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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #64936 (https://www.gutenberg.org/ebooks/64936)
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-The Project Gutenberg eBook of Cubists and Post-impressionism, by Arthur
-Jerome Eddy
-
-This eBook is for the use of anyone anywhere in the United States and
-most other parts of the world at no cost and with almost no restrictions
-whatsoever. You may copy it, give it away or re-use it under the terms
-of the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org. If you are not located in the United States, you
-will have to check the laws of the country where you are located before
-using this eBook.
-
-Title: Cubists and Post-impressionism
-
-Author: Arthur Jerome Eddy
-
-Release Date: March 27, 2021 [eBook #64936]
-
-Language: English
-
-Character set encoding: UTF-8
-
-Produced by: Turgut Dincer, Chuck Greif and the Online Distributed
-             Proofreading Team at https://www.pgdp.net (This file was
-             produced from images generously made available by The Internet
-             Archive)
-
-*** START OF THE PROJECT GUTENBERG EBOOK CUBISTS AND POST-IMPRESSIONISM ***
-
-
-
-
-                    CUBISTS AND POST-IMPRESSIONISM
-
-                        [Illustration: GLEIZES
-
-                            Man on Balcony]
-
-
-
-
-                              Cubists and
-                          Post-Impressionism
-
-                                  BY
-
-                          ARTHUR JEROME EDDY
-
- Author of “Delight, the Soul of Art,” “Recollections and Impressions
-                  of James A. McNeill Whistler,” etc.
-
-              With Twenty-three Reproductions in Color of
-               Cubist and Post-Impressionist Paintings,
-                        and Forty-six Half-Tone
-                             Illustrations
-
-                            [Illustration]
-
-                                CHICAGO
-
-                          A. C. McCLURG & CO.
-
-                                 1914
-
-
-
-
-                               Copyright
-
-                          A. C. McClurg & Co.
-
-                                 1914
-
-                         Published March, 1914
-
-
-                 W. F. HAL. PRINTING COMPANY, CHICAGO
-
-
-
-    _TO THAT SPIRIT_
-      _the beating of whose restless wings is heard in every land_
-
-
-
-
-CONTENTS
-
-
-Chapter                                                             Page
-
-   I. A Sensation                                                      1
-
-  II. Post-Impressionism                                              11
-
- III. Les Fauves                                                      33
-
-  IV. A Futile Protest                                                50
-
-   V. What is Cubism?                                                 60
-
-  VI. The Theory of Cubism                                            90
-
- VII. The New Art in Munich                                          110
-
-VIII. Color Music                                                    140
-
-  IX. Esoragoto                                                      147
-
-   X. Ugliness                                                       154
-
-  XI. Futurism                                                       164
-
- XII. Virile-Impressionism                                           191
-
-XIII. Sculpture                                                      202
-
- XIV. In Conclusion                                                  207
-
-Appendix I. Exhibitions at 291 Fifth Avenue                          211
-
-Appendix II. Two Comments                                            214
-
-Bibliography                                                         223
-
-Index                                                                239
-
-
-
-
-ILLUSTRATIONS
-
-
-                                                                    PAGE
-
-BALLA, _Dog and person in movement_                                  164
-
-BECHTEJEFF, _Fight of the Amazons_                                    53
-
-BLOCH, _Summer night_                                                 92
-
-   _The duel_                                                         93
-
-BOCCIONI, _Head, houses, light_                                      184
-
-   _Spiral expansion of muscles in action_                           204
-
-BRANCUSI, _M’lle Poganey_                                            202
-
-CARDOZA, SOUSA, _Marine_                                               4
-
-   _Leap of the rabbit_                                               84
-
-   _Stronghold_                                                      148
-
-CÉZANNE, _Portrait of self_                                           26
-
-   _Village street_                                                   27
-
-   _Still life_                                                       36
-
-CHABAUD, _The laborer_                                                16
-
-   _Cemetery gates_                                                  108
-
-CHARMY, _Landscape_                                                  200
-
-DERAIN, _Forest at Martigues_                                        154
-
-DOVE, _Based on leaf forms and spaces_                                48
-
-DUCHAMP, _Chess players_                                              64
-
-   _King and queen_                                                   72
-
-ERBSLOH, _Young woman_                                               207
-
-GAUGUIN, _Portrait of self_                                          128
-
-   _Farmyard_                                                        129
-
-   _Scene in Tahiti_                                                 132
-
-GIRIEUD, _Woman seated_                                              141
-
-GLEIZES, _Man on balcony_                                  _Frontispiece_
-
-   _Original drawing for man on balcony_                              70
-
-GRIS, _Still life_                                                   133
-
-HERBIN, _Landscape_                                                   96
-
-   _Still life_                                                      186
-
-JAWLENSKY, _Head of a girl_                                          158
-
-KANDINSKY, _Village street_                                           20
-
-   _Landscape with two poplars_                                      105
-
-   _Improvisation No. 29_                                            116
-
-   _Improvisation No. 30_                                            124
-
-KLEE, _House by the brook_                                            88
-
-KROLL, _Brooklyn Bridge_                                             198
-
-   _Still life_                                                      210
-
-LEGER, _The chimneys_                                                 61
-
-LEHMBRUCK, _Kneeling woman_                                          203
-
-MARC, _The steer_                                                    104
-
-MATISSE, _The dance_                                                  44
-
-   _Woman in red madras_                                             112
-
-   _Portrait heads_                                                  205
-
-   _Back of woman_                                                   206
-
-METZINGER, _The taster_                                               60
-
-MÜNTER, _The boat ride_                                              172
-
-   _The white wall_                                                  173
-
-PICABIA, _Dance at the spring_                                        68
-
-PICASSO, _Woman with mandolin_                                        74
-
-   _The poet_                                                         75
-
-   _Drawing_                                                         100
-
-   _Old woman_                                                       140
-
-ROUSSEAU, _Portrait of self_                                          12
-
-   _Landscape_                                                        13
-
-RUSSOLO, _Rebellion_                                                 178
-
-SEGONZAC, _Pasturage_                                                182
-
-   _Forest_                                                          192
-
-SEVERINI, _The milliner_                                              80
-
-VAN GOGH, _Portrait of self_                                          40
-
-   _Cafe_                                                             56
-
-   _Woman with frying pan_                                           120
-
-   _Chair with pipe_                                                 121
-
-VAN REES, _Still life_                                                89
-
-   _Maternity_                                                       168
-
-VILLON, _Young girl_                                                  32
-
-VLAMINCK, _Village_                                                  136
-
-WEREFKIN, _The country road_                                          52
-
-ZAK, _The shepherd_                                                    8
-
-
-
-
-CUBISTS AND POST-IMPRESSIONISM
-
-
-
-
-ALAS! ALAS!!
-
-
-“It is unlikely that any painters will ever again have to face the
-hostility which was manifested against the Impressionists. The
-repetition of such a phenomenon would be impossible. The case of the
-Impressionists, in which withering scorn yielded place to admiration,
-has put criticism on its guard. It will surely stand as a warning, and
-ought to prevent the recurrence of a similar outburst of indignation
-against the innovators and independents whom time may yet bring forth.”
-
-                --“Manet and the French Impressionists,”
-                      by Theodore Duret, pp. 180, 181.
-
-
-
-
-Cubists and Post-Impressionism
-
-
-
-
-I
-
-A SENSATION
-
-
-Since the exhibit at the Columbian Exposition (1893) nothing has
-happened in the world of American art so stimulating as the recent
-INTERNATIONAL EXHIBITION OF MODERN ART. New York and Chicago, spring of
-1913.[1]
-
-“Stimulating” is the word, for while the recent exhibition may have
-lacked some of the good, solidly painted pictures found in the earlier,
-it contained so much that was fresh, new, original--eccentric, if you
-prefer--that it gave our art-world food for thought--and heated
-controversy.
-
-       *       *       *       *       *
-
-Art thrives on controversy--like every human endeavor. The fiercer the
-controversy the _surer_, the _sounder_, the _saner_ the outcome.
-
-       *       *       *       *       *
-
-Perfection is unattainable. As man in his loftiest flight stretches
-forth his hand to seize a star he drops back to earth. The finer, the
-purer the development of any art the more certain the reaction, the
-return to elemental conditions--to begin over again.
-
-       *       *       *       *       *
-
-The young sculptor looks at the chaste perfection of Greek sculpture and
-says, “What is the use? I will do something different.” The young
-painter looks at the great painters of yesterday and exclaims, “What is
-the use? I cannot excel them in their way; I must do something in my own
-way.” It is the same in business; the young merchant studies the methods
-of the successful men in his line and says, “It is idle for me to copy
-their methods. I will do something different, something in my own way,”
-and he displays his goods differently, advertises differently, conducts
-his business differently, and _if successful_ is hailed as a genius, if
-a failure he is regarded as a visionary or an eccentric--the result
-making all the difference in the world in the verdict of the public.
-
-     Painting today is a terrible problem to an absolutely sincere,
-     honest, and yet ambitious mind.
-
-     Fired to set forth something of his very own, to avoid plagiarism
-     and give the world something it has never yet received, the artist,
-     in whatever direction he advances, finds the horizon bounded by a
-     great master whom he cannot hope to surpass. Well, indeed, may he
-     ask what is the use of trying to do what Van Eyck, Botticelli,
-     Vermeer, Rembrandt, Veronese, Michael Angelo, Velasquez--nay, even
-     what Constable, Corot, Claude Monet, and Signac have done to
-     perfection?
-
-     In despair at surpassing the limits set by the great masters of
-     progress he harks back, as the pre-Raphaelites did, to the painters
-     before Raphael. Alas, Fra Lippi and Taddeo Gaddi are soon found to
-     be too sophisticated. He goes back farther, to Giotto, to Orcagna,
-     even to the Egyptians, and with the same result. At last he takes
-     his courage in his hands and, throwing overboard the whole cargo of
-     art history, ancient and modern, he seeks to forget that picture
-     was ever painted, and with eyes freed from traditional vision he
-     seeks to recreate the barbaric art of infancy.
-
-     Call this man an extremist if you like, but do not lightly dub him
-     insincere and charlatan. He is the counterpart in art of the
-     extremist in politics, the man who has no patience with palliative
-     measures, who demands the whole loaf and nothing but the loaf, who
-     kicks savagely away the fragments of bread tendered him by the
-     moderate and respectable. A dangerous man he may be, but he is no
-     trifler; and, if he succeeds in his purpose, as extremists
-     sometimes do, the whipped world at his feet hails him as reformer
-     and benefactor of humanity.[2]
-
-       *       *       *       *       *
-
-The Columbian Exposition gave American art a tremendous impetus forward,
-but of late it has been getting a little smug; the International
-Exhibition came and gave our complacency a severe jolt.
-
-The net result is that American art has received another impulse
-forward; it will do bigger and finer and saner things. It will not copy
-the eccentricities, the exaggerations, the morbid enthusiasms of the
-recent exhibition, because America as yet is not given to eccentricities
-and morbidness--though it may be to a youthful habit of exaggeration.
-America is essentially sane and healthful--say quite practical--in its
-outlook, hence it will absorb all that is good in the extreme modern
-movement and reject what is bad.
-
-Neither our students nor our painters will be carried off their feet but
-they will be helped onward. They will be helped in their technic, and
-they will see things from new angles, they will be more independent, in
-short they will be better and bigger painters.
-
-They will not be Cubists, Orphists, or Futurists, but they will absorb
-all there is of good in Cubism, Orphism, Futurism--and other “isms;” and
-bear in mind it is the _ist_ who is always blazing a trail somewhere; he
-may lose himself in the dense undergrowth of his theories but he at
-least marks a path others have not trodden.
-
-The recent exhibition was not an isolated movement. There are no
-_isolated_ movements in life. The International Exhibition was just as
-inevitable as the Progressive political convention of 1912 in Chicago.
-
-The world is filled with ferment--ferment of new ideas, ferment of
-originality and individuality, of assertion of independence. This is
-true in religion, science, politics as well as in art. It is true in
-business. _New thought_ is everywhere. The most radical suggestions are
-debated at the dinner table. In politics what would have been considered
-socialistic twenty years ago is accepted today as reasonable. To the
-conservative masses these new departures may seem like a wild
-overturning of all that is sacred, but there is no need for fear; all
-that _is really sound_ will gain in the end.
-
-       *       *       *       *       *
-
-Neither Cubism, Futurism nor any other “ism” troubles the really great
-painter; it is the little fellow who fumes and swears.
-
-The poise of the great man is not at all disturbed by the eccentric and
-the bizarre; on the contrary he looks with a curious eye to see if
-something of value may not be found.
-
-Whistler would not have painted Cubist pictures, but having known the
-man I can say that nothing there may be of good in Cubism would have
-gotten by the penetrating vision of that great painter.
-
-It is characteristic of the little man to ridicule or resent everything
-he does not understand; it is characteristic of the great man to be
-silent in the presence of what he does not understand.
-
-       *       *       *       *       *
-
-Just now the older men are violently opposed to the newer; there is no
-attempt at understanding and there is abundant ridicule instead of
-sympathy.
-
-[Illustration: SOUSA CARDOZA
-
-Marine]
-
-This is inevitable and quite in accord with human nature, but it is a
-pity. The old and the new are not rivals; the new is simply a departure
-from the old, simply an attempt to do something different with line and
-color. The older men should watch the younger with keenest interest;
-they may feel sure the new is foredoomed to failure, but that is no
-cause for rejoicing; on the contrary the older man should always be
-sorry to see the soaring flights of youth come to grief.
-
-       *       *       *       *       *
-
-Because a man buys a few Cubist pictures it must not be assumed he is a
-believer in Cubism.
-
-Because a man has a few books on socialism or anarchism in his library
-we do not assume he is a socialist, or an anarchist; on the contrary it
-is commonly assumed he is simply broadly and sanely interested in social
-and political theories. The radical may not convince me he is right, but
-he may show me I am wrong.
-
-The man who flies into a passion at pictures because they are not like
-the pictures he owns is on a par with the man who flies into a passion
-at books because they are not like the books he owns--the world is
-filled with such men, unreceptive, unresponsive; many intelligent in
-their narrow way, but bigoted.
-
-To most men a new idea is a greater shock than a cold plunge in winter.
-
-Personally I have no more interest in Cubism than in any other “ism,”
-but failure to react to new impressions is a sure sign of age. I would
-hate to be so old that a new picture or a new idea would frighten me.
-
-I would like to own Raphaels and Titians and Rembrandts and Velasquezes,
-but I can’t afford it. I say I would like to _own_ them; no, I would
-not, for I have the conviction that no man has _the right_ to
-appropriate to himself the work of the great masters. Their paintings
-belong to the world and should be in public places for the enjoyment and
-instruction of _all_.
-
-It is the high privilege of the private buyer to buy the works of _new
-men_, and by encouraging them disclose a Rembrandt, a Hals, a Millet, a
-Corot, a Manet, but when the public begins to want the pictures the
-private buyer, instead of bidding against the public, should step one
-side; his task is done, his opportunity has passed.
-
-       *       *       *       *       *
-
-Most men buy pictures not because they want them, but because some one
-else wants them.
-
-The man who gives half a million for a Rembrandt does so not because he
-knows or cares anything about the picture, but solely because he is made
-to believe some one else wants it $450,000 worth.
-
-Read this:
-
-     The crowning event of the day was the sale of Rembrandt’s
-     “Bathsheba.” The bidding started at 150,000 francs and within a
-     couple of minutes a perfect whirlwind of bids had carried the price
-     to 500,000 francs offered by a dealer, Mr. Trotti.
-
-     Already the smaller fry among the bidders had been eliminated and
-     the contest was circumscribed to a small group, Messrs. Duveen,
-     Wildenstein, Tedesco, Muller and Trotti being the most ardent in
-     the battle.
-
-     “Six hundred thousand!” cried Mr. Duveen.
-
-     “Six hundred and fifty thousand,” said Mr. Wildenstein.
-
-     Mr. Duveen replied with a nod which meant the addition of another
-     50,000. Then with bids of 10,000 and 25,000 the price mounted, the
-     struggle developing into a duel between Mr. Wildenstein and Mr.
-     Duveen. Eight hundred thousand francs was reached and left behind;
-     900,000 francs in turn was passed.
-
-     “Nine hundred and fifty thousand,” rapped out Mr. Duveen.
-
-     “Nine hundred and sixty thousand,” responded Mr. Wildenstein.
-
-     Then came “nine hundred and seventy thousand” and “nine hundred
-     and eighty thousand.” By this time the entire gathering was
-     spellbound by the spectacle of the gladiatorial contest for the
-     picture.
-
-     “Nine hundred and ninety thousand,” said Mr. Wildenstein.
-
-     There was an instant of silence.
-
-     “A million!”
-
-     Every eye turned from the speaker, Mr. Duveen, to gaze on Mr.
-     Wildenstein expectantly. Then there was silence, signifying his
-     withdrawal from the fight.
-
-     A mighty hubbub arose. The Rembrandt had been knocked down to Mr.
-     Duveen for a million francs, or, with the commission, 1,100,000
-     francs. Never has such a price been given for a Rembrandt.
-
-This is not dealing in art, it is art on the horse-block.
-
-Here is the record of that one painting:
-
-  1734--Sold at Antwerp for                     $    109
-
-  1791--Sold at Paris for                            240
-
-  1814--Sold at London for                           525
-
-  1830--Sold at London for                           790
-
-  1831--Sold at London for                           792
-
-  1832--Sold at London for                         1,260
-
-  1841--Sold at Paris for                          1,576
-
-  1913--Sold at Paris for                        220,000
-
-       *       *       *       *       *
-
-During the exhibition in New York and Chicago the pictures were the one
-topic of conversation; for the time being it was worth while to dine
-out; society became almost animated.
-
-I recall one delightful and irascible old gentleman, critic and painter,
-who had not had a fresh appreciation for twenty-five years. For him art
-ended with the Barbizon school. Whistler, Monet, Degas had no sure
-places.
-
-       *       *       *       *       *
-
-We all have the courage of _others_’ convictions.
-
-The new, however good, is always queer; the old, however bad, is never
-strange.
-
-Most people laugh at new pictures because they are afraid if they don’t
-laugh at the pictures, other people will laugh at _them_.
-
-Now and then a man laughs at a queer picture because he can’t help it,
-_he_ is a _joy_.
