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It is known that a professional artist can enter the structure of any already created painting style, simulate it, or even independently create in it. Today, a painter can, for example, paint an impressionist, fauvist, cubist, etc., composition. The question that arises, however, is what does he have to know, understand, and master so that an existing painting style can “come to life” in a concrete painting? And, of course: what actually is the “existence” of style, as it appears to have already existed before a work of art, while on the other hand it does not factually reveal itself until the painting is realized? The hypothesis that the author will be defending on these pages is that painting artworks as “systems of organized perceptions” and painting styles as their generative matrices have an axiomatic nature and organization, that in their formalsemantic complexity they behave as specific axiomatic systems.