Access the full text.
Sign up today, get DeepDyve free for 14 days.
References for this paper are not available at this time. We will be adding them shortly, thank you for your patience.
Color, long denigrated by philosophers and painters as inferior to form, was “emancipated” by a number of modernist artists, perhaps most notably Wassily Kandinsky and his collaborators in Der Blaue Reiter. Not only was it elevated above form, but it was also freed from the imperative to imitate the perceived colors of the real world and its identification with mere surface appearance. Among Kandinsky’s greatest enthusiasts was Walter Benjamin, whose fragmentary writings on color celebrated its spiritual powers and resistance to the conceptual abstractions of language. Although he ultimately abandoned his quest for a new theory of color that would somehow serve the more radical emancipation of humankind he sought, Benjamin never lost his fascination for the experience of color he attributed to children, an experience that prefigured the utopian redemption of the senses he hoped might one day be realized.
positions – Duke University Press
Published: Feb 1, 2018
Read and print from thousands of top scholarly journals.
Already have an account? Log in
Bookmark this article. You can see your Bookmarks on your DeepDyve Library.
To save an article, log in first, or sign up for a DeepDyve account if you don’t already have one.
Copy and paste the desired citation format or use the link below to download a file formatted for EndNote
Access the full text.
Sign up today, get DeepDyve free for 14 days.
All DeepDyve websites use cookies to improve your online experience. They were placed on your computer when you launched this website. You can change your cookie settings through your browser.