1.
Riley CA. Color codes: modern theories of color in philosophy, painting and architecture, literature, music and psychology [Internet]. Hanover, NH: University Press of New England; 1995. Available from: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=34438
2.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
3.
Gage J. Colour in art. Vol. Thames&Hudson world of art. London: Thames & Hudson; 2006.
4.
Batchelor D. Chromophobia. Vol. Focus on contemporary issues. London: Reaktion; 2000.
5.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
6.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
7.
Aristotle, On Colours, in The Works of Aristotle VI: Opuscula, trans. William David Ross (Carendon Press, 1913). [Internet]. Available from: https://archive.org/details/worksaristotle00arisuoft
8.
Henry Guerlac. Can there Be Colors in the Dark? Physical Color Theory before Newton. Journal of the History of Ideas [Internet]. 1986;47(1):3–20. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2709592?seq=1#page_scan_tab_contents
9.
Extracts from Aristotle’s writings on colour. [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/aristotle_on_colour.pdf
10.
Gloria Saltz Merker. The Rainbow Mosaic at Pergamon and Aristotelian Color Theory. American Journal of Archaeology [Internet]. 1967;71(1):81–2. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/501591?seq=1#page_scan_tab_contents
11.
H. B. Gottschalk. The de Coloribus and Its Author. Hermes [Internet]. 1964;59–85. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/4475288?seq=1#page_scan_tab_contents
12.
Samuel Y. Edgerton, Jr. Alberti’s Colour Theory: A Medieval Bottle without Renaissance Wine. Journal of the Warburg and Courtauld Institutes [Internet]. 1969;32:109–34. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/750609?seq=1#page_scan_tab_contents
13.
Janis Bell. Aristotle as a Source for Leonardo’s Theory of Colour Perspective after 1500. Journal of the Warburg and Courtauld Institutes [Internet]. 1993;56:100–18. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/751367?seq=1#page_scan_tab_contents
14.
Claire J. Farago. Leonardo’s Color and Chiaroscuro Reconsidered: The Visual Force of Painted Images. The Art Bulletin [Internet]. 1991;73(1):63–88. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3045779?seq=1#page_scan_tab_contents
15.
Janis C. Bell. Zaccolini’s Theory of Color Perspective. The Art Bulletin [Internet]. 1993;75(1):91–112. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3045933?seq=1#page_scan_tab_contents
16.
Gage J, Fitzwilliam Museum. George Field and his circle: from Romanticism to the Pre-Raphaelite Brotherhood. [London]: Christies; 1989.
17.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
18.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
19.
Kemp M. The science of art: optical themes in western art from Brunelleschi to Seurat. New Haven: Yale University Press; 1990.
20.
James S. Ackerman. On Early Renaissance Color Theory and Practice. Memoirs of the American Academy in Rome [Internet]. 1980;35:11–44. Available from: http://www.jstor.org/stable/4238679?seq=1#page_scan_tab_contents
21.
Goethe’s shadows from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/02_goethes_shadows_cn.mp4
22.
Riley CA. Color codes: modern theories of color in philosophy, painting and architecture, literature, music and psychology [Internet]. Hanover, NH: University Press of New England; 1995. Available from: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=34438
23.
Goethe’s theory of colours : Johann Wolfgang von Goethe [Internet]. Available from: https://archive.org/details/goethestheoryco01goetgoog
24.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
25.
Ribe N, Steinle F. Exploratory experimentation: Goethe, Land, and color theory. Physics Today. 2002 Jul 1;55(7):43–9.
26.
Kuehni RG. Forgotten pioneers of color order. Part II: Matthias Klotz (1748-1821). Color Research & Application. 2008 Oct;33(5):341–5.
27.
Sepper DL. Goethe contra Newton: Polemics and the Project for a New Science of Color [Internet]. Cambridge: Cambridge University Press; 1988. Available from: http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.1017/CBO9780511624858
28.
Sepper DL. Goethe contra Newton: polemics and the project for a new science of color. Cambridge: Cambridge University Press; 2002.
29.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
30.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
31.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
32.
Philipp Otto Runge, Farben-Kugel (Perthes, 1810). [Internet]. Available from: https://archive.org/details/farbenkugeloderc00rung
33.