-
-Laughter is the honest emotion of the child, on the grown-up it is often
-a mark of ignorance.
-
-It is so easy to ridicule what one does not understand and _dares_ not
-like.
-
-Laughter never stops to think--if it did there would be less laughter.
-
-If you _feel_ like laughing at a picture, laugh by all means, it will do
-you good, but be sure you _really feel_ like laughing, and to make sure
-ask yourself this question, “If that picture were the only one in the
-room and I were alone with it would it strike me as laughable?”
-
-       *       *       *       *       *
-
-It always takes just about so many years. What happened with the
-Barbizon School happened with Impressionism; what happened with
-Impressionism, will happen with Post-Impressionism; what will happen
-with Post-Impressionism will surely happen with post-post-Impressionism,
-and so on. One movement follows another, as season follows season. Life
-is rhythm.
-
-Each generation thinks itself unique in its experiences.
-
-We go to an exhibition of cubist pictures and we think nothing like that
-ever happened before, hence we feel safe in denouncing them.
-
-We admit England was wrong when it ridiculed Turner, that France was
-wrong when it ridiculed Corot, that Paris was wrong when it derided
-Millet, Manet, Monet, Degas, and a host of other great men, but _we_ are
-_not_ wrong when _we_ deride the new men. Why? Because we think they are
-newer and stranger than the men named.
-
-[Illustration: ZAK
-
-The Shepherd]
-
-We accept Wagner as a genius, but Strauss--oh, no, he is _too_ strange,
-but there are stranger composers than Strauss already at work and we
-must travel fast to keep up with the procession.[3]
-
-Be very sure the Cubists, the Futurists, and all the other queer “ists”
-would not make the impression they are making if there were not a good
-reason for it, if the times were not ripe for a change.
-
-       *       *       *       *       *
-
-Broadly speaking we are changing from the _perfections_ of Impressionism
-to the _imperfections_ of Post-Impressionism; from the _achievements_ of
-a school, a movement, that has done the best it could, to the
-_attempts_, the _experiments_, the _gropings_, of new men along new
-lines.
-
-It is the purpose of this book to describe some of the changes that are
-taking place and _try_ to explain them in plain, every-day terms.
-
-The curse of art literature and professional art criticism is
-_art-jargon_.
-
-Every department of human activity from sport to science, baseball to
-philosophy, speedily develops its own jargon and the tendency is for the
-jargon to become denser and denser and so more and more obscure its
-subject, until some man with horse-sense--like Huxley in science and
-William James in philosophy--restores the use of every-day English.
-
-Some jargon like that of the baseball reporter is intensely vivid and
-amusing, it is language in the making, but the jargon of the art critic
-is deadly, it is neither vivid nor interesting--it is simply hypnotic.
-It is only when the critic gets so angry he forgets his jargon that he
-becomes intelligible--and betrays himself.
-
-The reputation of many a preacher, many an orator, depends wholly upon
-his command of jargon, his ability to utter endless phrases which are
-either stock ideas, old as the hills, or which _sound_ as if they meant
-something but on analysis prove quite barren.
-
-
-
-
-II
-
-POST-IMPRESSIONISM
-
-
-Post-Impressionism means exactly what the prefix means--the
-art-development _following_ Impressionism. It does not mean a further,
-or a higher, or a more subtle form of Impressionism, but it means
-something radically different, it means a _reaction_ from Impressionism.
-
-       *       *       *       *       *
-
-The evolution of the new movement has been logical and inevitable.
-
-After the Barbizon school with its romantic representation of nature,
-there came inevitably the realistic painters, headed by Courbet, later
-by Manet--men who painted things not romantically but realistically,
-pitilessly, brutally. There was the same rage against these men as
-against the Cubists today. Both Whistler and Manet were in the Salon des
-Refuses of 1864.
-
-Along with the men who painted _things_ as they saw them, came naturally
-men like Monet, Sisley, Pissarro, Seurat, Signac, who tried endless
-experiments in the effort to paint _light_ as they saw it.
-
-So that the final twenty-five years of the last century were given up in
-France to attempts to paint _things_ and _light_ as they really are.
-
-After the painting of _things_ and _light_ one would say the art of
-painting had touched its limits, that there was nothing more to do. But,
-no, there is the painting of _neither_ things nor light--the painting of
-_emotions_--the painting of pure line and color compositions for the
-sake of the pleasure such harmonies afford--_the expression of one’s
-inner self_.
-
-It was while Manet was painting _things_ as they are, and Monet was
-painting _light_ as it is, that Whistler was painting both things and
-light but with an entirely different object in view, namely, the
-production of _color harmonies_ superior to either thing-effects or
-light-effects.
-
-To the following résumé it is obvious another paragraph must be added to
-bring the record down to date.
-
-       *       *       *       *       *
-
-     Painting in France in the nineteenth century followed a course
-     parallel with that of the intellectual life of the country, it
-     adapted itself to the various changes in modes of thought, it took
-     upon itself a succession of forms corresponding to those which were
-     evolved in literature.
-
-     At the beginning of the century, under the Empire, painting was
-     classical. It was primarily engaged in rendering scenes borrowed
-     from the antique world of Greece and Rome, subjects derived from
-     fable and mythology. Historical painting formed the essence of high
-     art. It was based upon the nude, treated according to the classical
-     model. Two masters--David and Ingress--were its loftiest
-     expression. After them classical art was continued in an enfeebled
-     condition by painters of only secondary importance.
-
-     The new spirit of romanticism, however, which had arisen in
-     literature, also made its appearance in painting. Delacroix was the
-     master in whom it found its most complete expression. The tones of
-     classical art, sober, restrained, and often cold, gave place in his
-     work to warm and brilliant coloration. For the nicely balanced
-     scenes of classical antiquity, he substituted compositions
-     tumultuous with movement. Romanticism developed freedom of action
-     and expressiveness of pose to their utmost limits.
-
-     Painting was then conquered by realism, which had also invaded
-     literature. Courbet was its great initiator. He painted the life he
-     saw around him in a direct, robust manner. He also painted
-     landscape with a truthfulness that was informed by a powerful
-     emotion. At the same time, Rousseau and Corot had also brought
-     landscape painting into close touch with nature. They had
-     rediscovered its soul and its charm. Finally, crowning, as it were,
-     the work of their predecessors, came Manet and the
-     Impressionists.[4]
-
-[Illustration: ROUSSEAU
-
-Portrait of Self]
-
-[Illustration: ROUSSEAU
-
-Landscape]
-
-Turner was the forerunner of Impressionism, the father of attempts to
-paint brilliant _light_ effects, Whistler was the forerunner of
-Post-Impressionism, the father of attempts to paint _line and color_
-compositions.
-
-Turner did not carry his theories to the scientific extremes of the
-Impressionists and Neo-Impressionists; Whistler did not carry his
-attempts to the abstract extremes of the Compositionalists and the
-Cubists; but in their work are found the seeds of all there is in
-Impressionism and Post-Impressionism.
-
-       *       *       *       *       *
-
-“Do you say that this is a correct representation of Battersea Bridge?”
-
-“I did not intend it to be a ‘correct’ portrait of the bridge. It is
-only a moonlight scene, and the pier in the center of the bridge may or
-may not be like the piers at Battersea Bridge as you know them in broad
-daylight. As to what the picture represents, that depends upon who looks
-at it. To some persons it may represent all that is intended; to others
-it may represent nothing.”
-
-“The prevailing color is blue?”
-
-“Perhaps.”
-
-“Are those figures on the top of the bridge intended for people?”
-
-“They are just what you like.”
-
-“Is that a barge beneath?”
-
-“Yes. I am very much encouraged at your perceiving that. My whole scheme
-was only to bring about a certain harmony of color.”[5]
-
-       *       *       *       *       *
-
-Most painters are so intent upon the _subjects_ of their work they give
-little thought to color harmonies. Whistler was the one great modern
-exception; his first thought was to produce _beautiful effects_ in line
-and color, hence his titles, “Nocturnes,” “Symphonies,” “Arrangements,”
-and so on. He did not like to give his portraits the names of his
-sitters. Where other painters emphasize the “subjects” and the “stories”
-of their pictures he tried to suppress both and direct the attention of
-the beholder to the painting. He was the forerunner of recent attempts
-to do with line and color what the musician does with sound. He was the
-leader of the revolt against the “story-telling” picture.
-
-       *       *       *       *       *
-
-Millet is a good illustration of the painter to whom “subject” was
-everything, and technic of quite secondary importance. I think it is
-generally conceded that as a painter, a master of technic, he did not
-rank very high, but he had a faculty for painting subjects, scenes from
-life, that grip. As a painter Whistler was incomparably superior to
-Millet, but just because he was a great master of technic and quite
-indifferent to the story-telling side of his pictures he did not become
-so popular.[6]
-
-       *       *       *       *       *
-
-There are many actions and reactions in art, many evolutions and
-involutions, but the great rhythmical sweep of the pendulum is from, let
-us say, _studio_-art to _nature_-art, and back from _nature_-art to
-_studio_-art.
-
-From works of _observation_ to works of _imagination_, and back from the
-use of the _imagination_ to the use of _observation_.
-
-For a time men work feverishly in the seclusion of their closets
-painting, writing, modelling, composing beautiful things, pure products
-of their imaginations, then comes the reaction and they feel the need of
-renewing their vigor by touching heel to earth. They draw aside their
-curtains, throw open their doors and go out into the sunlight to breathe
-the fresh air and gain new inspirations from contact with nature.
-
-That is what happens in art once in so often.
-
-The Barbizon school was a studio school. It walked the streets and the
-fields; it looked at men and women at work and at play, but when it came
-to paint it did not paint outdoors with object and easel in close
-contact; it retired within its doors and transformed life and nature as
-great romantic story-tellers translate their impressions into
-fairy-tales and romances.
-
-       *       *       *       *       *
-
-It seems a far cry from Millet to Chabaud but in some aspects of their
-attitude toward art they are nearly akin. Between the two there
-intervened Impressionism, that is all. Millet painted _labor_. And what
-is the painting by Chabaud, “The Laborer,” but a more elemental Millet?
-It lacks the romantic, the poetic qualities of Millet’s “Labor,” for
-instance, or his “Sower”--paintings famous in prints and reproductions,
-but it is none the less a vivid representation of labor.
-
-To the admirers of Millet it may seem sacrilegious to even mention
-Chabaud in comparison, but, confining our attention to the one painting
-reproduced herein, there is no question that in its elemental strength,
-its simplicity, it possesses a quality, a certain bald dramatic quality
-that Millet lacks, though Millet’s “Sower” may possess qualities you
-like more.
-
-However it is with no intention to make a comparison between two men so
-very different, that I mention them, but rather for the purpose of
-pointing out that the attitude of both to their art is fundamentally the
-same--they use art to _express themselves_ and not to imitate what they
-see.
-
-This is the way Millet worked. “He himself went about Barbizon like a
-peasant. And he might have been seen wandering over the woods and fields
-with an old, red cloak, wooden shoes, and a weather-beaten straw hat. He
-rose at sunrise, and wandered about the country as his parents had done.
-He guarded no flocks, drove no cows, and no yokes of oxen or horses; he
-carried neither mattock nor spade but rested on his stick; he was
-equipped with only the _faculty_ of _observation_ and _poetic intention_
-... he leant on the garden wall with his arms crossed on his breast, and
-looked into the setting sun as it threw a rosy veil over field and
-forest. He heard the chime of vesper bells, watched the people pray and
-then return home. And he returned also, and read the Bible by lamplight,
-while his wife sewed and the children slept. When all was quiet he
-closed the book and began _to dream_.... _On the morrow he painted._”[7]
-
-This is the method of all the very great art the world has ever
-known--first _to see_; and then _to dream_ and then _on the morrow to
-paint_.
-
-Impressionism cut out the _dreams_--it painted what it _saw_.
-
-There were never in the world peasants such as Millet painted, or woods
-such as Daubigny painted. People thought there were until the
-Impressionists came and turned on the light.
-
-Corot’s silvery glades have a closer relationship to nature. He felt the
-reaction that was in the air. He was almost an
-
-[Illustration:
-
-     CHABAUD
-
-     The Laborer
-]
-
-Impressionist but not quite. One feels the _poetic_, the
-_imaginative_--that is, the _studio_ quality in his work. He sought
-nature but not in the spirit displayed by the Impressionists.
-
-       *       *       *       *       *
-
-The reaction began with Courbet and was given a powerful impetus by
-Manet who painted things not as he _imagined_ them but as he _saw_ them,
-and he did not try to see interesting people and things, he did not look
-for the _picturesque_ but he painted anything he happened to see upon
-the theory that the value of a work of art depends not upon its subject
-but upon its technic; that the worth of a painting is to be found in the
-painting and not in the object that happens to be painted.
-
-       *       *       *       *       *
-
-Manet painted very few pictures outdoors. In the literal sense he did
-not belong to the _plein air_ school. Almost all his work was done
-indoors. But it was in no sense studio-art as we have used the term. He
-painted in his studio as directly as Monet painted outdoors. He painted
-a sitter with the same realism that Monet painted a haystack; and if he
-painted a bull fight from memory or from a sketch, he did it with the
-_intention_ to reproduce the scene literally.
-
-Whistler had his literal moods, so to speak; his moments when with clear
-eye and vision unaffected by any conscious play of the imagination he
-would make marvellously faithful transcripts from life and nature,
-transcripts so faithful that Monet’s at their best pale in comparison. I
-recall three exquisite marines which were painted in a boat, the
-canvases propped against a seat.
-
-But for the most part he painted indoors and with the one end in
-view--the composition of line and color harmonies more beautiful than
-anything found in nature, just as the musician seeks to compose
-harmonies more beautiful than any sounds found in nature.
-
-In the clearness of his vision and the faithfulness with which he
-painted the things and people with which he came in contact Whistler was
-an Impressionist--an Impressionist long before Monet, but in his search
-after color and line music, in his attempts to do things beyond and
-above nature, he was a _Post_-Impressionist.
-
-       *       *       *       *       *
-
-From a psychological point of view it is not difficult to see how these
-movements come about.
-
-Given exhibitions year after year filled with paintings of the
-imagination, with idealized peasants such as Millet’s, and idealized
-landscapes such as Rousseau’s, it is morally certain the younger
-painters will feel a restless longing to return to the realities of
-life, just as the reading or theater going public after being fed too
-long on fairy-tales and romances demand more realistic representations
-of life.
-
-Every man who reads much has his fairy-tale period and his romantic
-period followed by a strong taste for realism, which in turn is followed
-by a new and finer appreciation of purely imaginative literature.
-
-In his beliefs the normal man passes through a similar series of
-reactions from the acceptance of the marvellous in his childhood and
-youth to the sceptical rejection of the miraculous and the acceptance of
-only the literal and material in his buoyant manhood, thence to the
-profounder philosophy and mystical speculations of riper age.
-
-The old, old conflict between _materialism_ and _idealism_, between
-_seeing-knowing_ and _thinking-feeling_, between the cruder actualities
-of the senses and the finer actualities of the imagination!
-
-It is not that all men at a given time are idealists and at another
-realists, any more than all painters in one decade are Impressionists,
-in another Post-Impressionists. Life does not move that way.
-
-       *       *       *       *       *
-
-Between 1874 and 1900 Impressionism forged to the front and monopolized
-the attention of the art world, yet during that period there were
-painted more pictures of the Pre-Impressionist schools than ever before.
-The Impressionists made all the noise, the Pre-Impressionists did most
-of the work.
-
-The net result was a large amount of absorption by the older schools of
-the good things in Impressionism, and a noticeable improvement in
-painting generally.
-
-Just now the Post-Impressionists occupy the center of the stage and are
-making themselves so conspicuous the public is almost led to believe
-that both Impressionists and Pre-Impressionists no longer exist, that
-everything once considered good in art is being relegated to the
-storehouse.
-
-Again, as a matter of fact, with all the noise made by the
-Post-Impressionists, it is beyond question true that never before were
-so many Impressionist and Pre-Impressionist pictures painted as now.
-
-The stream of Pre-Impressionist and Impressionist pictures goes right on
-and in time history will repeat itself, the good in Post-Impressionism
-will be absorbed and the main current that supplies the great public
-with art will be _Pre_-impressionist + _Impressionist_ +
-_Post_-impressionist, with as many more prefixes as the ingenuity of the
-artist can devise to describe his vagaries.
-
-       *       *       *       *       *
-
-Painters are a good deal like inventors, each of whom thinks his
-invention sure to revolutionize the world, to find in the end that his
-supposed invention is either not new or if new not valuable.
-
-Now and then a painter like an inventor does do something that is
-revolutionary, but these geniuses are not common, and with even them
-critical research invariably finds they have simply built upon the
-labors of others. An Edison, a Bell, a Marconi appears only when
-electrical science has reached a stage where the inventions rather than
-the men are inevitable. All this is statistically demonstrated in the
-records of patent offices.
-
-       *       *       *       *       *
-
-We talk of this and that “period” in the work of a painter, a poet, a
-sculptor. Often the changes in mood and technic are marked and the
-transitions sharply defined. For the most part they are the turning from
-the imagination to observation and _vice versa_.
-
-The brain is not unlike a factory; when filled to overflowing with raw
-material it must close its doors and work up its stock; when it has
-exhausted its store of impressions it must open its five senses to
-receive new.
-
-       *       *       *       *       *
-
-     According to Hegel, the great German philosopher, there are three
-     movements of the historical pendulum; for example, we have an age
-     of materialism followed by an age whose sole interest is in
-     psychical phenomena; this followed by an age which extracts the
-     truth from both of these opposite hypotheses, the golden mean.
-     Thus, in art, we have the classical spirit for the thesis, the
-     modern art movement, its antithesis, and we may confidently expect
-     and hope for an age which shall select the bold, fresh spirit of
-     the modern movement and infuse it into the proportion of classical
-     art, which shall be the great synthesis of the artistic future.
-     Thus the extravagant and apparently insane movement of the Futurist
-     and Cubist will be of the greatest value in reviving art, putting
-     red blood into art again.[8]
-
-[Illustration:
-
-     KANDINSKY
-
-     Village Street
-]
-
-A man can understand what is going on about him only by a knowledge of
-what has happened in the past--the wider his knowledge of past events,
-the clearer his understanding of present.
