Abstract

The essay explores the distinction between two main types of “colour grammar”, or ways of relating to colours: as samples and as features of a three-dimensional, materially heterogeneous and variably lit environment. (Realistic painting may be described as an interface where the two sets of colour concepts meet and conflict.) This duality gives rise to characteristic ambiguities, relating to the concepts of the same colour, real colour, and colour constancy. Hence we must give up the idea of specifying the one relation that always holds between “colour” and “physical properties”.