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colorblindneSS openS Up A beAUtifUl World
At the time， Peter Milton was teaching at the Maryland Institute College of Art in Baltimore. And he’d had a show of some of his paintings.
Peter Milton： And it got reviewed and someone referred to how warm and， sort of， pinky the landscapes were. And I was horrified.
Pink was not what Milton thought he’d been laying down on the canvas. So he made an appointment at Johns Hopkins University. The 1）diagnosis： red-green colorblindness， or 2）deuteranopia. This on top of the nearsightedness that Milton had known about since he was a kid.
Michael Marmor （Professor， Stanford University）： We see color because we have three types of 3）cone cells or 4）receptors in the 5）retina： one of which is mainly blue sensitive， one is red sensitive and one is green sensitive. Some people are born with abnormal red or green sensors. If they’re somewhat abnormal， a person doesn’t quite 6）discriminate colors on the red-green end of the 7）spectrum as well. But they may see them if they’re bright.
Peter： The way you could see my green would be to take a neutral gray and put some yellow into it.
As for reds， Peter Milton says the color 8）maroon looks like mud. Now colorblindness isn’t that uncommon. About one in ten men has some form of it. But Milton was a painter. He studied art at Yale under 9）Josef Albers， who wrote the book on color.
Peter： I was told， at one point， maybe a couple of years later， that he thought very highly of my work. And this is very bizarre because I’m the colorblind person. He’s the color 10）guru.
Milton wasn’t going to abandon art. But he did feel he had to abandon color. And so he embraced black and white. In the four decades since， Milton has been making extraordinarily 11）intricate black and white prints. You almost need a magnifying glass to take them in. 12）Ballerinas and men on bicycles， and dogs and children float in and out of 13）ornate train stations and cafés. They are visual puzzles， and past and present seem to merge. But looking closely won’t yield an answer. Milton says it’s all about invoking a sense of mystery and a mood.
Peter： It’s really an examination of not having color any more， of using 14）tonal and texture as your medium. Black and white’s almost more elegant.
15）Claude Monet had 16）cataracts， and he eventually lost his ability to tell colors apart. And the 19th-century artist， Charles Meryon， who was famous for his 17）etchings of Paris， was colorblind. Michael Marmor says that， like Peter Milton， most artists who found out they were colorblind just switched to printmaking or sculpture. And Milton says his diagnosis kind of took a weight off his shoulders.
Peter： No， I don’t miss color. I mean， it helps to have a disability. I， I use that word. Uh， it’s a strong word， but it helps to have a disability， because when you can do anything， which of all the things you can do are you going to choose？ So something has to help you make the choice.
Or， as 18）Edgar Degas put it， “I’m convinced that these differences in vision are of no importance. One sees as one wishes to see. It’s false， and it is that 19）falsity that constitutes art.”
当时，彼得·米尔顿正在位于美国巴尔的摩的马里兰艺术学院教书。他展出了一些自己的画作。
彼得·米尔顿：当时人们写了画评，有人说，这是带了点粉色的风景画，非常温暖，我吓坏了。