-
-Space does not permit the printing in detail the ridicule that greeted
-Turner, Millet, Corot, Courbet, but it is important to open the eyes of
-the reader to the _fact_ that men whose pictures are considered
-masterpieces today, and command fabulous sums, were met with the _same_
-scorn and derision that the new men of today meet.
-
-History repeats itself--we accept as fine what our fathers laughed at;
-our sons will accept as fine what we laugh at, and so on to the end of
-time.
-
-You readers and especially you museums, who are paying tens of thousands
-for pictures by Manet, Monet, Renoir and a host of other innovators,
-take to heart what follows.
-
-       *       *       *       *       *
-
-In 1874 the Impressionists held their first exhibition in a room rented
-from a photographer, 35 Boulevard des Capucines, Paris. They called
-themselves, _Société anonyme, des Artistes, Peintres, Sculpteurs et
-Graveurs_.
-
-There were about thirty exhibitors in all; among them, Pissarro, Monet,
-Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin, who might be called
-the extremists; Degas, Bracquemond de Nittis, Brandon, Boudin, Cals,
-Gustave Collin, Labouche, Lépine, Rouart, and others were invited to
-take the edge off the novelties of the first named.[9]
-
-Monet exhibited a picture named “_Impression; soleil levant_.” In
-derision Louis Leroy called an article on the exhibition in
-“Charivari”[10] “_Exposition des Impressionists_,” and in spite of the
-protests of the painters themselves the name stuck--just as the name
-_Cubists_, derisively applied by Matisse, has stuck.
-
-       *       *       *       *       *
-
-This exhibition, which marked an epoch in French art, was a failure so
-far as immediate results went. The ridicule was such that the better
-known artists, ashamed of being caught in the company of the new men,
-“took good care not to run the risk a second time.”
-
-The pictures were subjected to all sorts of petty insults, “such as the
-placing of small coins upon the frames in derision, and jokes and
-jibes.”
-
-       *       *       *       *       *
-
-The next year the Impressionists held no exhibition, but under dire need
-had a sale at the Hotel Drouot.
-
-     Claude Monet, Sisley, Renoir, Berthe Morisot, Cals, Cézanne, Degas,
-     Guillaumin, de Nittis, and Pissarro were represented. There were
-     some seventy pictures. The pictures were disliked and for some
-     unknown reason the artists were considered as hardened members of
-     the community. They only received laughable prices. Even the
-     attempt to carry out the auction-room trick of having friends bid
-     up the prices was not carried out successfully and many of the
-     pictures were bid in by the penniless friends in this way, and
-     withdrawn. Including these mistakes and the real sales they
-     realized not much more than $2,000. In this sale of 1875, Renoir’s
-     “Avant le bain” brought $28; “La Source,” $22 (afterwards sold for
-     $14,000); “Une vue du Pont neuf” brought all of $60; Claude Monet’s
-     twenty pictures averaged from $40 to $60 each.
-
-The writer was offered “Avant le bain” in 1894 for $1,200; it has since
-sold for $25,000. In a recent letter from M. George Durand-Ruel he says:
-
-     All the fine works of the Masters of the Modern French School have
-     advanced very much in value. The “Portrait of the Charpentier
-     Family,” which is now in the Metropolitan Museum, was ordered from
-     Renoir for three hundred francs; “La Source,” also by Renoir, was
-     sold in a sale in 1878 for 110 francs. It has been since bought by
-     the Prince de Wagram for 75,000 francs, and would be worth today
-     double the amount. The “Port de Boulogne,” by Manet, was bought
-     from Manet by my father for 800 francs and sold to Faure, who later
-     on sold it to Comte de Camondo for 70,000 francs. It would be worth
-     today about 250,000 francs. “Le Déjeuner dans l’Atelier,” which my
-     father bought from Manet and which we had on exhibition at 389
-     Fifth Avenue in 1895, asking price at that time $7,000, was sold
-     afterwards to M. Pellerin and bought two years ago for the Munich
-     Museum for $60,000.
-
-Daubigny was one of the few men who appreciated Monet; he bought his
-pictures and urged others to buy.
-
-When he died in 1878 a sale of his effects was held. Duret says:
-
-     I knew the “Canal à Saardam,” which seemed to me one of the most
-     beautiful things Monet had painted; I made up my mind to go to the
-     auction and try to buy it. The sale took place but the picture was
-     not put up. I supposed that the heirs had decided to keep it as a
-     work they understood and appreciated. One Sunday, fifteen days
-     later, happening by chance in L’Hôtel Drouot I went into a room
-     filled with unfinished works, old and grimy canvases, and a mass of
-     stuff--in a word, all the worthless debris of a studio--and there
-     at one side the “Canal à Saardam” of Claude Monet.... I inquired
-     and learned that the room contained the scourings of Daubigny’s
-     studio, sent in for sale anonymously. It was there the heirs had
-     sent the picture of Monet, excluding it from the regular sale
-     because they thought it would bring discredit. It was knocked down
-     to me at the auction for $16. In 1894, when my collection was sold,
-     the picture was bought by M. Durand-Ruel for $1,100. In 1901 it was
-     withdrawn from a sale at the price of $6,000.
-
-       *       *       *       *       *
-
-The second exhibition was held in 1876 in the galleries of Durand-Ruel.
-In passing, tribute should be paid to this great dealer and remarkable
-man who backed his belief in the new men with all he possessed, to the
-jeopardizing of his business, and who, happily, still lives to enjoy the
-confirmation of his judgment.
-
-Of this exhibition Albert Wolff, in “Figaro,” said:
-
-     The Rue Peletier is unfortunate. Following upon the burning of the
-     Opera House, a new disaster has fallen upon the quarter. There has
-     just been opened at Durand-Ruel’s an exhibition of what is said to
-     be painting. The innocent passerby enters, and a cruel spectacle
-     meets his terrified gaze. Here five or six lunatics, of whom one is
-     a woman (Berthe Morisot) have chosen to exhibit their works. There
-     are people who burst out into laughter in front of these objects.
-     Personally I am saddened by them. These so-called artists style
-     themselves Intransigeants, Impressionists. They take paint, brushes
-     and canvases; they throw a few colors on to the canvas at random,
-     and then they sign the lot. In the same way the inmates of a
-     madhouse pick up the stones on the road and believe they have found
-     diamonds.
-
-All of which recalls what Ruskin said of Whistler, and the following
-choice bits about Turner.
-
-They (referring to two of his famous pictures) “mean nothing. They are
-produced as if by throwing handfuls of white and blue and red at the
-canvas, letting what chanced to stick, stick, and then shadowing in some
-forms to make the appearance of a picture.”
-
-Another picture “only excites ridicule.” “No. 353 caps all for
-absurdity, without even any of the redeeming qualities of the rest.” ...
-“the whole thing is truly ludicrous.”[11]
-
-Again of Turner,
-
-     “This gentleman has on former occasions chosen to paint with cream,
-     or chocolate, yolk of egg, or currant jelly--there he uses his
-     whole array of kitchen-stuff.... We cannot fancy the state of eye
-     which will permit anyone cognizant of art to treat these rhapsodies
-     as Lord Byron treated “Christabel;” neither can we believe in any
-     future revolution which shall bring the world round to the opinion
-     of the worshipper, if worshippers such frenzies still possess.”[12]
-
-In 1877 the Impressionists held their third exhibition, again in
-Durand-Ruel’s galleries. This proved more audacious than the first.
-
-“It gave rise to an extraordinary outburst of laughter, contempt,
-indignation, and disgust. It became a notable event in Parisian life. It
-was talked about in the cafés of the boulevards, in clubs, and in
-drawing rooms, as some remarkable phenomenon. Numbers of people went to
-see it. They were not attracted by any sort of artistic interest; they
-simply went in order to give themselves that unpleasant thrill which is
-produced by the sight of anything eccentric and extravagant. Hence there
-was much laughter and gesticulation on the part of the visitors. They
-went in a mood of hilarity; they began to laugh while still in the
-street; they laughed as they were going up the stairs; they were
-convulsed with laughter the first moment they cast their eyes upon the
-pictures.”
-
-A critic in “La Chronique” said:
-
-     They provoke laughter, and yet they are lamentable. They display
-     the profoundest ignorance of drawing, of composition, and of color.
-     When children amuse themselves with a box of colors and a piece of
-     paper they do better.
-
-Cézanne was the one among them who both now and for a long time
-afterwards excited the most detestation. It is not too much to say that
-he was regarded almost as something monstrous and inhuman.
-
-After the close of the exhibition a sale was had at the Hotel Drouot.
-
-     “Forty-five canvases of Caillebotte, Pissarro, Sisley, and Renoir
-     realized only $1,522--an average of less than $34 each. The sale
-     took place in the presence of an amused and contemptuous public,
-     who received the pictures, as they were put up at auction, with
-     groans. They amused themselves with passing several of them round
-     from hand to hand, turned upside down.”
-
-Sixteen Renoirs brought $400. The next year “le Pont de Chateau” sold
-for $8, “Jeune fille dans un Jardin” for $6, and “La Femme au Chat” for
-$16.
-
-Sisley sold eleven for 1,387 francs, or $25 each. These prices meant
-disaster and the painter was in great distress. In 1878 he wrote
-Theodore Duret a pathetic letter asking if Duret could not find some
-friend who would have enough confidence in his, Sisley’s, future to pay
-$100 per month for six months and receive in return thirty pictures.
-
-     “At the expiration of six months, if he is not disposed to keep the
-     thirty pictures, he can take the chances on a sale of twenty, get
-     back the money he paid me, and have ten pictures left for nothing.”
-
-       *       *       *       *       *
-
-During the New York Exhibition the Metropolitan Museum bought a Cézanne
-for something like $8,000. The price of a more important was $46,000. In
-the seventies in Paris there was a dealer in artists’ materials called
-Père Tanguy who had a little shop in rue de Navarin. In 1879 when
-Cézanne left Paris for the country he left his pictures for Père Tanguy
-to sell. Duret went there to buy some. He found them stacked against the
-wall, piled according to their dimensions, the small ones $8 each, the
-large ones $20.
-
-       *       *       *       *       *
-
-This is an old, old story--the story of nearly every great artist of
-whom we have any knowledge.
-
-The world seems to need perspective to appreciate a great man.
-
-       *       *       *       *       *
-
-We are prone to think the great men have just passed away; we do not
-realize that men just as great in one way or another are being born
-every day.
-
-The great man usually differs from the ordinary man only in his _one_
-greatness. On many sides he may be a very commonplace man, a petty man,
-but on his great side he is so far
-
-[Illustration: CEZANNE
-
-Portrait of Self]
-
-[Illustration: CÉZANNE
-
-Village Street]
-
-out of the ordinary that it is almost impossible to understand him close
-to. The fact that he is doing things in an _extra_-ordinary way causes
-us instinctively to distrust and condemn him.
-
-       *       *       *       *       *
-
-One of the early buyers of Impressionist pictures was a distinguished
-Chicago woman, and her collection today contains some of the finest
-Monets, Renoirs, and Degases in existence. When her friends heard she
-had bought some forty or fifty Monets they shook their heads in dismay
-at such folly. This was not many years ago, less than thirty, and now
-the pictures are in demand the world over and worth ten, fifteen, twenty
-times what they cost.
-
-The same ladies and gentlemen who shook their heads at the Monets in
-1890 shook their heads at the Cubists in 1913. If they live another
-quarter of a century they will once more shake their heads at the new
-art of that day--for such is life.
-
-       *       *       *       *       *
-
-Neo-Impressionism was the logical outcome of Impressionism. It was
-simply the attempt to paint light in still more scientific fashion, by
-the use of the primary colors laid on in fine points in such a manner
-that at the proper distance the points fuse and produce the tone
-desired.
-
-The use of small dabs or points of color instead of brush strokes gained
-for the movement the name “_Pointillism_.”
-
-Neo-Impressionism was not a reaction from Impressionism but an attempt
-to advance still further the painting of light effects.
-
-Seurat and Signac simply attempted to out-Monet Monet.
-They were the last word in Impressionism. After them the
-reaction--_Post-Impressionism_, something fundamentally different from
-and opposed to the very theory of Impressionism.
-
-     It is, perhaps, a national characteristic of the French to be
-     intense on all they undertake, and if there is one quality common
-     to the generation of painters who followed the earlier
-     impressionists it is intensity. This earnest passionateness has
-     produced developments in two main directions, towards more intense
-     luminosity and towards more intense simplification. The first is
-     exemplified in the work of _the Pointillists_, who carried it to
-     its logical conclusion, the division of tones, and built up their
-     pictures with points or square touches of pure colour. Paul Signac,
-     for example, is dazzling in his scientific presentment of the power
-     of light. It is difficult to believe that luminosity can be carried
-     further than in his radiant canvases whose force makes the most
-     brilliant Turner appear pale and weak in comparison. Signac’s
-     method, it may be noted in passing, is a square touch of pure
-     colour as opposed to the circular spots of Seurat, the inventor of
-     Pointillism, Theo van Rysselberg, and the late Henri-Esmond Cross.
-
-     If Signac has reached the limit in intense luminosity, Henri
-     Matisse, Otho Friesz, and André Derain, among others, stand for
-     intense simplification. But it is still a little too early to deal
-     with their astonishing works, and any one sincerely desirous of
-     comprehending the aims of these revolutionary painters may be
-     recommended to commence his course of initiation by a serious study
-     of the works of Cézanne and Gauguin. These two deceased painters
-     are to their younger comrades what Marx and Kropotkin are to the
-     young social reformers of today.[13]
-
-We are constantly led astray by words--at best they are imperfect
-instruments of thought.
-
-As has been often noted in the literature of painting, all art is
-_impressionistic_ in the broad and fine sense of the term. Hence to
-divide painters into Impressionists and Non-Impressionists involves a
-contradiction.
-
-In painting his _purely imaginative_ creations of light effects Turner
-was as much of an Impressionist as Monet in painting his _closely
-observed_ light effects.
-
-In painting his _ideal_ peasants Millet yielded as freely to his
-impressions as did Manet in painting his bull-fighters.
-
-From one point of view the difference is one of degree rather than of
-kind, namely, the degree to which the painter lets his impressions _sink
-in_ and become a part of him.
-
-Monet attempted to paint light _exactly as he saw it_, reducing the
-personal equation--that is, himself--to the lowest possible
-significance. Turner painted light as he saw _and imagined_ it; he
-allowed his impressions to sink in, to become a part of him, then he
-_created_ a picture. And his pictures vary greatly in the proportion of
-observation to imagination; in some he painted almost as direct and as
-coldly from nature as Monet, in others he barely used his observations
-as groundwork upon which to let his imagination run riot.
-
-It is not strange that so erratic, so eccentric a genius bewildered the
-public and the critics of his day, for in the painting of light he was a
-generation ahead of his time, and in the attempt to paint pure color
-harmonies he was two generations ahead.
-
-       *       *       *       *       *
-
-Take, for instance, his “Sunrise, with a Sea Monster,” and “Sunrise,
-with Boat between Headlands,” in the Tate Gallery. If these pictures had
-been hung anonymously in the International Exhibition in New York they
-would have excited more laughter than any of the Cubists. They are
-simply color schemes compared with which an “Improvisation” by Kandinsky
-is a legible message.
-
-A Turner in the National or Tate Gallery is accepted as a masterpiece;
-the same picture hung anonymously with a lot of extreme
-Post-Impressionists in the Grafton Gallery would be the occasion of much
-hilarity.
-
-       *       *       *       *       *
-
-While all painting is more or less impressionistic, in the art
-literature of the day the term “Impressionists” is appropriated to the
-school of men who paint in the open direct from nature, and who attempt
-to record faithfully, many almost mechanically, their visual
-impressions of objects and light-effects.
-
-Hence the term _Post_-Impressionism means not an accentuation or a
-further development of Impressionism such as _Neo_-Impressionism or
-“pointillism,” but a _reaction_.
-
-When Impressionism has had its day and done its best, then something
-different must come, and logically that something different is a return
-to the art that is the antithesis of Impressionism--the art of the
-_imagination_--a _creative_ art.[14]
-
-       *       *       *       *       *
-
-For a generation the poetic, the imaginative work of the Barbizon
-School--to use this one school as typical of the painting of practically
-the entire western world in the sixties and seventies--held sway.
-
-Then came the return to nature, the Impressionists, and for a generation
-they held sway.
-
-Now, apparently, we are at the beginning of a new movement, a return to
-imaginative art, and the evidences of this return are seen not only in
-painting but in decoration, in sculpture, in music, in drama, in
-literature, in fiction, in philosophy, in medicine, in business, in
-politics.
-
-_There is a demand_ for _ideals_ as distinguished from _results_.
-
-       *       *       *       *       *
-
-     We have learned that the proper end of poetry is the expression of
-     emotion, to which all reasoning and statement of fact should be
-     subsidiary; but we have not learned that painting should have the
-     same end, using representation only as a means to that end, and
-     representing only those facts of reality which have emotional
-     associations for the painter. In primitive pictures, it is true, we
-     look for the expression of emotion rather than for illusion, and
-     that is the reason why so many people get a real pleasure from
-     primitive art. They judge it by the right standard, and ask of it
-     what it offers to them. But from modern pictures they demand
-     illusion--that is to say, the kind of representation they are used
-     to; and when they do not get it they accuse the artist of
-     incompetence.[15]
-
-       *       *       *       *       *
-
-In painting this reaction, this tendency--call it what you please--has
-taken many forms, one of which is _Cubism_.
-
-While this book devotes much space to Cubism, it is solely because in
-its extreme development it is, from a coldly critical point of view, the
-_most abstract_ word yet uttered in painting, it is the farthest removed
-from impressionism, and therefore serves admirably to illustrate a
-discussion of the philosophy of _Post-Impressionism_.
-
-In a book like this, written as an off-hand comment upon what is now
-going on in the world of art--in the world generally, for that
-matter--it would be quite impracticable to follow the development of
-even the principal lines of human activity;[16] hence the works and
-theories of the Cubists have been chosen as typical of radical and
-revolutionary ideas and the attempt is made to find wherein these works
-and ideas are not so radical and extravagant as they seem, but are, in
-fact, only an illustration of what is going on in the minds of men
-generally.
-
-If the painter who laughs at a Cubist painting and denounces it will
-only stop to think he will find one of two things true, he himself is
-either advancing in his art or he is not. If he is not, there is nothing
-further to be said, his attitude toward the Cubist painting is quite
-consistent; but if he is advancing, if his style, his technic, his point
-of view are changing, _however slightly_, from year to year, then he
-should be exceedingly cautious how he ridicules or condemns, for without
-knowing it he may be traveling the highroad, one of the interesting
-byways of which is Cubism.
