An experimental approach to the study and teaching of color is comprised of exercises in seeing color action and feeling color relatedness before arriving at color theory.

Josef Albers's 'Interaction of Color' is a masterwork in 20th century art observation and was conceived as a handbook and teaching aid for artists, instructors and students. It presents his ideas of colour experimentation in a clear and accessible manner.

Conceived as a handbook and teaching aid for artists, instructors, and students, this timeless book presents Albers' unique ideas of color experimentation in a way that is valuable to specialists as well as to a larger audience.

"Features all aspects of the artist's long career: paintings, prints, furniture, household objects, works in glass, photographs, and pre-Columbian sculptures"--

The history of art is inseparable from the history of color. And what a fascinating story they tell together: one that brims with an all-star cast of characters, eye-opening details, and unexpected detours through the annals of human civilization and scientific discovery. Enter critically acclaimed writer and popular journalist Victoria Finlay, who here takes readers across the globe and over the centuries on an unforgettable tour through the brilliant history of color in art. Written for newcomers to the subject and aspiring young artists alike, Finlay’s quest to uncover the origins and science of color will beguile readers of all ages with its warm and conversational style. Her rich narrative is illustrated in full color throughout with 166 major works of art—most from the collections of the J. Paul Getty Museum. Readers of this book will revel in a treasure trove of fun-filled facts and anecdotes. Were it not for Cleopatra, for instance, purple might not have become the royal color of the Western world. Without Napoleon, the black graphite pencil might never have found its way into the hands of Cézanne. Without mango-eating cows, the sunsets of Turner might have lost their shimmering glow. And were it not for the pigment cobalt blue, the halls of museums worldwide might still be filled with forged Vermeers. Red ocher, green earth, Indian yellow, lead white—no pigment from the artist’s broad and diverse palette escapes Finlay’s shrewd eye in this breathtaking exploration.

Includes color circles, spheres, and scales as well as suggested exercises.

Published to accompany an exhibit on Albers' work as both artist and teacher, this volume assesses Albers' understanding and teaching of color as "the most relative medium in art."