The Structure of Paintings

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Michael Leyton has developed new foundations for geometry in which shape is equivalent to memory storage. A principal argument of these foundations is that artworks are maximal memory stores. The theory of geometry is developed from Leyton's fundamental laws of memory storage, and this book shows that these laws determine the structure of paintings. Furthermore, the book demonstrates that the emotion expressed by a painting is actually the memory extracted by the laws. Therefore, the laws of memory storage allow the systematic and rigorous mapping not only of the compositional structure of a painting, but also of its emotional expression. The argument is supported by detailed analyses of paintings by Picasso, Raphael, Cezanne, Gauguin, Modigliani, Ingres, De Kooning, Memling, Balthus and Holbein.

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The Structure of Paintings Review

Michael Leyton is one of those rare, immensely gifted individuals who can make powerful impressions across multiple fields of endeavour. His insights transform how we think and open up totally new frontiers for exploration.

Michael Leyton can perhaps best be characterized by his own intriguing equality "Shape = Memory". Proceeding from this ground-breaking insight he developed a comprehensive generative theory of shape. The basis of this theory is process grammar, which prescribes how shapes evolve the way they do, and by this very fact, the memory encoded by the shape can be recovered. This extremely elegant, parsimonious theory has enjoyed huge impact outside Leyton's home field of cognitive science, e.g., the theory provides explanation of how clouds evolve, or how or how the coastline changes their form over time.

Michael Leyton is also a gifted musician and artist. The enormous power of "The structure of paintings" is therefore not a surprise as it represents the application of Leyton's theory to forms as expressed by paintings. For me, what is profound about this work is the way in which geometry (i.e., form) is connected to aesthetics. In Leyton's own words, "The retrieval of memory from shape is the real meaning of aesthetics". At a broad level, the book is radical as it unifies science and art -it provides an insightful and meaningful characterization of aesthetics, which is both geometrically and cognitively situated.

As a Professor of Science and Technology, I have been exposed to a number of exciting ideas produced by original and gifted thinkers over the past two decades. On only two occasions I have been so inspired as to use the label "genius". Michael Leyton is one of them.

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