-
-Most painters of sixty who are now Impressionists and who ridicule
-Cubists, if cross-questioned would be obliged to confess that
-thirty-four years ago they ridiculed the men in whose footsteps they
-have since followed and whom they now recognize as masters.
-
-       *       *       *       *       *
-
-In the course of our discussion we shall have occasion to speak of the
-Futurists and other extremists, for they all are part of the one big
-reaction, they are all _Post-Impressionists_, and all have something to
-say worth hearing, but the Cubists serve our purpose best because their
-pictures, from an argumentative point of view, are more tangible, and
-their theories have been worked out in print in plain terms.
-
-[Illustration: VILLON
-
-Young Girl]
-
-
-
-
-III
-
-LES FAUVES
-
-
-Every development bears within the seeds of its dissolution and the
-germs of its succession.
-
-The seeds of the dissolution and the germs of the succession of
-Impressionism were _Les Fauves_--the Savages, the Wild Ones, as you
-please.
-
-The philosophical student of the history of art has no trouble in
-tracing at any time the following currents:
-
-_A._ The main stream which includes _all_ art developments from the
-profoundest and most permanent to the most fleeting and superficial,
-from the soberest to the most extravagant.
-
-_B. B._ +. Within the main current lesser currents of such magnitude
-that they frequently seem to dominate--and often do obscure the
-direction of--the main current; as, for instance, Impressionism
-dominated the art of France and influenced the art of the entire western
-world in the final years of the last century. These lesser currents have
-their effect on the main current, though their ultimate effect is never
-so revolutionary as their enthusiasts believe; the good in them is
-absorbed, the meretricious rejected.
-
-_C. C. C._ +. Surface manifestations of all kinds, often so violent they
-disguise not only the main current, but the important subsidiary
-currents, and lead men to believe for the moment that art is reversing
-itself, that all that has been done is being undone, that chaos is
-taking the place of order. These subsidiary movements are with us
-always, evident in every exhibition; they are the experiments, the
-extravagances of each generation, of each decade, of each year. Some of
-them contain so much of truth they develop into _B._--larger
-currents--“movements;” others are of such ephemeral importance they
-cause their sensations of the hour and pass away, leaving behind scarce
-distinguishable traces.
-
-It is these last movements which, because they are new and strange, so
-impress critics and public that observation loses its sense of
-proportion; the force of the main current (_A._) is lost sight of, and
-the strength of subsidiary currents (_B. B._ +) is overlooked.
-
-The newest movements (_C. C. C._ +) are usually either too bitterly
-denounced or too widely praised, their true relationship is not
-perceived; all sense of perspective is lost in the immediate presence of
-the startling.
-
-There are no hard and fast lines dividing any of these currents and
-movements. When and where they begin no one can say; when and where they
-end no one can tell.
-
-       *       *       *       *       *
-
-Impressionism is identified with Monet more than any other painter,
-because all his life long he has been the steadfast and consistent
-exponent of extreme theories regarding the painting of light effects.
-
-But Impressionism, even the painting of light effects, had its beginning
-long before Monet; with the beginning of painting itself, the germs were
-there.
-
-Likewise the germs of every other movement, however extravagant and
-superficial, could probably be found in the work of some man or men in
-another age and country.
-
-What happens is that a combination of favoring conditions at a given
-time concentrates human efforts and human attention upon a particular
-mode, technic, or theory and brings it to the fore.
-
-The names of Turner, Manet, Whistler, have been cited as illustrations
-of geniuses so comprehensive they link several movements, several
-decades, together.
-
-To these should be added the name of Degas in painting and that of Rodin
-in sculpture.
-
-These men have done things far ahead of their own times, they have done
-things their own times not only did not understand, but ridiculed and
-decried. It was only a few years ago that Paris--yes, _Paris_--rejected
-Rodin’s Balzac, by many considered the greatest of his works.
-
-These men illustrate what we mean when we say that every period in art
-contains within itself the seeds of its dissolution and the germs of its
-succession. A movement may seem so dominating, so strong, so true, that
-people exclaim, “It is the final word, it will last forever,” but at the
-very moment somewhere, in obscurity, there will be men doing things that
-are diametrically opposed to the prevailing current, things that are
-destined to be the masterpieces of a new development.
-
-       *       *       *       *       *
-
-Cézanne exhibited with the Impressionists in 1874 and was counted
-one of them; yet in a profound sense he was the first of the
-Post-Impressionists.
-
-While he was classed with the Impressionists he had little in common
-with them, practically nothing in common with Monet.
-
-All his life Monet has been busy with the _surface_ of things; all his
-life Cézanne was busy with the _substance_ of things.
-
-When Monet paints a landscape he paints the grass and the flowers and
-the trees one sees bathed in sunlight; when Cézanne painted a landscape
-it was an elemental presentment of nature herself.
-
-Cézanne was born in Aix in 1839 and died in the same place in 1905.
-
-Having inherited just sufficient to live very modestly, he devoted his
-entire life to trying to fathom the secrets of nature and paint her
-innermost truths.
-
-The fact that his pictures did not sell, that even his friends did not
-understand him, did not swerve him a hair’s breadth from the path he had
-chosen--to paint, to _learn how_ to paint, _simpler_ and _truer_
-interpretations.
-
-He lived so isolated from his neighbors that a visitor to Aix in 1904
-had great difficulty in finding his residence; was obliged, in fact, to
-resort to the list of voters at the town hall. In the eccentricities of
-his daily life he was not unlike Turner, but in his art he indulged no
-such brilliant fancies.
-
-He was a _consistent_ painter. He never permitted his imagination to run
-away with him; he constantly checked his work by the closest and most
-penetrating observation of nature.
-
-His manner of work is described by a devoted follower:[17]
-
-     He was working on a canvas showing three decapitated heads on an
-     Oriental carpet. He had worked a month every morning from six
-     o’clock until half past ten. His daily routine was, rise very
-     early, paint in his studio from six to ten-thirty, breakfast, and
-     go out immediately into the surrounding country to study nature
-     until five. On his return he had supper and went at once to bed. I
-     have seen him so exhausted by his day’s work that he could neither
-     talk nor listen.
-
-     “What is lacking,” he said to me while contemplating the three
-     heads, “is the _realisation_. Perhaps I shall get it, but I am old
-     and it may be that I shall die without having reached the highest
-     point: To realise! like the Venetians.”
-
-Not unlike the lament of Hokusai at seventy over his imperfections as a
-draftsman.
-
-[Illustration: CÉZANNE
-
-Still Life]
-
-One’s first impression from even half-tone reproductions of his
-paintings is a feeling of _construction_. I have before me a
-still-life--the fruit, the bowl, the piece of stuff are not simply
-painted but _built up_ as firmly and scientifically as a builder builds
-a house--the materiality as well as the beauty is there.
-
-It is just the same with his portraits, his figure pieces and his
-landscapes; one cannot escape the _sense of the substance_, the
-fundamental reality.
-
-And to attain it all he used the simplest and most direct technic, not a
-brush-stroke, not a line, not a spot of color wasted.
-
-It was these characteristics which made him a profound Impressionist, in
-the wider significance of the term, but also the first of the _Fauves_,
-the father of the revolt from Impressionism in its more superficial
-significance.
-
-       *       *       *       *       *
-
-With the name of Cézanne are associated the names of two men whose work
-shows his influence, VanGogh and Gauguin, and one whose work is wholly
-different, Henri Rousseau, the custom house employee who painted without
-instruction; later, but also conspicuously, Henri Matisse.
-
-These are the leaders of Fauvism.
-
-       *       *       *       *       *
-
-At the exhibition in New York one had the unusual opportunity of seeing
-in close contact many works of all four. It would be difficult to
-imagine paintings more different in inspiration and technic. They had
-but one thing in common--a pronounced reaction from, not to say revolt
-against, Impressionism, evidenced particularly in the use of color
-_constructively_ and _decoratively_ rather than imitatively.
-
-     Color force is a feature of the new inspiration.
-
-     The painters of today have discovered anew the world’s coloring. We
-     now recognize everywhere the power and vivaciousness, the
-     thousandfold freshness, and the infinite changefulness of color. To
-     us colors now talk directly; they are not drowned by covering
-     tints, not hide-bound by a preconceived harmony. An instrument has
-     thus been given, wherein innumerable melodies still slumber.
-
-     Color is a means of representation not only of what is colored, but
-     also of the thick and the thin; of the solid and the liquid; of the
-     light and of the heavy; of the hard and of the soft; of the
-     corporeal and of the spacious. Cézanne models with color; with
-     tinted color surfaces he builds a landscape. The proper couching of
-     colored planes can force upon us the impression of depth; colored
-     transitions call forth the impression of ascent and of motion;
-     spots scattered here and there give the impression of sprightly
-     vivaciousness.
-
-     Color is a means of expression talking directly to the soul. Deep
-     mourning and soft glowing, warmth of heart and cold clarity,
-     confused dumbness, flames of passion, sweet devotion--all
-     conditions and all outbursts of the soul--what can communicate them
-     to us more forcefully and more directly than a few colors with
-     their effect exerted through the eye? As tones draw us with them
-     without our will and without meeting resistance, so does color
-     subjugate us: now it fills us with deepest sorrow, then again we
-     are all glowing under its influence.
-
-     Color is a means of composition. The force of sensuous designation,
-     the expressive power of the soul, both must combine and make for an
-     always new, always original, and always unique harmony. The law of
-     color beauty has not as yet been fathomed by the intellect. It is
-     being created by feeling and by subconscious experience.[18]
-
-       *       *       *       *       *
-
-“Cézanne, Gauguin, and VanGogh were men of very different minds; but
-they were alike in this, that they all attempted to subordinate
-representation to expression, and were all determined to express only
-their own emotional experience. Cézanne could not content himself with
-impressionist triumphs of representation. Above all, he revolted from
-the Impressionist insistence on the momentary aspect of reality. He was,
-so to speak, a kind of Plato among the artists of his time, believing
-that in reality there is a permanent order, a design which reveals
-itself to the eye and mind of the artist, and which it is his business
-to expose in his work. But this design he was determined to discover in
-reality itself, not in the works of other artists. His task was
-enormously difficult because he would take nothing whatever at second
-hand. Nature must tell him all her own secrets; and he would not listen
-even to her when she told him commonplaces. He was not interested, so to
-speak, in her caprices, in her chance effects of beauty that anyone can
-see. He painted landscape as Titian or Rembrandt painted portraits;
-searching always for the permanent character of the place, for that
-which, independent of weather or time, distinguished it from other
-places. This permanent element he found in structure and mass, but, like
-Titian and Rembrandt, he would not abstract these from color. For him,
-as for these masters, structure and mass revealed themselves in color,
-and all these must be verified by incessant observation.... For him a
-hill is not a screen for the play of light; it is built up of earth and
-rock. Nor is a tree a mere rippling surface, but a living thing with the
-structure of its growth. Everywhere he looks for character; yet he
-subordinates the character of details to the character of the whole. And
-the character of the whole means for him its permanent character, which
-he expresses in a design not imposed upon it but discovered in it, as
-Michael Angelo discovered the statue in the block of marble.
-
-“If Cézanne, Gauguin, and VanGogh were charlatans, they were like no
-other charlatans that ever lived. If their aim was notoriety, it is
-strange that they should have spent solitary lives of penury and toil.
-If they were incompetents, they were curiously intent upon the most
-difficult problems of their art. The kind of simplification which they
-attempted is not easy, nor, if accomplished, does it make a picture
-look better than it is. The better their pictures are, the more they
-look as if any one could have painted them; in fact, they look just as
-easy as the lyrical poems of Wordsworth or Blake.”[19]
-
-For a glimpse of VanGogh’s life and aspirations, see his letters
-published in English under the title, “Letters of a Post-Impressionist,”
-written mostly to his brother--simple, pathetic documents, showing the
-eager, earnest striving of a man who finally went insane and shot
-himself. Critics and opponents of his work have seized upon his madness
-as proof of lack of sanity in what he painted--perhaps, but then is
-dullness the only proof positive of sanity?
-
-       *       *       *       *       *
-
-Gauguin, half Breton, half Peruvian Creole, was a restless spirit.
-
-“More than once he circumnavigated the globe, and all his life he was at
-recurring intervals a victim to wander-thirst. In early manhood he
-returned to Paris and made an heroic attempt to settle down. He entered
-a bank, and got on there very well.
-
-“One day he saw in a dealer’s shop some paintings which brought back
-memories of the light and color he had seen in the tropics. He sought
-out the painters Pissarro and Guillaumin, and began painting at the age
-of thirty. Two years later, in 1880, he exhibited two landscapes in the
-manner of Pissarro.
-
-“Degas made the decisive impression on him, by his systematic division
-of large planes of color, and above all, by his strong drawing.”[20]
-
-[Illustration: VAN GOGH
-
-Portrait of Self]
-
-“Gauguin was as singular in his way as VanGogh in his. He did not “go
-mad,” but he withdrew from civilized society, buried himself in Tahiti
-and painted the natives, firmly convinced that only amidst primitive
-conditions could be found the inspiration of pure art.
-
-“His combative disposition impelled him to fight against painters,
-critics, dealers, buyers, and against established institutions and
-conventions. One would say fate pursued him. In 1894 at Concarneau in a
-quarrel with some boatmen who had insulted him, his ankle was broken by
-a sabot kick, leaving a painful injury from which he suffered until his
-death (in 1903).”[21]
-
-Of his aims he said in a letter to a friend:
-
-     Physics, chemistry, and, above all, the study of nature, have
-     produced an epoch of confusion in art, and it may be truly said
-     that artists, robbed of all their savagery, have wandered into all
-     kinds of paths in search of the productive element which they no
-     longer possess. They now act only in disorderly groups, and are
-     terrified as if lost when they find themselves alone. Solitude is
-     not to be recommended to any one, for a man must have strength to
-     bear it alone. All I have learnt from others has been an impediment
-     to me. It is true that I know little, but what I do know is my own.
-
-     Every human work is a revelation of the individual. Hence, there
-     are two kinds of beauty; one comes from instinct, the other from
-     labor. The union of the two--with the modification resulting
-     therefrom--produces great and very complicated richness....
-     Raphael’s great science does not for a moment prevent me from
-     discovering the instinct of the beautiful in him as the essential
-     quality.
-
-       *       *       *       *       *
-
-In 1895 there was a sale of Gauguin’s works at the Hotel Drouot.
-Strindberg was asked to write a preface to the catalogue. In declining,
-he admitted his own “immense yearning to become a savage and create a
-new world,” but said of Gauguin’s world, “it is too sunny for me, the
-lover of chiaroscuro. And in your Eden dwells an Eve, who is not my
-ideal--for indeed, I too, have a feminine ideal, or two.”
-
-Gauguin answered,
-
-     Your civilization is your disease, my barbarism is my restoration
-     to health. The Eve of your civilized conception makes us nearly all
-     misogynists. The old Eve, who shocked you in my studio, will
-     perhaps seem less odious to you some day. I have perhaps been
-     unable to do more than suggest my world, which seems unreal to you.
-     It is a far cry from the sketch to the realisation of the dream.
-     But even the suggestion of the happiness is like a foretaste of
-     Nirvana--only the Eve I have painted can stand naked before us.
-     Yours would always be shameless in the natural state, and, if
-     beautiful, the source of pain and evil.[22]
-
-He had a profound admiration for Cézanne, and was often charged with
-imitating him, and in some of his pictures there is a certain
-resemblance in construction, but two painters could scarce be less alike
-in the handling of color. Gauguin handled color for the pure joy of
-it.[23] Cézanne used color as a mason uses bricks.
-
-Gauguin’s admiration for Cézanne was not reciprocated.
-
-“Gauguin likes your work immensely, and imitates you,” a friend once
-said to Cézanne.
-
-“Eh! he does not understand me,” was the angry response. “I never have
-and never will accept a lack of modelling or graduation; that is
-nonsense. Gauguin is not a painter; he produces simply Chinese figures.”
-
-       *       *       *       *       *
-
-Gauguin was a dreamer; Cézanne, in his way, was quite an exact thinker,
-for instance, he explained his ideas of form and color as follows:
-
-     Everything in nature is modelled on the lines of the _sphere_, the
-     _cone_, and the _cylinder_, and one must understand how to paint
-     these simple figures, one can then paint anything. Design and color
-     are not distinct; to precisely the extent that one paints, one
-     draws; the more the color harmonizes, the clearer and purer the
-     design. When the color is at its finest, the form also attains its
-     perfection. Contrasts and harmonies of tones--that is the secret of
-     drawing and modelling.[24]
-
-In the suggestion of the lines of the _sphere_, the _cone_, and the
-_cylinder_, as the _elements_ of all art, one recognizes the _alphabet
-of cubism_. But in reducing drawing to these elements Cézanne, without
-knowing it, simply repeated what Albert Durer printed in book form
-nearly four hundred years ago, and what the Chinese and Japanese had
-discovered centuries earlier.[25]
-
-The fact that the work of four men so different, Cézanne, Henri
-Rousseau, VanGogh, Gauguin, began to be appreciated about the same time,
-shows how ripe the Paris art world was for the reaction from
-Impressionism--for a great movement in _creative_ and _decorative_ art.
-
-       *       *       *       *       *
-
-Matisse taught drawing and for a time--from 1895 to 1899--painted along
-conventional lines. Influenced by Cézanne he then broke with the
-academic and sought new light effects, effects quite different from
-those of the Impressionists.
-
-He sought to break with all ancient laws, and his use of color became
-and still is largely his own.[26]
-
-While his coloring is always interesting and his drawing facile, there
-is at times something about his work that is not satisfying, an
-atmosphere of superficiality. He is described, however, by those who
-know him as a painter of almost bourgeois earnestness and sincerity,
-taking himself and his work most seriously.
-
-At the same time many of his canvasses give the impression of having
-been executed in a spirit of sheer audacity.
-
-       *       *       *       *       *
-
-To be sure, there is a rhythm and swing to some of his moving figures
-that is delightful, delightful in the elemental simplicity of the
-drawing and the seemingly--but only seemingly--naive coloring.
-
-Yet even with these canvases there is often the feeling, “With so much
-skill, why did he not do better?”--a feeling of disappointment, of
-dissatisfaction.
