it were, an exciting nothing” (#779). Goethe subtly feels the "mysticism" of blue and writes about it as creating a strange, inexpressible effect. Blue, as it were, entails, “leaves” a person. Blue as the idea of dark is associated with the feeling of cold. Dominant rooms of blue color seem spacious, but empty and cold. If you look at the world through blue glass, it appears in a sad form.
Red-blue (lilac). This color evokes a feeling of anxiety. The color is lively, but bleak.
Blue-red. The impression of anxiety is greatly increased. Goethe believed that to withstand this color long time very difficult if it is not diluted.
Pure red Goethe considers as a harmonious combination of the poles of yellow and blue, and therefore the eye finds "ideal satisfaction" in this color (# 794). Red (carmine) gives the impression of seriousness, dignity or charm and goodwill. Darker symbolizes old age, and lighter symbolizes youth.
Speaking of purple, Goethe indicates that it is the favorite color of rulers and expresses seriousness and grandeur. But if you look at the surrounding landscape through the purple glass, then it appears in a terrifying form, as in the day doomsday» (#798).
Green. If yellow and blue are in an equilibrium mixture, green is produced. The eye, according to Goethe, finds real satisfaction in it, the soul "rests". I don't want to and can't go any further (#802).
The impact of individual colors, causing certain impressions and states in a person, thereby, in Goethe's terminology, "limits" the soul, which strives for wholeness. Here Goethe draws a parallel between color harmony and the harmony of the psyche. As soon as the eye sees any color, it comes into an active state. It is in its nature to produce another color which, together with the given one, contains the whole of the color wheel (#805). So the human soul strives for wholeness and universality. These provisions of Goethe, in many respects anticipate the results of experimental studies by S.V. Kravkova links between color perception and vegetative activity nervous system(VNS) of a person. Goethe identifies the following harmonious color combinations: yellow - red-blue; blue - red-yellow; purple - green.
Based on Goethe's teachings on color harmony and wholeness, we can conclude that the psychological impact of, say, yellow, requires the impact of red-blue (violet) to balance it. There are complementary relationships between the harmonic color pair. These six colors make up Goethe's "color wheel", where harmonious combinations are located opposite each other diagonally.
In addition to harmonious color combinations (leading to integrity), Goethe distinguishes "characteristic" and "uncharacteristic". These color combinations also cause certain spiritual impressions, but unlike harmonious ones, they do not lead to a state of psychological balance.
"Characteristic" Goethe calls such color combinations that make up colors separated in the color wheel by one color.
Yellow and blue. According to Goethe - a meager, pale combination, which lacks (for integrity) red. The impression it creates is what Goethe calls "ordinary" (#819).
The combination of yellow and purple is also one-sided, but cheerful and gorgeous (#820).
Yellow-red in combination with blue-red causes excitement, the impression is bright (#822).
Mixing the colors of a characteristic pair generates a color that is (on the color wheel) between them.
"Uncharacteristic" Goethe calls combinations of two adjacent colors of his circle. Their proximity leads to an unfavorable impression. This is how Goethe calls yellow and green "funny merry", and blue and green - "vulgarly nasty" (# 829).
Goethe assigns an important role in the formation of the psychological impact of color on a person to the lightness characteristics of colors. The "active" side (positive colors) when combined with black wins in terms of impression strength, and the "passive" side (negative colors) loses. And vice versa, when combined with white, the passive side wins more, becoming more "cheerful" and "cheerful" (#831).
Touches on Goethe and intercultural differences in color symbolism and the psychological impact of color. He considers love for the bright and colorful to be characteristic of savages, "uncivilized" peoples and children. At educated people, on the contrary, there is a certain "disgust" for colors, especially bright ones. Goethe associates the color of clothing both with the character of the nation as a whole and individual person. Lively, lively nations, Goethe believes, prefer the intensified colors of the active side. Moderates are straw and red-yellow, with which they wear dark blue. Nations seeking to show their dignity - red with a bias towards the passive side. Young women prefer light shades - pink and blue. Old men - purple and dark green (#838-848).
The value of "Teachings about color" for the psychology of color is very great. What was blamed on Goethe - artistic method, subjectivism, allowed the great German poet consider the subtle relationships between color and the human psyche. The metaphor of the "light-bearing soul of man" received convincing confirmation in Goethe's work. Color in Goethe is no longer a symbol of the divine, mystical powers. It is a symbol of the person himself, his feelings and thoughts, moreover, the symbol is not poetic, but psychological, having a certain, specific content.
A PHOTO Getty Images
Today we understand how strongly color affects our perception of the world. But two centuries ago this was not obvious. One of the first who seriously took up the theory of color was the great Goethe. In 1810 he published his Doctrine of Color, the fruit of several decades of hard work.
Surprisingly, he put this work above his own. poetry, believing that "good poets" were before him and will be after him, and much more important is the fact that he is the only one in his century, "who knows the truth in the most difficult science of the doctrine of color."
True, physicists were skeptical about his work, considering it amateurish. But the "Doctrine of Color" was highly appreciated by philosophers, from Arthur Schopenguer to Ludwig Wittgenstein. In fact, the psychology of color originates from this work. Goethe was the first to talk about the fact that “certain colors cause special states of mind”, analyzing this effect both as a naturalist and as a poet.
