Theory of painting

The idea of creating a special set of rules and ideas for painting, called a theory of painting, was first suggested by the famous writer Goethe in 1807. He thought painting could have its own system, just like how music has its own theory to understand and create music.

This idea became very important for many new and modern artists in the 1920s. During a time called the Weimar culture, artists like Paul Klee found this thought very interesting. They were part of a group known as the avant-garde, which means they were always looking for new and different ways to make art.

Having a theory for painting helped these artists think more deeply about their work. It gave them ways to talk about colors, shapes, and how to show feelings and ideas through their paintings. This made art even more exciting and full of possibilities for everyone to explore.

From Goethe to Klee

In 1807, the writer Goethe pointed out that painting did not have a clear set of rules, unlike music. Later, in 1911, an artist named Kandinsky agreed, saying painting should have its own strong set of rules, similar to music. He also believed that all kinds of art, not just music and painting, are connected.

This idea became very popular with modern artists in the 1920s, during a time called the Weimar culture period, including the artist Paul Klee.

Main article: Weimar culture Paul Klee

Structural semantic rhetoric

The Belgian semioticians known as the Groupe μ created a special way to study paintings. They called it structural semantic rhetoric. This method helps find out the style and beauty of any painting by looking at how artists add, leave out, switch, or move things in their work using rhetorical operations.