Koenderink J. Book reviews: Review of Rolf G. Kuehni: Philipp Otto Runge’s Color Sphere; A Translation, with Related Materials and an Essay, 2008. Color Research & Application. 2008 Dec;33(6):512–3.
34.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
35.
Marcus du Sautoy on Newton’s colour circle from BBC Four: The Beauty of Diagrams: Newton’s Prism. [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/3_np_mdsautoy_colour_circle.mp4
36.
Marcus du Sautoy explains Newton’s ‘experimentum crucis’ from BBC Four: The Beauty of Diagrams: Newton’s Prism. [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/1_np_mdsautoy_experimentum_crucis.mp4
37.
Kate Lancaster reconstructs Newton’s experiment from BBC Four: The Beauty of Diagrams: Newton’s Prism. [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/2_np_klancaster_demo_experimentum_crucis.mp4
38.
John Mollon, ‘The Origins of Modern Color Science’, in S. Shevell ed., The Science of Color (Oxford: Elsevir, 2003), 1-39. [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/mollon_origins_of_modern_colour_science.pdf
39.
Isaac Newton, Opticks: or a Treatise of the Reflections, Refractions, Inflections and Colours of light (Smith and Walford, 1704). [Internet]. Available from: https://archive.org/details/opticksortreatis00newt
40.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
41.
Kuehni RG. Color: an introduction to practice and principles [Internet]. 3rd ed. Hoboken, N.J.: Wiley; Available from: http://0-onlinelibrary.Wiley.com.pugwash.lib.warwick.ac.uk/book/10.1002/9781118533567
42.
Alexandra Loske , ‘Mary Gartside: A Female Colour Theorist in Georgian England’, St Andrews Journal of Art History and Museum Studies, vol. 14 (2010), 17-30. Available from: http://sro.sussex.ac.uk/2510/
43.
Kemp M. The science of art: optical themes in western art from Brunelleschi to Seurat. New Haven: Yale University Press; 1990.
44.
Alan E. Shapiro. Artists’ Colors and Newton’s Colors. Isis [Internet]. 1994;85(4):600–30. Available from: http://www.jstor.org/stable/235280?seq=1#page_scan_tab_contents
45.
Paul D. Schweizer. John Constable, Rainbow Science, and English Color Theory. The Art Bulletin [Internet]. 1982;64(3):424–45. Available from: http://www.jstor.org/stable/3050245?seq=1#page_scan_tab_contents
46.
Kemp M. The science of art: optical themes in western art from Brunelleschi to Seurat. New Haven: Yale University Press; 1990.
47.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
48.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
49.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
50.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
51.
Demonstration of successive contrast from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/04_successive_contrast_cn.mp4
52.
John Mollon explains Additive mixture from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/03_three_colour_mixing_cn.mp4
53.
J. Carson Webster. The Technique of Impressionism: A Reappraisal. College Art Journal [Internet]. 1944;4(1):3–22. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/773614
54.
Thomas Young. The Bakerian Lecture: On the Theory of Light and Colours. Philosophical Transactions of the Royal Society of London [Internet]. 1802;92:12–48. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/107113?seq=1#page_scan_tab_contents
55.
Hurvich LM, Jameson D. An opponent-process theory of color vision. Psychological Review. 1957;64(6, Pt.1):384–404.
56.
Leo M. Hurvich and Dorothea Jameson. Helmholtz and the Three-Color Theory: An Historical Note. The American Journal of Psychology [Internet]. 1949;62(1):111–4. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/1418711?seq=1#page_scan_tab_contents
57.
Backhaus W, Kliegl R, Werner JS. Color vision: perspectives from different disciplines. Berlin: Walter de Gruyter; 1998.
58.
Lamb T, Bourriau J, editors. Colour: art & science. Vol. The Darwin College lectures. Cambridge: Cambridge University Press; 1995.
59.
Smith P, Seurat G. Seurat and the avant-garde. New Haven: Yale University Press; 1997.
60.
Anna Franklin explains how we are born with colour categories from BBC TV Horizon: Do You See What I See (8 August 2011). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/04_diswys_language_franklin.mp4
61.
