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Not that it is relevant to the current discussion, but a study showed that workers who were exposed to fluorescent lighting day-long, which has become omnipresent in offices over the past 60 years, are 50% more likely to contract skin cancer than workers who spend all their time outside in the sunlight.
To imply that the only reason for blue vs brown is the propensity for blue eyes to suffer sun damage more readily (which they do, as; my cataract surgery attests to) must be augmented by an explanation of why blue eyes came into existence in the first place, all of us on Earth tracing our origins to Africa. The fact is, blue eyes are common to Nordic folk because of the lower level of sunlight for much of the year. In other words, blue eyes must collect more light than brown, and in so doing, retinal cones notwithstanding, have more of an impact on sight than merely controlling the size of the pupil.
Check out the site's list of "scientists." It looks more like a complete catalogue of UCSB's undergraduates.
I can't speak for all of the Impressionists, but most of those gilded frames were put there by dealers or owners. At Monet's studio at Giverny, the paintings that are framed have simple dark wooden frames. Van Gogh would frame his pictures in plain wooden frames that were painted, usually in a light color that complimented the painting. This continued in the Neo Impressionists where Seurat and Signac did the same. Seurat's masterpiece Un dimanche aprÃƒÂ¨s-midi ÃƒÂ l'ÃƒÅ½le de la Grande Jatte is still in its original frame, which is plain white. Again, I can't speak for all of the Impressionists, but my understanding is this was the trend.Look at the habit of many of the Impressionists who framed their modern images in age-old, florid, gilded frames...
There were a few reasons for gilded frames. The ornate ones helped these modern pictures fit into 19th century interiors. The gold also helped denote their value as that increased over the years (often the original frames were discarded) and finally gold is actually a pretty neutral color. It separates the painting from the wall in a pleasing manner without introducing a new color.
My second comment regards different colored eyes perceiving color in a different manner. I have never head of this and if Roderick has an article saying so I'd love to read it. I have read many articles that say dark eyed people handle bright sunlight better and also perceive motion better but lighter eyed people tend to see better in the dark. My personal perception has found this to be true as most blue eyed people I know need sunglasses whereas I, and my fellow dark eyed brethren, do not.
My only disagreement might be that gold very definitely has a color, as I see it (and we are all "prisoners" of our own perceptions, never knowing if other see what we see---a powerful metaphor ?). Gold can vary, but it's always a warm, even "hot" color---isn't it---for a "neutral" ?
There is a reason that, whenever possible, I buy the same belt with both a silver and gold buckle. Definitely a warm color.
Gold has a similar reflective quality, though tinged with its own color. I believe the difference in the quality of reflection had something to do with the choice of gold for the mirror in the new James Webb telescope.
Whoever chose the gold frames, even with the plain frames, that puce wall would not detract from the quality of Van Gough's "Sunflowers."
https://www.guggenheim.org/blogs/findin ... ective-art
You claim that puce walls would not detract from Van GoghÃ¢â‚¬â„¢s Sunflowers. Would puce walls not detract from other modern masterpieces, too?
(Your spelling is typically purrfect, so it jumped out to me. Maybe itÃ¢â‚¬â„¢s my sensitive blue eyes...)