粉红色并不是米尔顿原本想涂在画布上的颜色，于是他去约翰霍普金斯大学挂了个号。诊断结果：红绿色盲，亦即绿色盲。米尔顿从小就知道自己患有近视，这是另一种眼疾。
迈克尔·马默（斯坦福大学教授）：我们会看见色彩，是因为我们的视网膜上有三种视锥细胞，也可以说是感受器：其中一种主要对蓝色敏感，另一种对红色敏感，还有一种对绿色敏感。有些人的红色或绿色感受器天生异常。如果一个人的感受器出了毛病，他就无法明确区分出光谱上位于红绿两端的颜色，但如果颜色发亮的话，他也许就能看见了。
彼得：要想看到我的绿色，找一个中性的灰色，加入一点黄色，你就知道我眼中的效果了。
至于红色系，彼得·米尔顿说，栗色在他看来就像泥浆一样。色盲并不是特别罕见的病征，大约每十人当中就有一人患有一定程度的色盲。但米尔顿是名画家。他当年在耶鲁大学师从约瑟夫·亚伯斯——后者还出版过色彩方面的著作。
彼得：有一次，大概几年后吧，有人告诉我，老师对我的作品评价相当高。这真是太奇妙了，因为我是个色盲患者，而他是位色彩大师。
米尔顿并不打算因此放弃艺术，但他确实觉得自己必须放弃色彩，于是他投身到黑与白的世界。在随后的四十年里，米尔顿一直致力于创作精巧奥妙的黑白版画，你几乎得用上放大镜才能看清楚其中的内容。芭蕾舞者与骑着自行车的男人，狗狗与飘在空中的孩子在华美的火车站和咖啡馆进进出出。欣赏这些作品就像看图猜谜一样，过去与现在仿佛在此融为一体。不过，就算凑上前去细看，你也不会找到答案。米尔顿说，他的作品旨在表达一种神秘感，一种氛围。
彼得：不再采用颜色，而要用深浅色调以及图案纹理作为你的媒介，这确实是一项考验。黑与白几乎有种更加典雅的感觉。
克劳德·莫奈患有白内障，晚年时已经完全辨别不出颜色。19世纪艺术家查尔斯·梅里翁以巴黎系列蚀刻画而著称，他本人是个色盲患者。迈克尔·马默表示，和彼得·米尔顿一样，大多数发现自己患有色盲的艺术家都会转而制作版画或者搞雕刻。米尔顿则说，这个诊断结果可以说给他卸掉了一个负担。
彼得：不，我不想念色彩。我的意思是，身有残疾其实很有帮助。我……我确实会用这个词，这是个语言色彩非常强烈的词，但残疾确实有其益处，因为当你可以从事各方面的工作时，面对各种选择，你会选哪个方向进行专攻呢？总有些事情会帮你做出选择。
又或者，正如埃德加·德加所说的那样：“我确信，这些视力上的差异无关紧要。一个人总会看见自己想看见的东西。即便不是真的，但也正是这种虚假才能成就艺术。”
At the time， Peter Milton was teaching at the Maryland Institute College of Art in Baltimore. And he’d had a show of some of his paintings.
Peter Milton： And it got reviewed and someone referred to how warm and， sort of， pinky the landscapes were. And I was horrified.
Pink was not what Milton thought he’d been laying down on the canvas. So he made an appointment at Johns Hopkins University. The 1）diagnosis： red-green colorblindness， or 2）deuteranopia. This on top of the nearsightedness that Milton had known about since he was a kid.
Michael Marmor （Professor， Stanford University）： We see color because we have three types of 3）cone cells or 4）receptors in the 5）retina： one of which is mainly blue sensitive， one is red sensitive and one is green sensitive. Some people are born with abnormal red or green sensors. If they’re somewhat abnormal， a person doesn’t quite 6）discriminate colors on the red-green end of the 7）spectrum as well. But they may see them if they’re bright.
Peter： The way you could see my green would be to take a neutral gray and put some yellow into it.
As for reds， Peter Milton says the color 8）maroon looks like mud. Now colorblindness isn’t that uncommon. About one in ten men has some form of it. But Milton was a painter. He studied art at Yale under 9）Josef Albers， who wrote the book on color.
Peter： I was told， at one point， maybe a couple of years later， that he thought very highly of my work. And this is very bizarre because I’m the colorblind person. He’s the color 10）guru.
Milton wasn’t going to abandon art. But he did feel he had to abandon color. And so he embraced black and white. In the four decades since， Milton has been making extraordinarily 11）intricate black and white prints. You almost need a magnifying glass to take them in. 12）Ballerinas and men on bicycles， and dogs and children float in and out of 13）ornate train stations and cafés. They are visual puzzles， and past and present seem to merge. But looking closely won’t yield an answer. Milton says it’s all about invoking a sense of mystery and a mood.
Peter： It’s really an examination of not having color any more， of using 14）tonal and texture as your medium. Black and white’s almost more elegant.