Biggam CP. The semantics of colour: a historical approach [Internet]. Cambridge: Cambridge University Press; 2012. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9781139341493
62.
Terry Regier, Paul Kay and Naveen Khetarpal. Color Naming Reflects Optimal Partitions of Color Space. Proceedings of the National Academy of Sciences of the United States of America [Internet]. 2007;104(4):1436–41. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25426301?seq=1#page_scan_tab_contents
63.
KAY P, REGIER T. Language, thought and color: recent developments. Trends in Cognitive Sciences. 2006 Feb;10(2):51–4.
64.
Terry Regier, Paul Kay and Richard S. Cook. Focal Colors Are Universal after All. Proceedings of the National Academy of Sciences of the United States of America [Internet]. 2005;102(23):8386–91. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/3375848?seq=1#page_scan_tab_contents
65.
Color Categories in Thought and Language - Cambridge Books Online - Cambridge University Press [Internet]. Available from: http://0-ebooks.cambridge.org.pugwash.lib.warwick.ac.uk/ebook.jsf?bid=CBO9780511519819
66.
Color Categories in Thought and Language - Cambridge Books Online - Cambridge University Press [Internet]. Available from: http://0-ebooks.cambridge.org.pugwash.lib.warwick.ac.uk/ebook.jsf?bid=CBO9780511519819
67.
Color Categories in Thought and Language - Cambridge Books Online - Cambridge University Press [Internet]. Available from: http://0-ebooks.cambridge.org.pugwash.lib.warwick.ac.uk/ebook.jsf?bid=CBO9780511519819
68.
Backhaus W, Kliegl R, Werner JS. Color vision: perspectives from different disciplines. Berlin: Walter de Gruyter; 1998.
69.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
70.
Berlin B, Kay P. Basic color terms: their universality and evolution. Vol. David Hume series. Stanford, Calif: CSLI; 1999.
71.
Serge Caparos on the Himba people’s colour perception from BBC TV Horizon: Do You See What I See (8 August 2011). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/07_diswys_language_himba.mp4
72.
Jules Davidoff on the effect of langauge on colour perception from BBC TV Horizon: Do You See What I See (8 August 2011). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/08_diswys_language_davidoff.mp4
73.
Blonsky M. On signs. Baltimore, Md: Johns Hopkins University Press; 1985.
74.
Lamb T, Bourriau J, editors. Colour: art & science. Vol. The Darwin College lectures. Cambridge: Cambridge University Press; 1995.
75.
Max Black. Linguistic Relativity: The Views of Benjamin Lee Whorf. The Philosophical Review [Internet]. 1959;68(2):228–38. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2182168?seq=1#page_scan_tab_contents
76.
Roberson D, Davidoff J, Davies IRL, Shapiro LR. Color categories: Evidence for the cultural relativity hypothesis. Cognitive Psychology. 2005 Jun;50(4):378–411.
77.
Roberson D, Pak H, Hanley JR. Categorical perception of colour in the left and right visual field is verbally mediated: Evidence from Korean. Cognition. 2008 May;107(2):752–62.
78.
Rolf Kuschel and Torben Monberg. ‘We Don’t Talk Much About Colour Here’: A Study of Colour Semantics on Bellona Island. Man [Internet]. 1974;9(2):213–42. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/2800075?seq=1#page_scan_tab_contents
79.
Jonathan Winawer, Nathan Witthoft, Michael C. Frank, Lisa Wu, Alex R. Wade and Lera Boroditsky. Russian Blues Reveal Effects of Language on Color Discrimination. Proceedings of the National Academy of Sciences of the United States of America [Internet]. 2007;104(19):7780–5. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/25427570?seq=1#page_scan_tab_contents
80.
Panos Athanasopoulos, ‘Cognitive Representation of Colour in Bilinguals: the Case of Greek Blues’, Bilingualism: Language and Cognition, vol. 12, no. 1 ( 2009), 83–95 [Internet]. Available from: http://werkgroepovertaal.be/athanasopoulos.pdf
81.