-
-One is disposed to agree with the opinion that Matisse’s “true gifts are
-those of address, of _souplesse_, of quick assimilation, of limited but
-easily acquired knowledge--essentially feminine gifts.”[A]
-
-     _“On a beaucoup vanté le goût d’Henri Matisse. Il n’est pas niable,
-     mais d’une qualité secondaire. C’est le goût d’une modiste; son
-     amour de la conleur vaut un amour du chiffon.”_
-
-He lives in a simple country house in a suburb out of Paris. His studio
-is painted white, within and without, with immense windows.[27]
-
-     I found not a long-haired, slovenly-dressed, eccentric man, as I
-     had imagined, but a fresh, healthy, robust, blonde gentleman, who
-     looked even more German than French, and whose simple and
-     unaffected cordiality put me directly at my ease.
-
-     Concerning his early experiences, Matisse said: “I began at the
-     Ecole des Beaux Arts. When I opened my studio, years after, for
-     some time I painted just like any one else. But things didn’t go at
-     all, and I was very unhappy. Then, little by little, I began to
-     paint as I felt. One cannot do successful work which has much
-     feeling unless one sees the subject very simply, and one must do
-     this in order to express one’s self as clearly as possible.
-
-[Illustration: MATISSE
-
-The Dance]
-
-     “I studied in the schools mornings, and I copied at the Louvre in
-     the afternoons for ten years. I made copies for the Government, but
-     when I introduced some of my own emotional impressions, or personal
-     translations of the pictures, the Government did not care to buy;
-     it only wanted a photographic copy.”
-
-     Of his present methods he said: “I certainly do think of harmony
-     and color, and of composition, too. Drawing is for me the art of
-     being able to express myself with line. When an artist or student
-     draws a nude figure with painstaking care, the result is drawing,
-     and not emotion. A true artist cannot see color which is not
-     harmonious. Otherwise it is a _moyen_, or recipe. An artist should
-     express his feeling with the harmony or idea of color which he
-     possesses naturally. He should not copy the walls, or objects on a
-     table, but he should, above all, express a vision of color, the
-     harmony of which corresponds to his feeling. And, above all, one
-     must be honest with one’s self.
-
-     “If one _feels no emotion_, one should not paint. When I came in
-     here to work this morning I had no emotion, so I took a horseback
-     ride. When I returned I felt like painting, and had all the emotion
-     I wanted.
-
-     “I never use pastels or water colors, and I only make studies from
-     models, not to use in a picture--_mais pour me nourrir_--to
-     strengthen my knowledge; and I never work from a previous sketch or
-     study, but from memory. I now draw with feeling, and not
-     anatomically. I know how to draw correctly, having studied form so
-     long.
-
-     “I always use a preliminary canvas the same size for a sketch as
-     for a finished picture, and I always begin with color. With large
-     canvases this is more fatiguing, but more logical. I may have the
-     same sentiment I obtained in the first, but this lacks solidity,
-     and a decorative sense. I never retouch a sketch; I take a new
-     canvas the same size, as I may change the composition somewhat. But
-     I always strive to give the same _feeling_, while carrying it on
-     further. A picture should, for me, always be decorative. While
-     working _I never try to think, only to feel_.
-
-     “I have a class of sixty pupils and make them draw accurately, as a
-     student always should do at the beginning. I do not encourage them
-     to work as I do now.”
-
-     When asked about a clay model of a nude woman with abnormal legs,
-     he picked up a small Javanese statue with a head all out of
-     proportion to the body and asked:
-
-     “Is not that beautiful?”
-
-     His interviewer answered, “I see no beauty where there is lack of
-     proportion. To my mind no sculpture has ever equaled that of the
-     Greeks, unless it be Michael Angelo’s.”
-
-     He replied: “But there you are, back to the classic, the formal. We
-     of today are trying to express ourselves _today_--_now_--the
-     _twentieth century_--and not to copy what the Greeks saw and felt
-     in art over two thousand years ago. The Greek sculptors always
-     followed a set, fixed form, and never showed any sentiment. The
-     very early Greeks and the Primitives only worked from the basis of
-     emotion, but this grew cold, and disappeared in the following
-     centuries. It makes no difference what are the proportions, _if
-     there is feeling_. And if the sculptor who modeled this makes me
-     think only of a dwarf, then he has failed to express the beauty
-     which should overpower all lack of proportion, and this is only
-     done through or by means of his emotions.
-
-     “My favorite masters are Goya, Durer, Rembrandt, Corot, and Manet.
-     I often go to the Louvre, and there I study Chardin’s work more
-     than any other; I go there to study his technic.”
-
-     His palette was a large one, and so chaotic and disorderly were the
-     vivid colors on it that a close resemblance could be traced to some
-     of his pictures.
-
-     “I never mix much; I use small brushes and never more than twelve
-     colors. I use black to cool the blue.
-
-     “I seldom paint portraits; and, if I do, only in a decorative
-     manner. I can see them in no other way.”
-
-     One’s ideas of the man and of his work are entirely opposed to each
-     other: The latter abnormal to the last degree, and the man an
-     ordinary, healthy individual, such as one meets by the dozen every
-     day. On this point Matisse showed some emotion.
-
-     “Oh, do tell the American people that I am a normal man; that I am
-     a devoted husband and father; that I have three fine children; that
-     I go to the theater, ride horseback, have a comfortable home, a
-     fine garden that I love, flowers, etc., just like any man.”
-
-     As if to bear out this description of himself, he took me to the
-     salon in his perfectly normal house, to see a normal copy which he
-     had made at the Louvre, and he bade me good-by and invited me to
-     call again like a perfectly normal gentleman.[28]
-
-Matisse differs from Cézanne, VanGogh, Gauguin, in the accentuation of
-_feeling_ as distinguished from observation. While the three last named
-sought fresh inspiration from close and ever closer contact with
-nature, he seeks his inspiration in his own emotions.
-
-It is this trait that makes him one of the leaders of
-Post-Impressionism, as well as a Fauve.
-
-       *       *       *       *       *
-
-From the foregoing it is clear that _Fauvism_ does not mean a particular
-mode or technic, like Classicism, Romanticism, Realism, Impressionism,
-etc., etc. It means a _mood_ rather than a _mode_. Every painter in
-revolt against prevailing taste and standards was and is a _Fauve_.
-
-Not all Post-Impressionists are Fauves, but many are so called, for
-instance, the following:[29]
-
-Odilon Redon, Othon Friez, Picasso (the founder of Cubism), Van Dongen,
-André Derain, Vlaminck, Marquet, George Braque, Raoul Dufy, Robert
-Delauney, M’lle Laurencin, Jean Metzinger, Pierre Girieud, Verhoeven.
-
-Of the above four are well known Cubists; Redon is a poetic personality
-quite apart; while the others exhibit marked individualities in their
-work.
-
-Les Fauves in Germany are “Die Wilden,” embracing the “Brücke” of
-Dresden, the “Neue Sezession” of Berlin, the “Neue Vereinigung” of
-Munich.[30]
-
-Those of Russia are Larionoff, P. Kuznezoff, Sarjan, Denissow, Kantsch,
-Schalowsky, Maschkoff, Frau Gontscharof, von Wisen, W. and D. Burljuk,
-Kanabe, Jakulof; and others who live in foreign countries, such as
-Schereczowa, Paris; Kandinsky Werefkina, Jawlensky, Bechteyeff, Genin in
-Munich.[31]
-
-Among the best known English artists who might fairly be classed as
-“Fauves” are Ferguson, Peploe, Lewis, Wyndhover Lewis, Duncan Grant,
-Mrs. Bell, Frederic Etchells, Miss Etchells, Eric Gill, Spencer F. Gore,
-and a man who has done heroic service for the new movement, Roger Fry.
-
-There are, however, comparatively speaking, so few “Fauves” in England
-that the guns of the critics rust on the racks; while in America they
-are so scattered they have as yet attracted no attention by concerted
-action.
-
-Almost the only man in this country who has persistently painted in
-Cubist fashion for any length of time is Arthur Dove, one of whose
-pictures is reproduced.
-
-When asked how he came to paint as he does Dove said:
-
-     After having come to the conclusion that there were a few
-     principles existent in all good art from the earliest examples we
-     have, through the Masters to the present, I set about it to analyze
-     these principles as they are found in works of art and in nature.
-
-     One of these principles which seemed most evident was the choice of
-     the simple motif. This same law held in nature, a few forms and a
-     few colors sufficed for the creation of an object.
-
-     Consequently I gave up my more disorderly methods (impressionism);
-     in other words, I gave up trying to express an idea by stating
-     innumerable little facts, the statement of facts having no more to
-     do with the art of painting than statistics with literature.
-
-He then refers to “that perfect sense of order which exists in the early
-Chinese painting,” and goes on:
-
-     The first step was to choose from nature a motif in color, and with
-     that motif to paint from nature, the form still being objective.
-
-     The second step was to apply this same principle to form, the
-     actual dependence upon the object (literal to representation)
-     disappearing, and the means of expression becoming purely
-     subjective.
-
-     After working for sometime in this way, I no longer observed in the
-     old way, and not only began to think _subjectively_, but also to
-     remember certain sensations _purely through their form and color_,
-     that is by certain shapes, planes, light, or character lines
-     determined by the meeting of such planes.
-
-     With the introduction of the line motif the expression grew more
-     plastic, and the struggle with the means became less evident.
-
-[Illustration: DOVE
-
-Based on Leaf Forms and Spaces]
-
-Referring to the painting reproduced he said:
-
-     It is a choice of three colors, red, yellow, and green, and three
-     forms selected from trees and the spaces between them that to me
-     were expressive of the movement of the thing which I felt.
-
-     As to going further and explaining what I felt, that would be quite
-     as stupid as to play on an instrument before deaf persons. The deaf
-     person is simply not sensitive to sound and cannot appreciate; and
-     a person who is not sensitive to form and color as such would be
-     quite as helpless.
-
-     The majority of people seem to be in the position of deaf persons.
-     They see others listening intently, and apparently enjoying
-     something, and because they fail to hear, they at once draw the
-     false conclusion that the trouble is with the instrument or the
-     performers.
-
-In November last a group of young Americans held an exhibition of very
-modern work in The MacDowell Club in New York. The exhibitors were
-Oliver Chaffee, Konrad Cramer, Andrew Dasburg, Grace Johnson, Arthur
-Lee, Henry L. McFee, Paul Rohland, William Zorach.
-
-
-
-
-IV
-
-A FUTILE PROTEST
-
-
-The Cubist pictures in the Salon d’Automne, 1912, was the occasion of
-the following letter from M. Lempué, painter and doyen du Conseil
-municipal de la Ville de Paris, addressed M. Bérard, Sous-Secrétaire
-d’Etat des Beaux-Arts.[32]
-
-     If the voice of a municipal counsellor could reach you, I would beg
-     you, would pray you to go and take a turn around the Autumn Salon.
-
-     Go there, sir, and although you are a minister, I trust that you
-     will come away as much disgusted as are many people whom I know,
-     and I hope, also, that you will say to yourself in an undertone:
-     “Have I indeed the right to loan a public building to a lot of
-     malefactors who conduct themselves in the world of art as do the
-     _apaches_ in ordinary life?”
-
-     You will ask yourself, Mr. Minister, in leaving the place, if
-     nature and the human form have ever before suffered such outrages;
-     you will admit with regret that in this Salon the most trivial
-     uglinesses and vulgarities that can be imagined are there displayed
-     and accumulated; and you will again ask yourself, Mr. Minister, if
-     the dignity of the Government of which you form part is not
-     injured, inasmuch as it appears to take under its protection such a
-     scandal by sheltering horrors like these in a national building.
-
-     The Government of the Republic, as it seems to me, ought to be more
-     careful and more respectful of the artistic dignity of France.
-
-     A year ago, and for another reason, I wrote to your predecessor,
-     who, by the way, took no notice of my letter; but what is
-     astonishing--does he not let everybody think that he is a
-     meridional, whereas he was born nowhere else than at Montmartre?
-
-     A friend whispers to me that you are from Orthez; we are,
-     therefore, fellow-townsmen, for that is almost as if you came from
-     Montrejeau; so then, “Dious bibant!” (Dieu vivant!) it will not be
-     long before you will make known to the Belgian, Frantz Jourdain,
-     who has very modestly set for himself the mission of reforming
-     French art, and who, in order to thoroughly demonstrate his ability
-     to do so, has deposited--I will not say offal--but the store of
-     “La Samaritaine” almost opposite the Louvre, which fact is a sure
-     proof of the superiority of his monstrosity of a structure over the
-     beautiful architecture of the Renaissance. Please, therefore, make
-     known to this architect that in the future he may locate his
-     reforms and his reformers where he pleases, but not again in a
-     public building, and for so doing, all those who have taste and
-     love for beautiful things will applaud you.
-
-     Please accept, Mr. Minister, the assurance of my highest regards.
-
-                                                                Lempué.
-
-
-       *       *       *       *       *
-
-The Committee of the Autumn Salon, in reply, made the following
-statement:
-
-     The committee of the Autumn Salon considers that the only reply
-     which it can make to the especially severe attacks that have been
-     made on it this year is to make announcement of the principle that
-     directs it:
-
-     “To admit all efforts of conscientious art, whatever they may be,
-     however personal, and however strange they may seem to the ancient
-     formulae.”
-
-     The Autumn Salon is not and does not wish to be the conservator of
-     a school with a fixed formula; it wishes, rather, to remain the
-     ground of generous combat and of the emulation necessary in a
-     country like ours, in order to bring out and fructify both artists
-     and works of art.
-
-     The Government, whose rôle is not to direct, but to encourage the
-     artistic effort of the nation, can consider only in the most kindly
-     way a Salon which has been the first to give reception to many
-     artists now celebrated, which has given a place hitherto unknown to
-     decorative art, and which, before all other expositions, has placed
-     music and literature on a par with painting and sculpture.
-
-       *       *       *       *       *
-
-Then the newspapers published the following item of news:
-
-     M. J. L. Breton, deputy from Cherbourg, proposes to put to the
-     Assistant-Secretary of State for the Beaux Arts, in the course of
-     the next discussion of his budget, a question regarding the
-     “scandal” of the Autumn Salon, and to ask him not to allow the use
-     of the Grand Palais for such manifestations, which discredit
-     French art in our national palaces.
-
-     This is the question which was put to the consulting commission
-     charged with giving its advice regarding the multiple concessions
-     for the Grand Palais in 1913.
-
-     M. Pascal, of the Institute, who presented the question, concluded
-     unfavorably. After a long and lively discussion, the commission
-     ranged itself by a large majority on the side of the proponent.
-
-     Let us recall the protests that have been addressed to the Autumn
-     Salon. They were the subject, a few weeks ago, of a letter from Mr.
-     Lampué, dean of the municipal council, who protested against the
-     invasion of _cubism_ into the galleries of the palace of
-     expositions.
-
-     It is now up to M. Léon Bérard, Assistant-Secretary of State for
-     the Beaux Arts, to take final action.
-
-       *       *       *       *       *
-
-On varnishing day, Mr. Gabriel Mourey wrote in the Journal:
-
-     “What a pity it is that there is no law permitting the taking of
-     legal action against painters who cultivate hatred of beauty in the
-     public mind. These painters are the advance-guard artists and the
-     Cubists.” M. Mourey neglected to tell us if the legal action which
-     he proposes to us would be civil or penal. In our opinion, it would
-     be necessary to make a distinction: The rich painters might be
-     condemned to pay a penalty, and, so that the Government might not
-     be liable to lose its rights where there is nothing, the poor
-     painters might be hung up high and short.
-
-     Oh, tolerance! oh, progress! oh, the twentieth century!
-
-In connection with the controversy “L’Art Décoratif” quoted the
-following letter from Boucher to his pupil Fragonard: “My dear
-Fragonard: You are going to see in Italy the works of Raphael, Michael
-Angelo, and their imitators; I say to you in confidence and as a friend,
-_if you take these people seriously you are lost_.”
-
-       *       *       *       *       *
-
-Not the least interesting and amusing feature of the lively article from
-which the above extracts are taken is its own denunciation of the
-cubists _en bloc_.
-
-[Illustration: WEREFKIN
-
-The Country Road]
-
-[Illustration: BECHTEJEFF
-
-Fight of the Amazons]
-
-It resolutely assails the more orthodox critics for what they say about
-all the moderns _it likes_ and then it echoes their language in its own
-condemnation of a body of men who are striving earnestly in their way to
-do things.
-
-       *       *       *       *       *
-
-    _“Oh! tolerance, oh! progress!_
-     _Oh! twentieth century!”_
-
-       *       *       *       *       *
-
-One has only to group the conflicting opinions of great painters and
-critics to see how much depends upon the point of view and the personal
-equation.
-
-To say certain pictures are worthless is a matter of individual taste
-and judgment; they may be worthless to me and not to you, just as
-clothes one man likes another would refuse to wear.
-
-But to say a school or a movement, irrespective of particular works, is
-a worthless movement involves not one’s taste but one’s philosophy of
-life; it involves the proposition that a movement in art that challenges
-the attention of the art-world _is so devoid of force of any kind_ that
-it is unworthy attention--an obvious contradiction.
-
-Cubism has produced a lot of inane, uninteresting, and ugly pictures,
-pictures hopelessly bad in both line and color, but it has also produced
-pictures that are fine in line and color; but whether a particular
-picture is good or bad is of no importance whatsoever in comparison with
-the larger and more vital question:
-
-_What is the relation of Cubism to the art of today and tomorrow?_
-
-       *       *       *       *       *
-
-When the _Société Nationale des Beaux-Arts_ was founded in 1890 in a
-spirit of revolt against the old Salon _Société des Artistes
-Français_--which dates its expositions from 1673--the schism was
-complete and the movement was denounced as revolutionary. The art world
-was divided into two bitterly hostile camps. The two Salons seemed
-absolutely irreconcilable.
-
-Now they exhibit side by side in practically the same building. The
-visitor can stand in the main gallery of the one and gaze into the
-galleries of the other. The only distinctions are separate catalogues
-and an extra charge of a franc or two if you wish to pass from the one
-to the other.
