When this book was first published, 20 or so years ago, I already had plenty of works on colour theory and practice, and did not feel the need for more. But after another 20 years of book collecting, I now find myself having difficulty in locating new titles which appeal; so I bought this revised edition for something to read, and because it appeared to have many excellent reproductions of varied paintings.
But I must first record a huge irritation. The book is sprinkled with pithy quotes from the wise and the learned (not always the same) of which I generally approve. But in this case, for reasons which I can only wonder at, and in contrast to the rest of the book - fortunately - they are printed in a weird mish-mash of both large and small lower case and upper case letters, very crudely drawn, and certainly not conducive to speed-reading. If the author was responsible, she should give up all thoughts of ever being a book layout designer; and if the publishers were responsible, they should move into street-sweeping. I deduct a star for this piece of crassness.
Otherwise, the book is very good in all respects, and I have no hesitation in commending it as an excellent and very comprehensive primer on how to deploy colour in art for the best possible outcome. There are plenty of demonstrations of the use and effect of various pigment and hue combinations and mixes, many of which you may find inspirational, and enough advice to save you from the many pitfalls into which colour-mixing can unexpectedly propel the unwary. The illustrations range from the outright abstract to the outright photo-realist, with everything in between, supplied by many different artists, some familiar, some not, but all good. There are only a dozen of the author's works shown, which, disappointingly, are not a patch on those in her other remarkable work.
Quite possibly, as a painter, you may never think it necessary to buy another book on colour, ever; although if you're like me, you probably will.