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]
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]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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