-
-       *       *       *       *       *
-
-Passing from the old Salon to the newer, one still has--to a slight
-degree--the feeling of passing from older and more conservative pictures
-to a newer, lighter, and somewhat more modern collection. And there is a
-difference but it is so slight that casual visitors do not notice it. In
-fact nine out of ten who visit the two Salons would think they were in
-but one exhibition, selected and arranged by the same committee, were it
-not for the additional fee and the two catalogues.
-
-There is no reason today why the two Salons should not coalesce and make
-one exhibition.
-
-In less than twenty-five years the older has absorbed much of what was
-good in the revolutionary force of the younger, and so much of the
-revolutionary enthusiasm of the younger has subsided that the members of
-the new _Société_ fight side by side with the members of the old
-_against the two more radical exhibitions_, the _Salon d’Automne_,
-organized in 1903, and the _Société des Artistes Independents_,
-organized in 1884.
-
-       *       *       *       *       *
-
-In time the Salon d’Automne will become quite as conservative as the two
-older Salons and there will be no reason why it should not exhibit and
-coalesce with the older.
-
-What is happening in Paris has happened in Munich. The Munich
-Secessionists, once denounced as aesthetic anarchists, have so far
-subsided that they exhibit with the academic painters, retaining a faint
-show of identity by having the word “Secessionist” over the doors of the
-few rooms they fill.
-
-The old Secession having subsided, the “Neue Sezession” has been
-organized by “Die Wilden” of Munich and that is now rampant; in ten or
-twenty years _it_ will be absorbed in the main stream and a still
-_newer_ secession challenge attention--and so on to the end of progress,
-for progress depends upon new and newer and ever newer departures.
-Already there is a division in the New Secession; the “Blue Riders” have
-withdrawn.
-
-       *       *       *       *       *
-
-Months after the above was written the London correspondent of the
-“Chicago Tribune”--Nov. 2, 1913--wrote as follows about the
-post-impressionist exhibition in the Grafton Galleries:
-
-     Many of the pictures which would have provoked happy laughter three
-     years ago now look quite ordinary. The public is inured to them as
-     much as it is inured to Whistler or Degas, and in a little time
-     some of them will be dealers’ pictures, just like the works of the
-     Barbizon school.
-
-     There is, for instance, nothing extraordinary about the “Interior
-     of a Café,” by VanGogh, except its quiet excellence. It is all seen
-     as justly and yea as newly as a character in one of Tolstoi’s
-     novels. One feels that any one could have painted it who had had
-     the luck to see it so.
-
-     The “Boats at Anchor,” also by VanGogh, is merely a sound but not
-     very interesting impressionist picture, and his flower piece is
-     even academic in a delightful way. Cézanne’s “Boys Bathing” is one
-     of those works on which the art of modern painters like M. Friesz
-     is based.
-
-     It looks like a representation of something seen instantaneously,
-     and yet at the same time it is all designed like a work of Nicholas
-     Poussin’s.
-
-     M. Matisse’s “Joaquina” is timidly skied, but it is not in the
-     least infuriating, like his famous gentleman in pajamas. Indeed,
-     his method here justifies itself at first sight, for by no other
-     means, one feels, could he have expressed the vitality of his
-     sitter so simply and intensely.
-
-     M. Friesz’s “Garden at Coimbra” is one of the pictures that would
-     have astonished us all three or four years ago, but which now looks
-     only pleasant and simple. So are the works of M. Marquet and M.
-     Doucet, and even M. Herbin no longer seems a bad joker. The “Polka”
-     and “Waltz” of Mr. Severini, the futurist, are quite agreeable to
-     the eye, if it refuses to allow itself to be puzzled by the mind;
-     but, if futurist paintings can be academic, they are a little
-     academic, or at least systematic. One feels that any one could be
-     taught to do them pretty well in a studio.
-
-     Among the water colors there are some pleasant works by M. Doucet
-     and some remarkable experiments by M. Pechstein. The color prints
-     of M. Manzana are more Chinese than Japanese in spirit, especially
-     the print of horses; and the lithographs of M. Matisse may help
-     some earnest beginners to see some merit in his painting. At any
-     rate, any one who looks at them must see that he can draw.
-
-     The exhibition contains a good deal of rubbish, but far less than
-     most exhibitions of what is considered orthodox art.
-
-       *       *       *       *       *
-
-The Salon d’Independants tends to remain radical notwithstanding it was
-founded so long ago as 1884 because it has but one article in its creed,
-“_the suppression of juries of admission and permission to artists to
-exhibit freely their works to the judgment of the public_.”
-
-By paying five dollars any artist--real or supposed--is entitled to so
-much space and can fill that space with such pictures as he pleases,
-irrespective of their merit.
-
-As a result, each exhibition contains original, revolutionary and
-radical work mixed with an immense amount of painting and sculpture that
-is hopelessly bad and some positively objectionable.
-
-The continued vitality of the Independent Salon is due to the fact it
-has no officials or committees to control its exhibitions and check the
-appearance of radical work.
-
-[Illustration: VAN GOGH
-
-Café]
-
-The three other Salons grow conservative in the natural ageing of their
-management; they start with all the enthusiasm of youth but as both
-members and officers get older they tend to monopolize much of the
-available space for themselves and, naturally, they admit only those
-newcomers whose work does not detract or distract from their own. That
-is the history of the Royal Academy in London, of the National Academy
-in New York, and of every organization _the management of which has the
-right to hang their own and reject the works of others_.
-
-       *       *       *       *       *
-
-In the development of art _all_ these exhibitions have their values.
-They are not unlike an army in a campaign, with its scouts, its
-skirmishers, its advance guard, and its more slowly moving main body--in
-the end it is the main body that does the most work.
-
-The _value_ of every _new_ movement lies in the possibility of its
-ultimately _contributing_ something to the mass, _not_ in the
-possibility of its _destroying_ what has been done.
-
-       *       *       *       *       *
-
-One has but to recall that both Whistler and Manet--to mention no
-others--were obliged to exhibit in the Salon des Refuses of their day to
-realize that an _independent_ salon has its place in the art world quite
-as important as an official; in fact, wherever there is an _official_
-exhibition there should be an _un_-official, or independent, as a
-natural complement, otherwise the opportunity of the public to see _for
-itself_ is limited by official discretion.
-
-       *       *       *       *       *
-
-For instance, it is the rule of the National Academy in New York that
-every member and associate has _the right_ to hang a picture
-irrespective of its merits. As the space is limited the chance for new
-men is small indeed.
-
-Furthermore it is the older men who pass upon the works of the newer and
-naturally they feel an instinctive aversion to paintings that clash with
-or distract attention from their own, hence the more radical, the more
-novel, the more interesting the picture the less chance it has of being
-accepted. This is both a fault and a virtue in the Academy--the fault
-and the virtue of extreme conservatism.
-
-To correct the fault other exhibitions, held under freer conditions, are
-absolutely necessary not only to the progress of artists, young and old,
-but to stimulate interest in the public, to make the public feel that
-_it_ is something more than a passive spectator with nothing to say, but
-on the contrary _its sympathetic cooperation_ and _final verdict_ of
-approval are desired.
-
-       *       *       *       *       *
-
-Nothing is more deadly to the art of a country than a single annual
-official exhibition such, for instance, as that of the Royal Academy in
-London, or the old Salon as it was thirty years ago in Paris.
-
-The interest of the public is not aroused. The official selection is
-accepted as a matter of course. What is in the exhibitions is supposed
-to be good, what is not accepted is supposed to be bad.
-
-As a result, the really good pictures in such exhibitions are not
-appreciated at their true value, while the poor are bought simply
-because they are there.
-
-The truth is it requires the new salons, the independent exhibitions to
-give vitality to the old, to teach the public to appreciate the good in
-the old.
-
-Good art, like everything else good, springs from controversy, _from the
-assertion of the individual_, from the mighty struggle of every sincere
-and enthusiastic man to convince the world that _he_ is right and that
-_his_ works and ways are better than those of all other men.
-
-       *       *       *       *       *
-
-That is just what the new men are striving to do now--each is trying to
-convince the world _he_ is right, that _his_ methods, _his_ departures,
-_his_ theories are true.
-
-The Cubist does not admit much of value in the Futurist, while the
-latter see nothing at all in Cubism. In short the “isms” are more at war
-among themselves than with the older schools.
-
-Out of the seething conflict of forces good is sure to come; the amount
-of good depending directly upon the sharpness of the conflict.
-
-
-
-
-V
-
-WHAT IS CUBISM?
-
-
-What is “Cubism?”
-
-One more name added to the long roll of “movements” in art. Within the
-memory of living men we have had “Classicists,” “Romanticists,”
-“Idealists,” “Naturalists,” “Realists,” “Pre-Raphaelites,” and many
-more.
-
-Today we have the “Neo-Impressionists,” the “Pointilists,” the
-“Luminists,” the “Futurists,” the “Orphists,” the “Sensationalists,” the
-“Compositionalists,” the “Synchronists,” the “Cubists”--tomorrow?
-
-New and ever new departures, experiments, achievements.
-
-All of which goes to prove that art is living, for the sign of life is
-flux.
-
-       *       *       *       *       *
-
-The other day I saw three well-known American painters standing before a
-cubist picture laughing; _painters of forty years ago_ would have
-laughed quite as heartily _at the works of each of the three_.
-
-The innovation of today is the conventional of tomorrow.
-
-Because the names of Rembrandt and Hals are now household words in art
-we are quick to assume their pictures were always considered great. Not
-so.
-
-Just now it is a fad of millionaires to own Rembrandts; consequently he
-is over-appreciated and ridiculously overpriced.
-
-       *       *       *       *       *
-
-The bare thought of the scorn that greeted Wagner’s operas, the poems of
-Browning, and Whitman, sends a cold
-
-[Illustration: METZINGER
-
-The Taster]
-
-[Illustration: LEGER
-
-The Chimneys]
-
-chill down our backs, makes us pause in our headlong criticism lest we,
-too, pillory ourselves.
-
-Violent judgments are good fun, but they often come back to plague us.
-Of Wagner’s “Meistersinger” Ruskin said:
-
-     Of all the bête, clumsy, blundering, boggling, baboon-headed stuff
-     I ever saw on a human stage that thing last night--as far as the
-     story and acting went--and of all the affected, sapless, soul-less,
-     beginningless, endless, topless, bottomless, topsiturviest,
-     tuneless, scrannelpipiest, tongs and boniest doggerel of sounds I
-     ever endured the deadliness of, that eternity of nothing was the
-     deadliest as far as its sound went. I never was so relieved, so far
-     as I can remember, in my life by the stopping of any sound, not
-     excepting railroad whistles, as I was by the cessation of the
-     cobbler’s bellowing; even the serenader’s caricatured twangle was a
-     rest after. As for the great “Lied,” I never made out where it
-     began or where it ended except by the fellow’s coming off the horse
-     block.
-
-From which the inference is not unwarranted that Wagner did not please
-Ruskin!
-
-       *       *       *       *       *
-
-Opposed to all movements in art and life is the _academic_ mind, fed on
-learning, steeped in tradition, hence conservative.
-
-The term is not here used in a reproachful sense; on the contrary, the
-philosopher lays stress upon the value of the academic in progress; it
-is the element that preserves; it is the mass upon which humanity rests;
-it is the old and stable; it is the past upon which the future is built;
-it is the essential groundwork of new thought and new effort.
-
-       *       *       *       *       *
-
-The life of the individual passes from the enthusiasms, the radicalisms
-of youth to the serene and self-satisfied outlook of old age which
-instinctively opposes novelty and change--the academic attitude.
-
-Youth makes friends with every chance acquaintance, age shuns the
-strange.
-
-We are all Impressionists and Futurists at some times in our lives, but
-we tend to petrify. Sclerosis of the _arteries_ is bad, but nothing
-compared with sclerosis of the _emotions_. We not only tend to become
-petrified as we grow older, but even in our youth we have our petrified
-sides, our hard spots.
-
-However progressive we may be in certain directions we are sure to be
-stubbornly conservative in others.
-
-The man who laughs at a cubist picture may be a cubist--that is, an
-innovator--in his profession or business.
-
-The man who is a conservative in religion may be a radical in politics,
-and _vice versa_. As a matter of fact most of the followers of Lloyd
-George in England are the greatest sticklers for the inerrancy and the
-literal interpretation of the Scriptures, while most of the hide-bound
-conservatives are exceedingly tolerant toward “modernism” and “higher
-criticism” in the church.
-
-So it goes. The merchant or manufacturer, the doctor or lawyer who is up
-to date in business or profession, who is keenly receptive toward the
-latest and most revolutionary methods, inventions, discoveries, may
-be--usually is--a hopeless reactionary toward other lines of human
-endeavor, a hopeless conservative when it comes, for instance, to
-looking at pictures.
-
-       *       *       *       *       *
-
-Now and then one meets a man so sympathetically observant and receptive
-that, like a good rubber ball, he is resilient at all points of contact.
-But for the most part we are like defective balls, resilient only in
-spots, and, like rubber, we become less and less resilient with age.
-
-       *       *       *       *       *
-
-Happy the man or woman who retains until late in life the power to react
-to new impressions and to experience new emotions.
-
-The trouble with most of us is that even when we do react to new
-impressions and experience new emotions we are afraid to admit it. If
-any one of us, while alone in a museum, happened to run across a strange
-painting or a strange piece of sculpture--say a Javanese or a cubist
-production--we would not burst out laughing any more than we would laugh
-at some of the archaic sculptures and primitive works that are found in
-every great collection. On the contrary, we would probably study it with
-good healthy curiosity. But when the crowd is about we are afraid to
-express our curiosity, we are afraid to be honestly and genuinely
-interested, so we take refuge in laughter, it is so much easier to mask
-our ignorance with ridicule than confess it by frankly asking for
-information.
-
-The man who does not understand a play or a book always condemns it.
-
-       *       *       *       *       *
-
-It would not be difficult to pick out among one’s business acquaintances
-those who are conservative, that is, academic, and those who are
-inventive, speculative, venturesome, and so on to the “wild
-enthusiasts,” “crazy fellows,” who are always doing the unexpected;
-failing often but sometimes succeeding so brilliantly the world follows
-in their footsteps.
-
-       *       *       *       *       *
-
-There is nothing strange about the Cubists--except their pictures. Their
-pictures strike us as strange because we do not understand them, but if
-they were simply trying to do what thousands of inventors are trying to
-do the world over, namely, devise something new to meet the needs of
-mankind we would laugh at them no more than--and just as much as--the
-world laughed at the Wright brothers when they were working on the
-flying machine.
-
-There are romanticists, realists, impressionists, futurists, cubists, in
-the theater.
-
-The romantic play is an old, but still delightful story. We have had
-realism on the stage so long it has become almost academic. Just now
-there is coming from the Scandinavian countries and from Germany and
-Russia a form of dramatic representation that is essentially Cubist,
-Futurist, and Orphist in its expression.[33]
-
-This ferment of new ideas is very disturbing to men who are afraid of
-change, who favor things as they are, who like to go to bed at the same
-hour and get up at the same hour, to do today what they did yesterday.
-But the new ideas will not down; they are constantly breaking out in
-unexpected places and while they may seem to be different ideas when
-expressed in music, painting, sculpture, poetry, architecture, from
-those expressed in science, religion, politics, social reform, and
-business generally, they are not; they are all fundamentally the same,
-namely, they are the ideas of a progress so rapid and radical it may be
-revolutionary and in a measure destructive.
-
-       *       *       *       *       *
-
-In the very nature of things it is not given to many men to be receptive
-to new ideas in many lines, for that implies thinking for themselves in
-many lines. The more intense and advanced a man is in one line of
-thought, the more apt he is to accept ready made the ideas of others in
-other subjects. It is a saving of time for the radical scientist to
-accept his politics and religion ready made from those who devote their
-time to those matters--the scientist does not always do so, but often
-when he thinks he is asserting his independence by rejecting current
-beliefs he is doing so without any real ideas and convictions of his
-own.
-
-[Illustration: DUCHAMP
-
-Chess Players]
-
-What has been said so far has been a plea for tolerance, for a sober
-suppression of hasty judgment in the presence of the strange.
-
-Few men seem able to control their resentments and risibilities in the
-presence of paintings that seem to contradict all the teachings and
-traditions of art; but because they do _seem_ to stand in opposition to
-all we have been taught to believe, they are all the more worthy our
-most serious consideration. It is the man who challenges and denies who
-stirs other men to think _for themselves_. That is the chief value of
-the cubist paintings--they compel us to _think for ourselves_, to take a
-careful inventory of our stock of stereotyped notions; with the result
-that while we may not accept the theories of the Cubists, we cannot fail
-to readjust our own notions on a broader basis.
-
-       *       *       *       *       *
-
-I would be very sorry if any reader should take up this volume under the
-impression it is a plea for Cubism or any other “ism” in either art or
-life. If it is a plea for anything, it is for _tolerance and intelligent
-receptivity_, for an attitude of sympathetic appreciation toward
-_everything that is new and strange and revolutionary in life_. Not that
-we will necessarily end by accepting the new and the strange and the
-revolutionary, but we cannot get the good there may be in them unless
-our attitude is one of sympathetic as well as critical receptivity.
-
-       *       *       *       *       *
-
-It is something more than a mere coincidence that the upheaval in the
-art world has paralleled the upheaval in the political world. The
-exhibitions of extreme modern pictures were first held in England just
-when extreme radical theories were gaining the ascendency. The
-International Exhibition in America followed hot in the footsteps of
-the split in the Republican party and the triumph of the Democratic
-along lines so progressive as to seem almost socialistic.
-
-The artists who organized the exhibition did not realize it, but they
-were animated by precisely the same motive that animated the organizers
-of the Progressive party--an irresistible desire for a change.
-
-       *       *       *       *       *
-
-Youth gazes curiously at the experiment--painting, poem, play--from
-which age turns in anger.
-
-Cubist paintings interest the young; they irritate the old.
-
-Nothing keeps a man young so effectually as a vivid and sympathetic
-interest in _every_ new and seemingly revolutionary movement.
-
-       *       *       *       *       *
-
-People who looked at the cubist paintings and laughed did so through
-ignorance; the sad part was that many frankly said they did not care to
-understand; not a few insisted the paintings were quite without meaning,
-utterly devoid of sense.
-
-In other words, the public, day after day and week after week, struggled
-and paid to see works that were _meaningless_!
-
-Painters, sculptors, critics, argued and fought over canvases _devoid of
-significance_! A paradox! For if _devoid of significance_, why should
-the world of artists, critics, writers, argue, swear, and fight over
-them?
