Chemists are masters of colors, be it their synthesis or the analysis of natural dyes and pigments. Therefore, it is mandatory that chemistry students acquire some basic knowledge of color theories. The contemporaries of Wilhelm Ostwald (1853–1932), Nobel Laureate for Chemistry in 1909, repeatedly refused to accept and often even acidly opposed his new and unconventional ideas. This also happened in response to his color doctrine, which he regarded as his opus magnum. The accepted color theory of his times was based on the concept of the trichromatic color vision of Thomas Young (1773–1829) and Hermann von Helmholtz (1821–1894). Contrary to this theory, Ostwald emphasized the psychological issues of color perception. He introduced new terms and variables of colors, developed pragmatic ways to measure colors and assembled them in a ‘color solid’ (a three-dimensional frame of colors). Many physicists disagreed with his ideas, since they regarded Helmholtz’s theory as sufficient and Ostwald’s as superfluous. Then, when Ostwald derived color harmony from his color order, he also had many artists as enemies. Indeed, Ostwald’s color theory is not without flaws. However, he had mainly in mind the applications of colors in arts, design and industry. With that focus, another understanding results, as Ostwald’s color doctrine provides a theory of body colors that is relatively simple, descriptive, practical and fruitful for further development.