Wai Ting Siok, Paul Kay, William S. Y. Wang, Alice H. D. Chan, Lin Chen, Kang-Kwong Luke, Li Hai Tan and Paul Kay. Language Regions of Brain Are Operative in Color Perception. Proceedings of the National Academy of Sciences of the United States of America [Internet]. 2009;106(20):8140–6. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/40483051?seq=1#page_scan_tab_contents
82.
Color Categories in Thought and Language - Cambridge Books Online - Cambridge University Press [Internet]. Available from: http://0-ebooks.cambridge.org.pugwash.lib.warwick.ac.uk/ebook.jsf?bid=CBO9780511519819
83.
Deutscher G. Through the language glass: why the world looks different in other languages. London: Arrow; 2011.
84.
Lamb T, Bourriau J, editors. Colour: art & science. Vol. The Darwin College lectures. Cambridge: Cambridge University Press; 1995.
85.
Gage J. COLOUR IN HISTORY: Relative and Absolute. Art History [Internet]. 1978 Mar;1(1):104–30. Available from: http://0-onlinelibrary.wiley.com.pugwash.lib.warwick.ac.uk/doi/10.1111/j.1467-8365.1978.tb00008.x/abstract
86.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
87.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
88.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
89.
Hills P. Venetian colour: marble, mosaic, painting and glass 1250-1550. New Haven, Conn: Yale University Press; 1999.
90.
Anya Hurlbert on how artists suspend colour constancy from BBC TV Horizon: Do You See What I See (8 August 2011). [Internet]. Available from: http://www.bbc.co.uk/programmes/p00jp964
91.
Anya Hurlbert shows how colour constancy involves knowledge of object colour from BBC TV Horizon: Do You See What I See (8 August 2011). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/06_diswys_constancy_hurlbert.mp4
92.
Semir Zeki explains how colour is represented in V4 from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/07_constancy_2_zeki_cn.mp4
93.
Edwin Land explains his ‘retinex’ experiment from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/05_land_retinex.mp4
94.
Edwin Land uses a ‘Mondrain’ to explain how the colour of an object is not a function of the (absolute) amount of light of each wavelength it reflects from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/06_constancy_1_land_cn.mp4
95.
Edwin Land explains how ‘designator’ values ensure colour constancy from BBC TV Horizon: Colourful Notions (7 January 1985). [Internet]. Available from: http://www2.warwick.ac.uk/fac/arts/arthistory/studentpages/ug/modules15-16/colour/classlist/09_constancy_4_land_ratios.mp4
96.
Edwin Land, ‘The Retinex Theory of Color Vision’, Scientific American, vol. 237, no. 6 (December 1977), 108-28. [Internet]. Available from: http://xa.yimg.com/kq/groups/18365325/470399326/name/E.Land_-_Retinex_Theory%25255B1%25255D.pdf
97.
Joost U, Lee BB, Zaidi Q. Ulrich Joost et al., ‘Lichtenberg’s Letter to Goethe on "Färbige Schatten”’, Color Research and Application, vol. 27, no. 4 (August 2002), 300–303. Color Research & Application. 2002 Aug;27(4):300–3.
98.
Joost Ulrich. "Da ich … Den bunten Schatten nachlaufe, wie ehmals als Knabe den Schmetterlingen” — Lichtenberg, Goethe, and the coloured shadows. Color Research & Application [Internet]. 2000;26(S1):S28–31. Available from: http://0-onlinelibrary.wiley.com.pugwash.lib.warwick.ac.uk/doi/10.1002/1520-6378(2001)26:1%2B%3C::AID-COL7%3E3.0.CO;2-Y/abstract
99.
Baxandall M. Shadows and enlightenment. New Haven: Yale University Press; 1995.
100.
Hoeppe G. Why the sky is blue: discovering the color of life. Princeton, N.J.: Princeton University Press; 2007.
101.
Zeki S. Inner vision: an exploration of art and the brain. Oxford: Oxford University Press; 1999.
102.
Interaction of Color (Yale, 1975) [Internet]. Available from: http://yupnet.org/interactionofcolor/
103.
Hardin, C.L. Red and yellow, green and blue, warm and cool: explaining colour appearance. Journal of Consciousness Studies [Internet]. 7(8–9):113–22. Available from: http://0-www.ingentaconnect.com.pugwash.lib.warwick.ac.uk/content/imp/jcs/2000/00000007/F0020008/1046
104.