-
-The question answers itself; the trouble is the works _do_ possess a
-significance, a significance far beyond the merits of any particular
-one, far beyond the merits of cubism itself; they are significant of the
-spirit of change that is within and about us, the spirit of unrest, of
-the striving, of the searching for greater and more beautiful things.
-
-Cubism will pass away, but the spirit of change will not pass away. One
-enthusiasm will follow another enthusiasm so long as men possess
-ambition.
-
-Already there are signs that Cubism is passing. Some of the men are
-calling themselves Neo-Cubists and Post-Cubists, and they are painting
-in very different manner.
-
-One has but to look at a series of Picasso’s work to see how often and
-radically he has changed his style in these ten years from drawing and
-painting with great facility and success in Impressionistic and
-Neo-Impressionistic manner to the most abstract Cubism; what he will be
-doing two years hence, no one can predict, save that, judging by the
-past, he will not be painting Cubist pictures.
-
-       *       *       *       *       *
-
-The name “Cubism” was given to the new school “in derision, in the
-autumn of 1908, by Henri Matisse, who happened to see a picture of
-buildings the cubical representation of which struck him forcibly.”[34]
-
-That year Georges Braque exhibited a Cubist picture in the Salon des
-Independents.
-
-In 1910, Jean Metzinger exhibited a Cubist portrait in the Salle
-d’Automne, and a number of pictures were hung in the Salon des
-Independents.
-
-The first collection was gathered together in room 41 at the Salon des
-Independents in 1911. The same year the first exhibition outside of
-Paris was held in Brussels, and there the names “Cubism” and “Cubistes”
-were adopted.
-
-In 1911 the exposition of the Cubists in the Salle d’Automne caused
-considerable sensation. Gleizes, Metzinger, Leger, and, for the first
-time, Marcel Duchamp and his brother, the sculptor-architect,
-Duchamp-Villon, exhibited.
-
-Other expositions were held in November, 1911, at the gallery d’Art
-Contemporaine rue Tronchet; in 1912, at the Salon des Independents,
-where Juan Gris first exhibited; in May of the same year, in Barcelona;
-in June, at Rouen, where Picabia joined the new school.
-
-The different tendencies of the movement are described as follows:[35]
-
-1. _Cubism scientifique_ is the tendency toward pure cubism; it is the
-painting with elements borrowed not from the realities of vision, but
-the realities of knowledge. The geometrical lines, which so impressed
-all who first saw their scientific works, resulted from the attempt to
-paint the essential--rather than the visual--realities of things which
-were rendered on canvas with an abstract purity, and in which objective
-realities and story-telling qualities were eliminated.
-
-Most of Picasso’s geometrical representations and Duchamp’s “King and
-Queen” are good illustrations of _scientific_ or _pure_ Cubism.
-
-2. _Cubism physique_ is painting compositions the elements of which are
-borrowed for the most part from realities of vision. Inasmuch as
-objective realities are more or less in evidence in these works, they
-are not pure Cubism.
-
-Picasso’s “Woman and the Pot of Mustard” is a very striking--and
-indifferent--example of _Cubism physique_, which simply means cubist
-paintings in which figures and objects are more or less apparent to the
-casual observer. In Marcel Duchamp’s “Chess Players” the figures are
-quite plain; in Picabia’s “Dance at the Spring” one figure is
-distinguishable at first glance, the second is not so easily discerned,
-while the spring is more obscure, though plain enough after a little
-study.
-
-It is under this head that some of the most interesting
-
-[Illustration: PICABIA
-
-Dance at the Spring]
-
-and also some of the most exasperating cubist pictures will be found. To
-the extent that figures and objects are blocked in in planes and masses
-in a big, elemental way, the result may be both impressive and
-beautiful--Derain’s “Forest at Martigues” is an example in point; but in
-so far as the picture is a _puzzle_, clear only in part, the result is
-exasperating; the observer, however sympathetic his attitude, is
-diverted from enjoying the _art_ of the painter to the attempt to
-discover the hidden objects.
-
-To the foregoing two divisions are added two more, which are, in
-reality, but subdivisions or refinements of _Cubism Scientifique_.
-
-There are really but the two extremes--those who represent objects more
-or less cubically, i.e., in planes and masses of line and color; and
-those who compose harmonies of line and color that have no relation to
-figures or objects.
-
-In the paintings of the one, objects are more or less apparent; in those
-of the other no object is discernible, because none is represented or
-suggested.
-
-3. _Cubism Orphique_ is created entirely by the artist; it takes nothing
-from visual, objective realities, but is derived wholly from the
-painter’s imagination; it is pure art.
-
-4. _Cubism instinctive_ is described as the painting of compositions of
-color, not based upon objective realities, but suggested by the instinct
-and intentions of the artist. The artist who follows his instinct, his
-fancy of the moment, though he may paint beautiful compositions, lacks
-the clear comprehension of him who paints according to some well thought
-out, artistic creed.
-
-       *       *       *       *       *
-
-It is quite obvious that subdivisions three and four are based upon
-temperamental rather than logical or scientific distinctions.
-
-To refer to some of the pictures reproduced:
-
-There is no mystery about the “Man on the Balcony.” He is quite in
-evidence; the background is a little puzzling, yet fairly obvious. The
-attention of the casual observer is not diverted from the mode and
-manner of painting--from the Cubism of the picture, so to speak.
-
-It is not a question of “Now I see it, now I don’t see it.” It is
-obviously the figure of a man leaning on something, apparently a
-railing, with a confused background. But so far as uncertainty regarding
-the background and accessories is concerned, that troubles no one, for
-uncertainty in detail is! characteristic of the backgrounds of many fine
-and famous portraits.
-
-The point is that the “Man on the Balcony” belongs to that class of
-Cubist pictures wherein the object is almost as well defined as in
-pictures with which the public is more familiar; whereas the “King and
-Queen” belongs to the extreme class wherein the objects have been
-reduced to symbols or abstractions.
-
-The one is the painting of objects in Cubist fashion; the other is the
-painting of ideas in Cubist fashion.
-
-       *       *       *       *       *
-
-Of all the Cubist pictures exhibited, most people liked “The Man on the
-Balcony” best. Why?
-
-Because it looked like a good painting of a man in armour.
-
-“I like the ‘Man in Armour,’” was an expression frequently heard.
-
-All of which goes to show that appreciation is largely a matter of
-association rather than of knowledge and taste.
-
-Tell the people it is not a man in armour, and immediately they ask, in
-a tone of disgust, “Then what is he?” and the picture they liked a
-moment before becomes ridiculous in their eyes.
-
-[Illustration: GLEIZES
-
-Original drawing for “Man on Balcony”]
-
-The original design is an almost academic freehand drawing of a
-man--artist or workman--leaning against the railing of a balcony, with
-roofs of the city at his back. Barring the square treatment of hand and
-foot, there is little to suggest Cubism.
-
-The drawing is uninteresting, the painting is uninteresting. By blocking
-out details, emphasizing planes, and laying stress on masses, the artist
-made his painting incomparably more dignified and stronger than his
-design.
-
-If he had painted an academic picture, following the lines of his
-original sketch, the painting probably would have been quite
-commonplace.
-
-       *       *       *       *       *
-
-The “Chess Players” gives one a singular impression of human absorption
-in a game; it is elemental and impersonal. Behind the two players are
-onlookers, equally intent. One player is resting his chin upon his hand,
-the other holds a piece apparently making a move. The artist has
-arbitrarily placed the men and board close to the eye of the player
-making the move.
-
-While most people might prefer lifelike portraits of two men playing
-chess, is it not true that this curious reduction of the players to
-elemental planes and masses gives a very vivid impression of intense
-absorption, and also a strange feeling of the elemental? A sculptor
-admired this picture greatly.
-
-       *       *       *       *       *
-
-Two figures were the basis of the “King and the Queen,” the king at the
-right, and the queen at the left; but in the finished picture these two
-figures were reduced to planes, and appear as the two upright conical or
-cubical masses that are so evident, and a philosophical significance was
-attributed to the scheme, namely, a representation of the static and
-dynamic forms of life; the static being represented in the upright
-masses, the king and queen--dynastic, permanent--while the dynamic
-forces are represented in the stream of cubical forms that flow in
-different directions about the two more permanent masses.
-
-On its technical side, Cubism is simply a systematic use of planes.
-
-       *       *       *       *       *
-
-     The power of lines is a manifestation of the new mode of
-     representation.
-
-     It is not a semblance of things, but a world of objects that the
-     picture forces us to take in with a glance. The objects may not get
-     lost. The outline is the demarcation and designation of the
-     objects. By its outer essence their inner nature is expressed. The
-     nature of objects is not fixed by a correct drawing, but by a
-     forceful and emotional, intensive and pervasive outline. Not in
-     their restfulness and with their details do the objects serve the
-     picture, but by their relations to each other, which relations
-     combined lead up to the climax.
-
-     The long lines form the structure of the picture. They decide how
-     the picture is to be constructed from its parts, and how the parts
-     are to be interlocked in order to become a whole. The long lines
-     define the measure and rhythm of the work. Lines are the vibrations
-     of the soul; lines are reflections of the will, the rigidity of
-     that which endures. Like currents of forces they flow against each
-     other and unite into one. The smaller ones accompany them with
-     playful gambols, like a multiple echo, the sounds of which melt
-     away in the distance.
-
-     The picture is not a nicely divided plane. It is like a world
-     arising from chaos. Its essence is the law of order working itself
-     out. The picture is an agglomeration of agitated members, an
-     agglomeration of planes pulsating with blood, enlivened by breath.
-
-     The planes may be stratified, parallel and similar to each other;
-     they may rear and pile themselves against each other, or they may
-     interlock like cogs. They may liquefy and melt away, or they may
-     double up and form themselves into balls. They may, more quietly,
-     rest within themselves, becoming effective through the contrast of
-     their essence and yet maintaining themselves. Out of them
-     originates the picture’s spaciousness, out of them the living force
-     of the picture.
-
-     The dynamics of the planes is a manifestation of the new style.[36]
-
-[Illustration:
-
-     DUCHAMP
-
-     King and Queen
-]
-
-Passing one morning among a number of first year students drawing from
-casts in the Chicago Art Institute, I was struck by the large number who
-were making what would pass for Cubist sketches; yet not one of these
-young students had seen a Cubist picture. All were simply following the
-regular course of instruction and drawing _in planes_.
-
-I remember one drawing of a statue by Michael Angelo. There was not a
-straight line in the statue; there was not a curved line in the drawing;
-the drawing was blocked out far more solidly and geometrically than, for
-instance, either the original design for “The Man on the Balcony” or the
-finished painting.
-
-In another room I ran across a teacher who was indicating by a few
-geometrical lines drawn from points the essential features of a statue
-the pupil was about to begin blocking in. The lines looked exactly like
-the geometrical lines in a drawing by Picasso.
-
-There is, therefore, nothing fundamentally new or strange in the technic
-of the Cubists; it is simply a return to the use of the elemental in
-drawing, of the very A, B, C of design. The new and the strange lie in
-the fact that the Cubists _stop_ with planes and lines; they do not
-attempt to model the surfaces of the things they paint.
-
-       *       *       *       *       *
-
-Not that the use of planes is all there is to the theory of Cubism, for
-the theory extends far beyond the painting of surfaces; it embraces the
-presentation of the very _substance_ and nature of persons and objects
-by means of a _technic_ in which planes are the vital feature.
-
-       *       *       *       *       *
-
-Albert Dürer wrote a book on the proportions of the human figure; it was
-published in 1528, and translated into many languages.
-
-He reduced the human figure to certain elemental lines.[37]
-
-[Illustration]
-
-Applying these principles to the hand, he gets this result:
-
-[Illustration]
-
-It is interesting to compare this sectional diagram of the hand with the
-hand of “The Man on the Balcony.”
-
-Furthermore, one has but to consider the elemental lines at the top of
-the page with the words of Cézanne, quoted on page 43, and with the
-fundamental propositions of Chinese and Japanese art, to realize that in
-the last analysis the
-
-[Illustration: PICASSO
-
-Woman with Mandolin]
-
-[Illustration: PICASSO
-
-The Poet]
-
-minds of men in all ages and all countries follow very closely the same
-channels.
-
-There are but _two_ lines, _curved_ and _straight_, and with these two
-lines all outward semblances of things are constructed. So far as the
-unaided eye is concerned, every curved line may be entirely composed of
-small straight lines, the curved effect being due to a series of minute
-angles.
-
-The following are Durer’s diagrams showing how to obtain sections and
-modifications:
-
-[Illustration]
-
-He applies these sections to the human figure as follows:
-
-[Illustration]
-
-[Illustration]
-
-So far as the use of planes and angles is concerned, these diagrams by
-Durer should serve to disarm criticism. That the human figure can be
-decomposed into straight lines and angles will be a revelation to most
-of those who laughed at the Cubist paintings, and only the authority of
-a great name would convince that any good could result from such an
-analysis.
-
-Suppose any one of the Durer diagrams had been framed and hung in the
-Cubist section; would it not have been treated with ridicule?
-
-The men who arranged the exhibition could have played with critics and
-artists--the men who claim to know--by including many things of
-recognized position in academic art and teachings, which would have
-seemed as absurd as the newest of the new pictures.
-
-       *       *       *       *       *
-
-The very high aesthetic value of drawing and painting in planes, and
-with small regard to the so-called laws of perspective, is illustrated
-in the rare beauty of Chinese and Japanese paintings. From the point of
-view of their greatest painters, we carry perspective and imitation to
-extremes that destroy art.
-
-One value of the Cubist movement lies in arousing a sense of the
-strength possessed by the simple and elemental.
-
-In oriental art, in archaic art, in primitive Italian art, in not a
-little modern decorative work, we have long recognized the beauty of
-drawing in planes and of the use of color arbitrarily. The Cubists are
-showing us--perhaps too violently and imperfectly--that it is possible
-to paint pictures and portraits in planes and masses without imitation.
-That it is possible we know, for the orientals have done it for two
-thousand years; nevertheless, we stubbornly resist the attempt in
-western art.
-
-We acknowledge the singular beauty of the Italian primitives, yet we
-demand that portraits and paintings of today shall be carefully
-modelled in the vain effort to accurately and mechanically copy nature.
-
-       *       *       *       *       *
-
-In some of Sargent’s best portraits not only the lights and shadows but
-character and personality are indicated by brush-strokes as arbitrary in
-line and color as those of a Cubist--strokes that follow neither the
-lines nor the colors of the original, but which convey with tremendous
-power the _character_.
-
-Again, we all know how insipid are most of the portraits that are
-faithfully rounded and modelled to reproduce every curve of the sitters’
-features.
-
-The truth is there is more of Cubism in great painting than we dream,
-and the extravagances of the Cubists may serve to open our eyes to
-beauties we have always felt without quite understanding.
-
-Take, for instance, the strongest things by Winslow Homer; the strength
-lies in the big, elemental manner in which the artist rendered his
-impressions in lines and masses which departed widely from photographic
-reproductions of scenes and people.
-
-Rodin’s bronzes exhibit these same elemental qualities, qualities which
-are pushed to violent extremes in Cubist sculpture. But may it not be
-profoundly true that these very extremes, these very extravagances, by
-causing us to blink and rub our eyes, end in a finer understanding and
-appreciation of such work as Rodin’s?
-
-His Balzac is, in a profound sense, his most colossal work, and at the
-same time his most elemental. In its simplicity, in its use of planes
-and masses, it is--one might say, solely for purposes of
-illustration--Cubist, with none of the extravagances of Cubism. It is
-_purely_ Post-Impressionistic.
-
-Twenty or twenty-five years ago painters who used a broad technic, and
-especially those who used the palette knife to lay the pigment in flat
-sweeps, were looked upon as charlatans and sensationalists. Today their
-pictures are accepted in the most conservative exhibitions and the
-public passes with scarcely a comment.
-
-This broad technic is simply painting in planes--in a sense, simply
-modified Cubism.
-
-To illustrate:
-
-The surface of an orange may be so carefully painted or modelled in clay
-that the effect is a perfect sphere with no straight lines; or it may be
-painted or modelled in minute planes and no curved lines; or the use of
-planes may be carried so far the orange is represented by angles so
-sharp the shape is almost cubical--it is all a question of the _extent_
-to which the artist carries the use of _plane surfaces_. The _fewer_ the
-planes used and the _larger_ their size, the nearer the _substance_ and
-more obvious the representation of _mass_.
-
-The _smaller_ the planes and the _larger_ their number, the nearer the
-_surface_--the more superficial the representation.
-
-       *       *       *       *       *
-
-The division of planes can be carried--geometrically--to such an extent
-that the unaided eye can no longer distinguish the minute flat surfaces,
-and the effect is a perfect sphere.
-
-What is true concerning the painting or modelling of an orange is true
-of the painting or modelling of all objects.
-
-       *       *       *       *       *
-
-“It has been charged that the new men are too much given to the
-geometrical. But geometrical figures are the essential elements of
-drawing. Geometry, the science which deals with extension, its measure
-and its relations, has ever been the basis of painting.
-
-[Illustration: SEVERINI
-
-The Milliner]
-
-“Up to the present time the three dimensions of Euclid have sufficed to
-express the problems that infinity gives rise to in the souls of great
-artists.
-
-“Geometry is to the plastic arts what grammar is to the art of the
-writer.
-
-“Today philosophers do not confine their speculations to the three
-dimensions of Euclid. Painters, by intention, so to speak, have cause
-naturally to preoccupy themselves with these new lines of extension
-which, in the language of modern studios, are classed under the term,
-_fourth_ dimension.”[38]
-
-       *       *       *       *       *
-
-Speaking of Cézanne, it is said:
-
-     To him a sphere was not always round, a cube always square, or an
-     ellipse always elliptical. Thus the traditional oval of the
-     conventional face disappeared in his portraits, the generally
-     accepted round surfaces of a vase or bowl was represented as flat
-     and dented in spots and the horizontal stability of the horizon was
-     rendered elliptical whenever it so appeared to him.
-
-     The general truthfulness of his observations may readily be tested
-     by any one of normal vision who will carefully observe the actual
-     appearance of the surfaces of a round sugar bowl, for example, when
-     placed in the light of a window. It will be found that certain
-     planes are as flat as the table, that others present the appearance
-     of dents and hollows, and the more clearly this is perceived the
-     more grotesque will the object appear as compared with the
-     preconceived image of it established in our minds by the
-     unconscious interaction of the sense of touch and sight.
