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The influence of light on color was investigated and revealed further by [[al-Kindi]] (d. 873) and [[Ibn al-Haytham]] (d. 1039). [[Ibn Sina]] (d. 1037), [[Nasir al-Din al-Tusi]] (d. 1274), and [[Robert Grosseteste]] (d. 1253) discovered that contrary to the teachings of Aristotle, there are multiple color paths to get from black to white.<ref>{{cite journal |last1=Smithson |first1=H.E. |last2=Dinkova-Bruun |first2=G. |last3=Gasper |first3=G.E.M. |last4=Huxtable |first4=M. |last5=McLeish |first5=T.C.B. |last6=Panti |first6=C.P. |title=A three-dimensional color space from the 13th century |journal=J. Opt. Soc. Am. A |date=2012 |volume=29 |issue=2 |pages=A346–A352 |doi=10.1364/josaa.29.00A346|pmid=22330399 |pmc=3287286 |bibcode=2012JOSAA..29A.346S }}</ref><ref>{{cite journal |last1=Kirchner |first1=E. |title=Color theory and color order in medieval Islam: A review |journal=Color Research & Application |date=2013 |volume=40 |issue=1 |pages=5–16 |doi=10.1002/col.21861}}</ref> More modern approaches to color theory principles can be found in the writings of [[Leone Battista Alberti]] (c. 1435) and the notebooks of [[Leonardo da Vinci]] (c. 1490).[[File:Color diagram Charles Hayter.jpg|thumb|Page from 1826 ''A New Practical Treatise on the Three Primitive Colours Assumed as a Perfect System of Rudimentary Information'' by [[Charles Hayter]]]]
[[Isaac Newton]] (d. 1727) worked extensively on color theory, helping and developing his own theory from stating the fact that white light is composed of a spectrum of colors, and that color is not intrinsic to objects, but rather arises from the way an object reflects or absorbs different wavelengths. His 1672 paper on the nature of white light and colours forms the basis for all work that followed on colour and colour vision.<ref>{{Citation |last=Marriott |first=F.H.C. |date=2014 |orig-year=1962 (print) |title=Colour Vision: Introduction |url=https://linkinghub.elsevier.com/retrieve/pii/B9781483230894500212 |work=The Visual Process |publisher=Elsevier |pages=219–229 |doi=10.1016/b978-1-4832-3089-4.50021-2 |isbn=978-1-4832-3089-4 |access-date=2025-03-02 |language=en|url-access=subscription }}</ref>
The RYB primary colors became the foundation of 18th-century theories of [[color vision]],{{Citation needed|date=September 2018}} as the fundamental sensory qualities that are blended in the perception of all physical colors, and conversely, in the physical mixture of [[pigment]]s or [[dye]]s. These theories were enhanced by 18th-century investigations of a variety of purely psychological color effects, in particular the contrast between "complementary" or opposing hues that are produced by color afterimages and in the contrasting shadows in colored light. These ideas and many personal color observations were summarized in two founding documents in color theory: the ''[[Theory of Colours]]'' (1810) by the German poet [[Johann Wolfgang von Goethe]], and ''The Law of Simultaneous Color Contrast'' (1839) by the French industrial chemist [[Michel Eugène Chevreul]]. [[Charles Hayter]] published ''A New Practical Treatise on the Three Primitive Colours Assumed as a Perfect System of Rudimentary Information'' (London 1826), in which he described how all colors could be obtained from just three.
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The distinction between "warm" and "cool" colors has been important since at least the late 18th century.<ref>{{cite web|url=http://www.handprint.com/HP/WCL/color12.html |title=color temperature |publisher=handprint |date=2009-04-19 |access-date=2011-06-09}}</ref> The difference (as traced by etymologies in the [[Oxford English Dictionary|''Oxford English Dictionary'']]), seems related to the observed contrast in landscape light, between the "warm" colors associated with daylight or sunset, and the "cool" colors associated with a gray or overcast day. Warm colors are often said to be hues from red through yellow, browns, and tans included; cool colors are often said to be the hues from blue-green through blue violet, most grays included. There is a historical disagreement about the colors that anchor the polarity, but 19th-century sources put the peak contrast between red-orange and greenish-blue.{{NoteTag|The traditional warm/cool association of a color is reversed relative to the [[color temperature]] of a theoretical radiating [[black body]]; the hottest [[star]]s radiate blue (cool) light, and the coolest radiate red (warm) light.}}
Color theory has described perceptual and psychological effects to this contrast. Warm colors are said to advance or appear more active in a painting, while cool colors tend to recede; used in interior design or fashion, warm colors are said to arouse or stimulate the viewer, while cool colors calm and relax.<ref>{{Cite journal|last=Singh|first=Satyendra|date=2006-01-01|title=Impact of color on marketing|url=https://doi.org/10.1108/00251740610673332|journal=Management Decision|volume=44|issue=6|pages=783–789|doi=10.1108/00251740610673332|issn=0025-1747|url-access=subscription}}</ref> Most of these effects, to the extent they are real, can be attributed to the higher saturation and lighter value of warm pigments in contrast to cool pigments; brown is a dark, unsaturated warm color that few people think of as visually active or psychologically arousing.
== Color harmony and color schemes ==
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