15）Claude Monet had 16）cataracts， and he eventually lost his ability to tell colors apart. And the 19th-century artist， Charles Meryon， who was famous for his 17）etchings of Paris， was colorblind. Michael Marmor says that， like Peter Milton， most artists who found out they were colorblind just switched to printmaking or sculpture. And Milton says his diagnosis kind of took a weight off his shoulders.
Peter： No， I don’t miss color. I mean， it helps to have a disability. I， I use that word. Uh， it’s a strong word， but it helps to have a disability， because when you can do anything， which of all the things you can do are you going to choose？ So something has to help you make the choice.
Or， as 18）Edgar Degas put it， “I’m convinced that these differences in vision are of no importance. One sees as one wishes to see. It’s false， and it is that 19）falsity that constitutes art.”
当时，彼得·米尔顿正在位于美国巴尔的摩的马里兰艺术学院教书。他展出了一些自己的画作。
彼得·米尔顿：当时人们写了画评，有人说，这是带了点粉色的风景画，非常温暖，我吓坏了。
粉红色并不是米尔顿原本想涂在画布上的颜色，于是他去约翰霍普金斯大学挂了个号。诊断结果：红绿色盲，亦即绿色盲。米尔顿从小就知道自己患有近视，这是另一种眼疾。
迈克尔·马默（斯坦福大学教授）：我们会看见色彩，是因为我们的视网膜上有三种视锥细胞，也可以说是感受器：其中一种主要对蓝色敏感，另一种对红色敏感，还有一种对绿色敏感。有些人的红色或绿色感受器天生异常。如果一个人的感受器出了毛病，他就无法明确区分出光谱上位于红绿两端的颜色，但如果颜色发亮的话，他也许就能看见了。
彼得：要想看到我的绿色，找一个中性的灰色，加入一点黄色，你就知道我眼中的效果了。
至于红色系，彼得·米尔顿说，栗色在他看来就像泥浆一样。色盲并不是特别罕见的病征，大约每十人当中就有一人患有一定程度的色盲。但米尔顿是名画家。他当年在耶鲁大学师从约瑟夫·亚伯斯——后者还出版过色彩方面的著作。
彼得：有一次，大概几年后吧，有人告诉我，老师对我的作品评价相当高。这真是太奇妙了，因为我是个色盲患者，而他是位色彩大师。
米尔顿并不打算因此放弃艺术，但他确实觉得自己必须放弃色彩，于是他投身到黑与白的世界。在随后的四十年里，米尔顿一直致力于创作精巧奥妙的黑白版画，你几乎得用上放大镜才能看清楚其中的内容。芭蕾舞者与骑着自行车的男人，狗狗与飘在空中的孩子在华美的火车站和咖啡馆进进出出。欣赏这些作品就像看图猜谜一样，过去与现在仿佛在此融为一体。不过，就算凑上前去细看，你也不会找到答案。米尔顿说，他的作品旨在表达一种神秘感，一种氛围。
彼得：不再采用颜色，而要用深浅色调以及图案纹理作为你的媒介，这确实是一项考验。黑与白几乎有种更加典雅的感觉。
克劳德·莫奈患有白内障，晚年时已经完全辨别不出颜色。19世纪艺术家查尔斯·梅里翁以巴黎系列蚀刻画而著称，他本人是个色盲患者。迈克尔·马默表示，和彼得·米尔顿一样，大多数发现自己患有色盲的艺术家都会转而制作版画或者搞雕刻。米尔顿则说，这个诊断结果可以说给他卸掉了一个负担。
彼得：不，我不想念色彩。我的意思是，身有残疾其实很有帮助。我……我确实会用这个词，这是个语言色彩非常强烈的词，但残疾确实有其益处，因为当你可以从事各方面的工作时，面对各种选择，你会选哪个方向进行专攻呢？总有些事情会帮你做出选择。
又或者，正如埃德加·德加所说的那样：“我确信，这些视力上的差异无关紧要。一个人总会看见自己想看见的东西。即便不是真的，但也正是这种虚假才能成就艺术。”