Robert Finlay. Weaving the Rainbow: Visions of Color in World History. Journal of World History [Internet]. 2007;18(4):383–431. Available from: http://0-www.jstor.org.pugwash.lib.warwick.ac.uk/stable/20079447?seq=1#page_scan_tab_contents
105.
Oliver Sachs, ‘The Case of the Colourblind Painter’, New York Review of Books, 19 November, 1987, 32. [Internet]. Available from: https://people.rit.edu/wlrgsh/Sacks.pdf
106.
Cézanne P, Cézanne P, Smith P, Athanassoglou-Kallmyer NM, Art Gallery of Hamilton. The world is an apple: the still lifes of Paul Cézanne. Leca B, editor. [Hamilton, Ontario]: Art Gallery of Hamilton in association with D Giles Limited; 2014.
107.
Maurice Mereau-Ponty, ‘Eye and Mind’, in Galen A. Johnson ed., The Merleau-Ponty Aesthetics Reader (Northwestern University Press, 1993), 121-60; [Internet]. Available from: https://pg2009.files.wordpress.com/2009/05/eye-and-mind-merleu-pontymmp-text1.pdf
108.
Véronique Foti, ‘The Dimension of Colour’, in Galen A. Johnson ed., The Merleau-Ponty Aesthetics Reader (Northwestern University Press, 1993), 293-308. [Internet]. Available from: http://www2.warwick.ac.uk/services/library/search/extracts/ha/ha3c2/fti_v_1993.pdf
109.
Wollheim, R., ‘Adrian Stokes’ in On Art and the Mind, 315-35. [Internet]. Available from: http://www2.warwick.ac.uk/services/library/search/extracts/ha/ha2a1/wollheim_r_1973.pdf
110.
Richard Wollheim, ‘Adrian Stokes, Critic, Painter, Poet’, 4th William Townsend lecture, Slade School of Art, 1978. [Internet]. Available from: http://www.pstokes.demon.co.uk/ads5/intro1.htm
111.
Paul Smith, ‘Wittgenstein, Description, and Adrian Stokes (on Cézanne)’, in Paul Smith and Carolyn Wilde eds., A Companion to Art Theory (Blackwell, 2002), 196-214. A Companion to Art Theory [Internet]. Available from: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&db=nlebk&AN=90369&site=ehost-live
112.
Stokes A. Colour and form. London: Faber & Faber Ltd; 1937.
113.
Stokes AD, Piper J. Venice. London: Duckworth; 1965.
114.
Hardin CL, Maffi L, editors. Color Categories in Thought and Language [Internet]. Cambridge: Cambridge University Press; 1997. Available from: http://0-dx.doi.org.pugwash.lib.warwick.ac.uk/10.1017/CBO9780511519819
115.
Riley CA. Color codes: modern theories of color in philosophy, painting and architecture, literature, music and psychology [Internet]. Hanover, NH: University Press of New England; 1995. Available from: http://0-search.ebscohost.com.pugwash.lib.warwick.ac.uk/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=34438
116.
Kuehni RG, Schwarz A. Color ordered: a survey of color order systems from antiquity to the present [Internet]. Oxford: Oxford University Press; 2008. Available from: https://www.dawsonera.com/guard/protected/dawson.jsp?name=https://idp.warwick.ac.uk/idp/shibboleth&dest=http://www.dawsonera.com/abstract/9780198040880
117.
Batchelor D, editor. Colour. Vol. Documents of contemporary art. London: Whitechapel; 2008.
118.
Gage J. Colour and culture: practice and meaning from antiquity to abstraction. London: Thames and Hudson; 1995.
119.
Gage J. Colour and meaning: art, science and symbolism. [London, England]: Thames and Hudson; 1999.
120.
Lamb T, Bourriau J, editors. Colour: art & science. Vol. The Darwin College lectures. Cambridge: Cambridge University Press; 1995.
121.
Kemp M. The science of art: optical themes in western art from Brunelleschi to Seurat. New Haven: Yale University Press; 1990.
