From Goethe to Klee Goethe famously said in 1807 that painting "lacks any established, accepted theory as exists in music".Moshe Barasch (2000) Theories of art - from impressionism to Kandinsky, part IV 'Abstract art', chap. 'Color' pp .332-3Goethe 19 May 1807, conversation with Riemer 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, and adding that there is a deep relationship between all the arts, not only between music and painting.Kandinsky p .27 The comparison of painting with music gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee.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 Structural semantic rhetoric 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.Winfried Nöth (1995) Handbook of semiotics pp .342 , 459Jean-Marie Klinkenberg et al. (Groupe µ) (1980) Plan d'une rhétorique de l'image, pp .249-68 See also Synesthesia in art Visual semiotics Aesthetics of music Philosophy of music 
From Goethe to Klee Goethe famously said in 1807 that painting "lacks any established, accepted theory as exists in music".Moshe Barasch (2000) Theories of art – from impressionism to Kandinsky, part IV 'Abstract art', chap. 'Color' pp . 332–3Goethe 19 May 1807, conversation with Riemer 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, and adding that there is a deep relationship between all the arts, not only between music and painting.Kandinsky p . 27 The comparison of painting with music gained much regard among the avant-garde artists of the 1920s, the Weimar culture period, like Paul Klee.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 Structural semantic rhetoric 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.Winfried Nöth (1995) Handbook of semiotics pp . 342 , 459Jean-Marie Klinkenberg et al. (Groupe µ) (1980) Plan d'une rhétorique de l'image, pp . 249–68 See also Aesthetics of music Philosophy of music Synesthesia in art Visual semiotics
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.332-3Goethe
. 332–3Goethe
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.27
. 27
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245-54' p.365
245–54' p. 365
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.342
. 342
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.249-68
. 249–68
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Synesthesia in art Visual semiotics
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Synesthesia in art Visual semiotics