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DOI Artikel:Piñero Moral, Ricardo Isidoro; Dohna Schlobitten, Yvonne: Iconosophy: the relationship between colour theory and iconography (Goethe and Turner. The labyrinth of word and light)
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.31179#0227
the traditional scientihc method. If we integrate
the observer, we get into other questions about
psychology, perception and réception.' We háve to
go beyond the relation of ends and means to grasp
the "unseen" in the work of artd
Can colour be analysed independently?
This article is an experiment in which the authors
try to dehne the independent power and language
of colour through a concrète example formed by
a relationship: on one hand the role of Goethe's
theory of colour, a splendid synthesis of the uses
of colour by the masters, and an inhuential turning
point m the study of the aesthetic, philosophical
and artistic dimensions of colour, and on the other
Turner's painting TfyA twh GbAwr (TAiVAt TAcry)
- TA AíorAyg Ař TUAg<? — ILATyy Ať ILčA
o/ [Fig. 1].
In art history, we háve already important research-
es on Goethe and Turner which could be divided in
three main streams.
The hrst is the theoretical aspect of colour
and line in Goethe's theory, and its influence on
Turner, an aspect which was recently analysed by
Rosenbergh
A second approach to Goethe's theory of col-
our and Turner work was placed at the centre of
the famous exhibition in Paris by Lemoine,*' who
attempted to understand how abstraction came to
be invented. His approach centred on the relation
of science and art, trying to grasp how scientihc
discoveries influence art.
A third line of analysis is Maurice Tuchman's
TA WAAA A MA/mc/Mr/ from 1986 — based on
3 ROSENBERG 1989 (seemnotel), p. 7.
^ Max Imdahl invented a method for the interprétation of ab-
stract art. See IMDAHL, M.:
RA HAw BAř 711. (=Werkmonographien zur Bildenden
Kunst, 147). Stuttgart 1971. Reprinted, without illustrations,
in D^r ZAvA/? Gr^y^A^^Tg Grg&THyAw. Ed.
Ch. PRIES. Weinheim 1989, pp. 233-252. Reprinted again
in IMDAHL, M.:
Vol. 1. Ed. AJANHSEN-VUKICEVIC. Frankfurt 1996, pp.
244-273. See also IMDAHL, M.: Moderne Kunst und Medien.
Ein Vortrag. In: TMr Kwv/MwA 36, 1983, No. 1, pp. 18-21;
IMDAHL, M.: Moderne Kunst und visuelle Erfahrung. In:
Z/ArG* ZA%^g, 15. - 16. 2. 1986, p. 65.
/. /. 31 H'l 77/ri?řr.' GcA/rfG^ř/A'} 7'A^/Q- 7A3i^rwA
^ Aíďřr HW/zA A<? ILA V Gřwřvt, 7^43. Lo%A%,
TAtř G^Aty.
Kandinsky's T^ř bpAAt?/ A Mr/ — which discusses
Goethe's theory of colour and the role of panthe-
ism, developing the spiritual sphere of abstract art,
and exploring the different artistic expressions of
different religions.
The spiritual, scientihc and theoretical discus-
sion on Goethe's theory and Turner should be en-
riched with this article, which takés a philosophical
^ T3/772řf; 77%g<y [Exhib. Cat.]
Eds. R. ROSENBERG - M. HOLLEIN. Frankfurt, Schírn
Kunsthalle. München 2007, p. 113. Rosenberg talks about the
beginning of abstraction and the rôle of colour and line. With
the analysis of his painting and sketches, the author tried to
show the évolution of abstraction in Turner's oeuvre. He goes
beyond the very profound theoretical analysis of Goethe's
theory of colour and its role in abstraction and focuses his
analysis on the theoretical rôle of the line.
^ 7áW — 7P74. [Exhib. Cat.] Eds. S.
LEMOINE - P. ROUSSEAU - E. JOLLET - G. ROQUE.
