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	Theory of painting

	
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The idea of founding a theory of painting after the model of music theory, was suggested by Goethe in 1807, and gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee.[1][2]


Contents


	1 From Goethe to Klee
	2 Structural semantic rhetoric
	3 See also
	4 Notes
	5 References





From Goethe to Klee[edit]

Goethe famously said in 1807 that painting "lacks any established, accepted theory as exists in music".[2][3] Kandinsky, in 1911, reprised Goethe, agreeing that painting needed a solid foundational theory, and such theory should be patterned after the model of music theory,[2] and adding that there is a deep relationship between all the arts, not only between music and painting.[4]

The comparison of painting with music gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee.[1]


Structural semantic rhetoric[edit]

The Belgian semioticians known under the name Groupe µ, developed a method of painting  research called structural semantic rhetoric; the aim of this method is to determine the stylistic and aesthetic features of any painting by means of the rhetorical operations of addition, omission, permutation and transposition.[5][6]


See also[edit]

	Aesthetics of music
	Philosophy of music
	Synesthesia in art
	Visual semiotics


Notes[edit]


	^ a b Marcel Franciscono Paul Klee: His Work and Thought, part 6 'The Bauhaus and Düsseldorf', chap. 'Klee's theory courses', p. 246 and under 'notes to pages 245–54' p. 365

	^ a b c Moshe Barasch (2000) Theories of art – from impressionism to Kandinsky, part IV 'Abstract art', chap. 'Color' pp. 332–3

	^ Goethe 19 May 1807, conversation with Riemer

	^ Kandinsky p. 27

	^ Winfried Nöth (1995) Handbook of semiotics pp. 342, 459

	^ Jean-Marie Klinkenberg et al. (Groupe µ) (1980) Plan d'une rhétorique de l'image, pp. 249–68





References[edit]

	Kandinsky [1911] Concerning the Spiritual in Art, chapter The language of form and colour pp. 27–45


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