“Any two opposite colours of the rainbow (eg yellow and blue), form a third between them, thus imparting to each other their peculiar qualities. The sight of what they were originally is quite lost, and instead, a most pleasing green is found, which colour, nature has chosen for the vestment of the earth, and with the beauty of which the eye never tires.”

— William Hogarth , book The Analysis of Beauty

The Analysis of Beauty (1753)

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William Hogarth 4

English painter, printmaker, pictorial satirist, social cri… 1697–1764

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“We have seven colours — violet, indigo, blue, green, yellow, orange and red (Roy G. Biv). Our atmosphere has a number of particles and when light falls on them, it gets scattered. With blue colour having less wavelength and more scattering qualities, it scatters and makes the sky blue. While red colour has opposite qualities than blue so traffic lights are of this colour.”

Jayant Narlikar (1938) Indian physicist

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“The colours red, blue and green are real. The colour yellow is a mystical experience shared by everybody.”

Tom Stoppard book Rosencrantz and Guildenstern Are Dead

Source: Rosencrantz and Guildenstern Are Dead

“The first colours which made a strong impression on me were light juice green, white, crimson red, black and yellow ocher. These memories go back to the third year of my life. I saw these colours on various objects [houses and roofs, in Russia] which are not as clear in my mind as the colours themselves.”

Wassily Kandinsky (1866–1944) Russian painter

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“Locke supposes that a person acquainted sensibly with the colours which compose a rainbow, can by the names of such colours in a verbal description, be made visually acquainted with a rainbow. The verbal description will give such a person's intellect a good verbal definition of the word rainbow, but it cannot communicate the sight to the extent that it differs, in any manner from the sights he already knows.”

Alexander Bryan Johnson (1786–1867) United States philosopher and banker

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“It took me a long time to discover that particularities of form and natural colour evoke subjective states of feeling which obscure pure reality. The appearance of natural forms changes, but reality remains. To create pure reality plasticity, it is necessary to reduce natural forms to constant elements of form, and natural colour to primary colour. The aim is not to create other particular forms and colours, with all their limitations, but to work toward abolishing them in the interest of a larger unity.”

Piet Mondrian (1872–1944) Peintre Néerlandais

Source: Later Quote of Mondrian, about 1910-1914; in 'Mondrian, Essays' ('Plastic art and pure plastic art', 1937 and his other essays, (1941-1943) by Piet Mondrian; Wittenborn-Schultz Inc., New York, 1945, p. 10; as cited in De Stijl 1917-1931 - The Dutch Contribution to Modern Art, by H.L.C. Jaffé http://www.dbnl.org/tekst/jaff001stij01_01/jaff001stij01_01.pdf; J.M. Meulenhoff, Amsterdam 1956, p. 42

“Neo-Impressionist method is an attempt is made to achieve the richness of the sunlight spectrum with all its tones. An orange that blends with yellow and red, a violet that tends toward red and blue, a green between blue and yellow are, with white the sole elements. Through mixture (in the eye of the observer) of these pure colours, whose relationship can be varied at will, from the most brilliant to the greyish. Every brush stroke that is taken from the palette remains pure on the canvas.”

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“First: my Friend planted a Row of Indian corn that was Coloured Red and Blue; the rest of the Field being planted with corn of the yellow, which is the most usual color. To the Windward side, this Red and Blue Row, so infected Three or Four whole Rows, as to communicate the same Colour unto them; and part of ye Fifth and some of ye Sixth. But to the Leeward Side, no less than Seven or Eight Rows, had ye same Colour communicated unto them; and some small Impressions were made on those that were yet further off.”

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“Colour-blindness always extends to the complementary colours. Those who are red blind are also green blind; those who are blind to blue have no consciousness of yellow. This law holds good for all mental phenomena; it is a fundamental condition of consciousness.”

Otto Weininger book Sex and Character

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“We are all inclined to accept conventional forms or colours as the only correct ones. Children sometimes think that stars must be star-shaped, though naturally they are not. The people who insist that in a picture the sky must be blue, and the grass green, are not very different from these children. They get indignant if they see other colours in a picture, but if we try to forget all we have heard about green grass and blue skies, and look at the world as if we had just arrived from another planet on a voyage of discovery and were seeing it for the first time, we may find that things are apt to have the most surprising colours.”

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Source: The Story of Art (1978), p. 26.

“Blue has no dimensions, it is beyond dimensions, whereas the other colours are not. They are pre-psychological expanses, red, for example, presupposing a site radiating heat... All colours arouse specific associative ideas, psychologically material or tangible, while blue suggests at most the sea and sky, and they, after all, are in actual, visible nature what is most abstract.”

Yves Klein (1928–1962) French artist

Quote from Yves Klein's lecture at the Sorbonne in 1959; published in Studio International, Vol. 186 (1973), p. 43; also quoted in: David Batchelor (2008) Colour. p. 122
before 1960

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