Abstract
We set out to investigate Goethe's doctrine of colors, in its natural and artistic sense, from the body of Zur Farbenlehre (1810). By tracing the main theoretical references of his thought, we intend to list the way in which Goethe interprets and, at the same time, enters the debate about the autonomy of painting, both in the context of an aesthetic of colors and in the territory of its p…