And although over the past 200 years, psychology and neuroscience have made great progress in the study of this topic, Goethe's discoveries are still relevant and widely used by practitioners, for example, in printing, painting, design and art therapy.
Goethe divides the colors into "positive" - yellow, red-yellow, yellow-red, and "negative" - blue, red-blue and blue-red. The colors of the first group, he writes, create a cheerful, lively, active mood, the second - restless, soft and dreary. Goethe considers green to be a neutral color.
This is how the great poet and thinker describes colors.
Yellow
In its highest purity, yellow always has a light nature and is distinguished by clarity, cheerfulness and soft charm.
At this stage, it is pleasing as an environment, whether in the form of clothes, curtains, wallpaper. Gold in perfect pure form gives us, especially if brilliance is added, a new and lofty idea of this color; likewise, a bright yellow tint, which appears on shiny silk, for example, on satin, makes a magnificent and noble impression.
Experience shows that yellow produces exceptionally warm and pleasant impression. Therefore, in painting, it corresponds to the illuminated and active side of the picture.
This warm impression can be felt most vividly when looking at some place through yellow glass, especially on gray winter days. The eye will rejoice, the heart will expand, the soul will become more cheerful; it seems that warmth is blowing directly on us.
If this color in its purity and clarity is pleasant and joyful, in its full strength it has something cheerful and noble, then, on the other hand, it is very sensitive and gives an unpleasant impression if it is dirty or to a certain extent shifted towards cold tones. . So, the color of sulfur, giving off green, has something unpleasant.
red yellow
Since no color can be considered unchanged, yellow, thickening and darkening, can intensify to a reddish hue. The energy of the color is growing, and it seems to be more powerful and beautiful in this shade. Everything we said about yellow applies here, only to a higher degree.
Red-yellow, in essence, gives the eye a feeling of warmth and bliss, representing both the color of more intense heat and the softer glow of the setting sun. Therefore, he is also pleasant in surroundings and more or less joyful or magnificent in clothes.
yellow red
Just as a pure yellow color easily changes into red-yellow, so the latter rises irresistibly to yellow-red. The pleasant cheerful feeling that red-yellow gives us rises to unbearably powerful in bright yellow-red.
The active side reaches its highest energy here, and it is not surprising that energetic, healthy, stern people especially rejoice at this paint. A tendency to it is found everywhere in wild peoples. And when the children, left to themselves, begin to color, they do not spare cinnabar and minium.
It is enough to look closely at a completely yellow-red surface, so that it seems that this color really hit our eye. It causes incredible shock and retains this effect to a certain degree of darkening.
Showing a yellow and red handkerchief disturbs and makes the animals angry. I also knew educated people who, on a cloudy day, could not bear to look at a man in a scarlet cloak when they met.
Blue
Just as yellow always brings light with it, so blue can always be said to always bring something dark with it.
This color has a strange and almost inexpressible effect on the eye. As a color it is energy; but it stands on the negative side, and in its greatest purity is, as it were, an agitating nothingness. It combines some kind of contradiction of excitement and rest.
As we see the heights of the heavens and the distance of the mountains as blue, so the blue surface seems to be moving away from us.
Just as we willingly pursue a pleasant object that eludes us, so we look at the blue, not because it rushes at us, but because it draws us along with it.
Blue makes us feel cold, just as it reminds us of a shadow. The rooms, finished in pure blue, seem to a certain extent spacious, but, in essence, empty and cold.
It cannot be called unpleasant when positive colors are added to a certain extent to blue. Greenish color sea wave rather nice paint.
Red blue
Blue is potentized very gently into red, and thus acquires something active, although it is on the passive side. But the nature of the excitement it causes is completely different from that of red-yellow - it does not so much enliven as it causes anxiety.
Just as the growth of color itself is unstoppable, so one would like to go further with this color all the time, but not in the same way as with red-yellow, always actively stepping forward, but in order to find a place where one could rest.
In a very weakened form, we know this color under the name of lilac; but even here he has something alive, but devoid of joy.
blue red
This anxiety increases with further potentiation, and one might perhaps argue that a wallpaper of a perfectly pure saturated blue-red color will be unbearable. That is why, when it is found in clothes, on a ribbon or other decoration, it is used in a very weakened and light shade; but even in this form, according to its nature, it makes a very special impression.
The effect of this color is as unique as its nature. He gives the same impression of seriousness and dignity, as well-willedness and charms. It produces the first in its dark condensed form, the second in its light diluted form. And thus the dignity of old age and the courtesy of youth can be clothed in one colour.
The story tells us a lot about the addiction of rulers to purple. This color always gives the impression of seriousness and magnificence.
Purple glass shows a well-lit landscape in terrifying light. Such a tone should have covered the earth and sky on the day of the Last Judgment.
If yellow and blue, which we consider the first and simplest colors, are combined together at their first appearance in the first stage of their action, then that color will arise, which we call green.
Our eye finds real satisfaction in it. When the two mother colors are in a mixture just in balance in such a way that neither of them is noticed, then the eye and the soul rest on this mixture, as on simple color. I don't want to and I can't go any further. Therefore, for rooms in which you are constantly located, green wallpapers are usually chosen.
More details in the book: I.-V. Goethe The Teaching about Color. Theory of knowledge” (Librokom, 2011).
