A digital image is backlit; a painting is seen by reflected surrounding light. Screen brightness, white balance, camera sensor and compression can turn a Monet grey blue or warm varnish orange. Even museum photographs belong to different lighting and conservation moments.nnOnline colour is therefore not simply wrong but conditional. Researchers use colour charts and calibrated displays; everyday viewers can compare sources and avoid firm pigment claims.
Digital access is powerful, but every pixel belongs to a chain of measurement, not directly to the object.
