Theory of painting

The idea of creating special 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.

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

Having a theory for painting helped these artists think more about their work. It gave them ways to talk about colors and shapes in their paintings. This made art more exciting and full of possibilities for everyone.

From Goethe to Klee

In 1807, the writer Goethe said that painting did not have clear rules, unlike music. Later, in 1911, an artist named Kandinsky agreed. He said painting should have its own strong rules, like music. He also believed all kinds of art are connected.

This idea became 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 called the Groupe μ made a special way to study paintings. They named it structural semantic rhetoric. This way helps us see the style and beauty in paintings. It looks at how artists add, leave out, switch, or move things in their work using rhetorical operations.