Paris, Musée d'Orsay, 2003 - 2004. Paris 2003.
— 7 ALL Ed.
M. TUCHMAN. New York 1999.
223
the observer, we get into other questions about
psychology, perception and réception.' We háve to
go beyond the relation of ends and means to grasp
the "unseen" in the work of artd
Can colour be analysed independently?
This article is an experiment in which the authors
try to dehne the independent power and language
of colour through a concrète example formed by
a relationship: on one hand the role of Goethe's
theory of colour, a splendid synthesis of the uses
of colour by the masters, and an inhuential turning
point m the study of the aesthetic, philosophical
and artistic dimensions of colour, and on the other
Turner's painting TfyA twh GbAwr (TAiVAt TAcry)
- TA AíorAyg Ař TUAg<? — ILATyy Ať ILčA
o/ [Fig. 1].
In art history, we háve already important research-
es on Goethe and Turner which could be divided in
three main streams.
The hrst is the theoretical aspect of colour
and line in Goethe's theory, and its influence on
Turner, an aspect which was recently analysed by
Rosenbergh
A second approach to Goethe's theory of col-
our and Turner work was placed at the centre of
the famous exhibition in Paris by Lemoine,*' who
attempted to understand how abstraction came to
be invented. His approach centred on the relation
of science and art, trying to grasp how scientihc
discoveries influence art.
A third line of analysis is Maurice Tuchman's
TA WAAA A MA/mc/Mr/ from 1986 — based on
3 ROSENBERG 1989 (seemnotel), p. 7.
^ Max Imdahl invented a method for the interprétation of ab-
stract art. See IMDAHL, M.:
RA HAw BAř 711. (=Werkmonographien zur Bildenden
Kunst, 147). Stuttgart 1971. Reprinted, without illustrations,
in D^r ZAvA/? Gr^y^A^^Tg Grg&THyAw. Ed.
Ch. PRIES. Weinheim 1989, pp. 233-252. Reprinted again
in IMDAHL, M.:
Vol. 1. Ed. AJANHSEN-VUKICEVIC. Frankfurt 1996, pp.
244-273. See also IMDAHL, M.: Moderne Kunst und Medien.
Ein Vortrag. In: TMr Kwv/MwA 36, 1983, No. 1, pp. 18-21;
IMDAHL, M.: Moderne Kunst und visuelle Erfahrung. In:
Z/ArG* ZA%^g, 15. - 16. 2. 1986, p. 65.
/. /. 31 H'l 77/ri?řr.' GcA/rfG^ř/A'} 7'A^/Q- 7A3i^rwA
^ Aíďřr HW/zA A<? ILA V Gřwřvt, 7^43. Lo%A%,
TAtř G^Aty.
Kandinsky's T^ř bpAAt?/ A Mr/ — which discusses
Goethe's theory of colour and the role of panthe-
ism, developing the spiritual sphere of abstract art,
and exploring the different artistic expressions of
different religions.
The spiritual, scientihc and theoretical discus-
sion on Goethe's theory and Turner should be en-
riched with this article, which takés a philosophical
^ T3/772řf; 77%g<y [Exhib. Cat.]
Eds. R. ROSENBERG - M. HOLLEIN. Frankfurt, Schírn
Kunsthalle. München 2007, p. 113. Rosenberg talks about the
beginning of abstraction and the rôle of colour and line. With
the analysis of his painting and sketches, the author tried to
show the évolution of abstraction in Turner's oeuvre. He goes
beyond the very profound theoretical analysis of Goethe's
theory of colour and its role in abstraction and focuses his
analysis on the theoretical rôle of the line.
^ 7áW — 7P74. [Exhib. Cat.] Eds. S.
LEMOINE - P. ROUSSEAU - E. JOLLET - G. ROQUE.
Paris, Musée d'Orsay, 2003 - 2004. Paris 2003.
— 7 ALL Ed.
M. TUCHMAN. New York 1999.
223