![Kolor a przyjemność oglądania. Przypadek pompejańskiej Mozaiki Aleksandra](/api/image/getbookcoverimage?id=document_cover-page-image_715359.jpg)
Kolor a przyjemność oglądania. Przypadek pompejańskiej Mozaiki Aleksandra
The colour programme of the Aleksander Mosaic has not been the subject of separate studies so far. Researchers take up this issue when analyzing the statements of Pliny (in his „Natural History”) about the palette of four colors and the so-called colores floridi and colores austeri. Assuming that the Mosaic is a copy of a lost painting of Philoxenus of Eretria, I try to prove that the use of four colors resulted from an artist’s assumption that the pigments must be subordinated to the whole composition and should not dominate it, which was a condition for a well-understood art of imitating of nature. This conviction is in line with the remarks of many ancient thinkers, including Aristotle, although – as Vitruvius and Pliny testify – it was not scrupulously kept by ancient painters.
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