-
-     We know that, scientifically regarded, there is no such thing as a
-     round surface, that what appears to be such is simply the closely
-     adjusted juxtaposition of infinitesimal planes that are each
-     perfectly flat. And the very fact that painters refer to the
-     surface of a figure as _planes_ is indicative of a partial
-     recognition of this basic characteristic of structure.
-     Nevertheless, both artists and laymen persist in speaking of the
-     roundness of a torso, for example, when in reality, if we could
-     disassociate the _sense_ of roundness from the _appearance_ of
-     roundness as did Cézanne, we would find large surfaces of spheroids
-     quite flat. Therein lies the real secret of the art of Cézanne who
-     is the first of realists.
-
-In a sense, “Cubism” is a misleading term, for, in the first place,
-“Cubist” pictures are not painted in cubes, but in all sorts of angles
-and curves; in the second place, the theory does not call for angles.
-
-The theory being the expression of emotion in line and color, there is
-no conceivable reason why cubes and angles should be used to the
-exclusion of curves, swirls, sweeps, dashes. On the contrary, of all
-forms, cubes and angles would seem to be the most inappropriate for
-emotional expression, since they are peculiarly suggestive of the
-geometrical and the matter-of-fact.
-
-“Curvism” or “Swirlism” would describe the movement just as well, save
-that for the time being angles are very much in evidence.
-
-Picabia says that “Cubism” is a misnomer for the movement. He says:
-
-     After impressionism, neo-impressionism, then cubism, which sought a
-     geometric third dimension in painting, the expression of things
-     seen in geometrical figures. But a purely subjective art cannot, of
-     course, be bound by any form of expression the moment that
-     expression becomes a convention, an established body of laws with
-     accepted values. Therefore, he has cut loose from cubism, and is
-     what, again for handy classification--an evil habit from which we
-     cannot emancipate ourselves--may perhaps best be called
-     “post-cubist,” with entirely unfettered, spontaneous, ever-varying
-     means of expression in form and color waves, according to the
-     commands, the needs, the inspiration of the impression, the mood
-     received. Objective expression is strictly barred. He even ignores
-     form as far as possible, seeking “color harmonies.” Harmony and
-     equilibrium are his device.
-
-       *       *       *       *       *
-
-But the Cubists are rapidly getting away from the cubes and angles. It
-is quite possible that a year or two hence we shall see no more _purely_
-Cubist pictures.
-
-That does not mean the movement will come to an end--not at all. The
-movement toward abstract painting, toward the use of line and paint on
-canvas for mere pleasure of using them, and without copying objects in
-either life or nature, is in its infancy.
-
-       *       *       *       *       *
-
-“But I don’t understand them!”
-
-Is it necessary to your enjoyment that you should?
-
-Do you understand what Caruso is singing?
-
-Do you understand that French song reproduced by the phonograph?
-
-Do you understand what the orchestra is playing?
-
-Do you understand the pattern in that Persian rug?
-
-How many people who rave over Japanese art have the remotest idea what
-this or that precious print or painting represents?
-
-Does an intricate design on a bit of Oriental pottery please you? And is
-your enjoyment lessened one whit by the fact it is all a mystery to you?
-
-Why will you accept as beautiful and buy at a high price a painting you
-do not understand because it is by a Chinese artist, and reject as ugly
-the painting by a French artist simply because you cannot see “what he
-is driving at”?
-
-       *       *       *       *       *
-
-Suppose a Cubist picture is a beautiful scheme of color; is it less
-beautiful _in color_ because you do not understand the painter’s theory?
-His painting may be fine, his theory absurd.
-
-Would your enjoyment of Caruso be increased if he sang in English the
-ridiculous stuff he sings in Italian?
-
-Fortunate it is for most grand opera that we _do not understand_--we are
-not diverted from the music by the nonsense of the libretto.
-
-The enjoyment of music is a curious thing.
-
-First of all, there are all kinds of music, from rag-time to Beethoven,
-and each kind has its following.
-
-Then the following of each kind breaks up into its rag-time and
-Beethoven divisions.
-
-That is to say, in an audience listening to rag-time there are always a
-few who enjoy the music in a Beethoven way--for what there is of real
-value in it.
-
-While in an audience listening to a Beethoven symphony there are always
-a goodly number, often a big majority, who enjoy it in a rag-time
-way--just the emotional reaction, without knowing a thing about the
-music.
-
-There are two entirely distinct enjoyments of the same composition--the
-purely intellectual and the purely emotional. There may be a mingling of
-the two, but as a rule what one gains the other loses.
-
-The man who follows the score, is familiar with the different
-interpretations of this and that leader, whose ear catches every failure
-by any part of the orchestra to respond, and so on, and so on--that man
-is constantly holding his emotional response subject to his intellectual
-appreciation. What is a fine performance to most of the audience may be
-a very indifferent performance to him.
-
-True, when the performance is so fine it carries him off his feet, then
-he gets an enjoyment--intellectual and emotional--far finer than the
-enjoyment experienced by others. In a sense, he is the one man worth
-playing for.
-
-But while it is a fine thing to both understand and enjoy, understanding
-is not essential to enjoyment in the purely emotional sense--to the
-enjoyment most people feel when listening to music.
-
-The voice of a street singer borne in upon the night air, even the sound
-of a hurdy-gurdy, pleases, though we do not
-
-[Illustration:
-
-     SOUSA CARDOZA
-
-     Leap of the Rabbit
-]
-
-know the song or the air. There is a species of pleasure in not knowing
-that is dissipated when we recall or are told.
-
-Many of our enjoyments are more than half dreamy. Is it not true that
-the dreamy element is essential to purely emotional enjoyment?
-
-I confess to a very ignorant enjoyment of music. If I am at a concert I
-do not like to be told what it is all about. I enjoy good music without
-knowing or caring why, and I like to hear it without being seated where
-I am more than half-hypnotized by the rhythmical movements of the
-orchestra, especially the fascinating bowing of the violins.
-
-       *       *       *       *       *
-
-What is true of the enjoyment of music should be true of the enjoyment
-of painting. But with painting, most people insist upon understanding.
-They will listen to Patti without knowing her language, but they will
-not look at a painting unless they know the painter’s language.
-
-       *       *       *       *       *
-
-Why not accept at their face value all pictures that are beautiful in
-line and color, without bothering about their meaning? Perhaps they have
-no meaning beyond the vagrant fancy of the artist.
-
-Take the three pictures by Sousa Cardoza. Suppose they have no more
-significance than so many illustrations to a fairy tale; they are
-interesting in line and fascinating in color. If the “Stronghold” had
-been on a Delft platter, or the “Leap of the Rabbit” on a piece of
-Persian pottery, everyone would have lauded their beauty, and collectors
-would give ten or twenty times the modest prices of the canvases.
-
-When put to people in that matter-of-fact way the response is almost
-always favorable to the pictures.
-
-In an interesting monograph entitled “Is It Art?”[39] the writer says:
-
-     It will be seen, therefore, that the efforts of these men to give a
-     subjective rendering of actuality results in nothing better than a
-     poorly realized form of objectivity which is as much the creation
-     of the spectator as of the artist, inasmuch as the vaguely
-     adumbrated forms in the picture simply serve as a hint to that
-     reality of which it is a wilfully distorted symbol, and the
-     discovery of the “mustard pot” would scarcely have been possible
-     without the happy cooperation of the title with the spectator’s
-     previous knowledge of the actual appearance of a mustard pot.
-
-     Without the intervention of the title and the association of ideas
-     called forth thereby through the memory of past experiences with
-     actuality, these pictures would be totally meaningless even to the
-     most recondite. They would inevitably be reduced to a personal
-     system of shorthand, an individual code, as it were, comprehensible
-     only to the originator.
-
-     Regarded from that viewpoint, these enigmatic paintings and
-     drawings may very possibly be altogether successful. At all events
-     it is only fair to assume that these works express to the
-     originator what he intended them to express. But it is quite
-     obvious that they express something quite different to the
-     spectator who has not been initiated into the meaning of this
-     personal form of shorthand, and the appending of an objective title
-     to what is intended as a subjective impression of the actual world
-     hardly help him over the difficulty. On the contrary it takes him
-     just that far away from the impression the artist desires to
-     produce, plunging him deeper into that world of reality out of
-     which he was to be extricated by this new art, and there is no
-     doubt that in the minds of even the most intelligent spectator it
-     only serves to reenforce his conception of reality upon which he is
-     forced to fall back by the objective titles as well as the concrete
-     representations of what is supposed to be a subjective mood.
-
-     I think it may safely be said that in no case does this mood
-     manifest itself to the persons to whom it is addressed, although by
-     a process of auto-hypnotism, a certain few no doubt succeed in
-     making themselves believe that they penetrate the real inwardness
-     of these arbitrarily individual mental processes. Granted that
-     these very discerning ones do respond to the real intention of
-     these abstractions it cannot be denied that this work is the most
-     circumscribed in its appeal of anything so far produced in the
-     name of art and, until its working premise is made clearer, its
-     influence must be correspondingly limited. At present it appears to
-     me to be a too purely personal equation to be intelligible to
-     others than the artist himself and therefore, generally speaking,
-     it can not be regarded as art, whatever else it may be. For that
-     that communicates nothing expresses nothing and as the office of
-     art is first and last expression this new form is as yet outside of
-     the domain of art.
-
-But that makes the attitude of the _observer_ the test whether a given
-product is or is not art, while the true test is the attitude of the
-_producer_.
-
-Whether a given work is or is not art is _determined_ and _forever
-fixed_ at the time of its production. If art to him who creates it, it
-is art to all humanity for all time; neither a man’s neighbors nor
-future generations can deprive it of its character.
-
-       *       *       *       *       *
-
-Quite a good many years ago I made the attempt, in lecture and book
-form, to define art.[40]
-
-     What is Art? The question is as old as man himself, for we have no
-     records of men without some manifestation of the art impulse....
-
-     Man is the _combination_ of _thought_ and _symbol_; thought
-     striving to express itself, and symbol, the means whereby it
-     achieves that end. The symbol may be sound, word, or song; or it
-     may be line, form, or structure; it matters not. A cry is the
-     language of the child; speech is the every-day utterance of the
-     man; the heart of the singer bursts forth in song; the musician
-     speaks in harmonies, the painter in line and color, the sculptor in
-     form, the architect in structure, the poet in rhyme and rhythm--and
-     each is silent save in his own way....
-
-     Now what is the distinction between _thought_ expression which _is
-     art_ and _thought_ expression which is _not art_?
-
-     In its broadest significance, and in its very essence, _art is
-     delight in thought and symbol_.
-
-     Mark the union--art is delight in _both_ the thought _and_ the
-     symbol. Without the double delight--the combination of these two
-     quite distinct delights, there can be no art.
-
-     To the writer of prose there may come a beautiful fancy; he
-     delights in it and hastens to record his thought. He may write the
-     most flowing, the most perfect prose, but as he writes he is still
-     occupied with his thought; his sole object is to find words which
-     will but express it. The same fancy comes to the poet; he, too,
-     delights in it, and seeks to record it; but when the poet touches
-     pen to paper he is seized with a new and an entirely distinct
-     delight, a delight _in his method of expressing_ his thought; he
-     may even permit his delight in his symbol, the flow, rhythm and
-     ring of rhyme, to sweep him onward in forgetfulness of his first
-     fancy--literature is filled with such examples.
-
-     Now and then a writer of prose expresses himself so finely, writes
-     so well, that we feel instinctively and immediately not only the
-     delight in the thought, but also a certain amount of delight in the
-     manner of expressing the thought, in the style, ... and to the
-     extent of the _double_ delight such prose is art, for art, as we
-     shall see, is by no means confined to the five so-called fine arts.
-
-     No hard and fast line can be drawn between that which is art and
-     that which is not art, the one fades imperceptibly into the other.
-
-And farther on in the same little volume:[41]
-
-     The current notions of art are such and the current notions of
-     labor are such that it may seem to most of you as though any
-     attempt to discuss the two together could result only in a waste of
-     words; yet time was when art and labor were so intimately united in
-     the great domain of human effort that the one almost invariably
-     implied more or less of the other; and the time will yet be when
-     there will be no labor without at least some art, even as there is
-     now and ever has been no art without at least some labor.
-
-     Art lies not in the employment, but in the _manner_ of the
-     employment of the powers of nature for an end; not in the task, but
-     in the _attitude_ of the worker towards his task.
-
-       *       *       *       *       *
-
-Whether a Cubist painting is or is not art does not depend upon the
-opinion of either critic or multitude; if it did it would be art to one
-man and not to another, art to one generation and not to another--an
-illogical conclusion.
-
-[Illustration: KLEE
-
-House by the Brook]
-
-[Illustration: VAN REES
-
-Still Life]
-
-Most Cubist pictures are plainly the work of men who are profoundly
-moved by an idea and who are striving to express that idea in a highly
-original manner. It may be the manner they have chosen is so abstract,
-so scientifically theoretical, that it will in the end--if pursued--kill
-the imagination, stifle all delight, and so result in failure as _art
-expression_; but so long as the men take sincere delight in both what
-they are trying to say and their manner of utterance, it is impossible
-to deny the character of art to their works.
-
-In proportion to their originality and daring, there may be more of
-living and vital art in what they are doing than in the art of the
-academic painter who follows in the footsteps of others without any
-particular effort.
-
-In other words, it is quite conceivable there may be more of vital and
-living art in a movement doomed to failure than in a movement that has
-achieved success and become stagnant.
-
-_The vitality lies in the element of earnest striving rather than in the
-direction the striving takes._
-
-
-
-
-VI
-
-THE THEORY OF CUBISM
-
-
-The art that is at hand is a highly _subjective_ art as distinguished
-from the highly _objective_ art of the Impressionist and Realist, but no
-man can say just what forms this new art will assume.
-
-Cubism is one attempt, Futurism is another, Compositional painting is
-another; there will be many more attempts before freedom of expression
-is attained.
-
-Cubism is interesting because it accentuates the value of planes and
-shows what can be done with elemental propositions in drawing. But the
-student or painter who turns to Cubism because he thinks it is to become
-a fad and will pay, runs the risk of making a great mistake; he would
-better stick to older methods.
-
-       *       *       *       *       *
-
-The Orphists have been mentioned; there were no Orphist pictures in the
-International Exhibition. The movement is based on the purely practical
-proposition that color in itself, and color alone without drawing, may
-be beautiful. So they just place lines and masses of color on a canvas
-and frame the canvas.
-
-It sounds absurd, yet the theory is the very foundation of wall
-decoration, of interior furnishing, of dressmaking--the mere
-juxtaposition of masses of color, with or without pattern.
-
-The Orphist “picture” may not be much of a picture in the accepted sense
-of the term, but it may afford pleasure as a color combination and may
-be of very real value to the decorator, the furnisher, the dressmaker,
-the scene-painter, the costumer.
-
-The theory is not new. So long as man has loved color he has used it
-irrespective of pattern.
-
-One part of the theory of the Cubists is as old as that of the Orphists.
-It is simply that the painter can do with line and color what the
-composer does with sound. In other words they demand the same freedom in
-the use of line and color that every great composer has in the use of
-sound.
-
-If, for instance, a great musician composes a pastoral symphony does he
-imitate the mooing of cows, the bleating of lambs, the rippling of
-brooks? Such attempts would be recognized as cheap in the extreme.
-
-“Very well,” the Cubist says, “if I paint a pastoral symphony why should
-I so much as suggest cows, sheep, landscape, brook? Why should people
-insist upon _seeing_ in my painting what they cannot _hear_ in Mozart’s
-or Beethoven’s music?”
-
-       *       *       *       *       *
-
-The comparison which Picabia is fondest of making is that with absolute
-music. The rules of musical composition, he points out, are sufficiently
-hampering in themselves to the composer’s mood, or call it inspiration.
-Words, as of songs, still further confine his vision of melody, even
-though they give in the beginning the impression that evokes the mood.
-Songs without words, the expression of the impression made on him by a
-great poem without the necessity of following in musical form the
-literary form of the poet, leave him far freer, give his subjectivity
-far wider scope. Modern composers have rebelled against the old fetters;
-modern painters have begun to feel the same need of a freer, an absolute
-method of expression. Hence, “post-impressionism,” which refuses
-altogether to be bound by objectivity, by literal reproduction of the
-object seen, in connection with the mood, the after-impression, received
-and fixed on the canvas. A composer may be inspired by a walk in the
-country, says M. Picabia, and produce a production of the landscape
-scene, of its details of form and color? No; he expresses it in sound
-waves, he translates it into an expression of the impression, the mood.
-And as there are absolute sound waves, so there are absolute waves of
-color and form. Modern music has won its way; this modern painting, too,
-will find appreciation and understanding in the days to come.
-
-       *       *       *       *       *
-
-The Cubists have set themselves a hard task. It is a good deal easier to
-_sing_ an _emotion_ than _paint_ one. It is a good deal easier to
-_paint_ an _object_ than _sing_ one--therein lies the trouble.
-
-Yet in the beginning both music and painting were imitative. Music
-imitated natural sounds; drawing and painting imitated natural objects.
-
-But soon men began to sing for the pleasure of singing and play on
-instruments for the pleasure of playing, and the imitation of natural
-sounds was left far behind as primitive and elemental, and music tended
-to become more and more expressive of emotions, elemental emotions at
-first, finer and purer emotions later, until in the western world
-abstract purity was reached in Beethoven.
-
-Since Beethoven there has been a reaction to more imitative music, as in
-the operas of Wagner.
-
-While music departed farther and farther from imitation of natural
-sounds, drawing and painting progressed toward the more perfect
-representation of natural objects.
-
-Or rather painting developed along two distinct lines--one the more
-perfect representation of objects _for the sake of the representation_;
-the other compositions of line and color--not
-
-[Illustration: BLOCH
-
-Summer Night]
-
-[Illustration: BLOCH
-
-The Duel]
-
-imitative--for the sake of the pleasure afforded _by the pattern and the
-color scheme_.
-
-This second development parallels that of music--compositions of line
-and color, like compositions of sound for the pleasure they give, and
-not for the associations they arouse.
-
-Strange as it may sound, it is nevertheless true, that four-fifths of
-the pleasure we get in our daily lives out of line and color is not from
-the _imitative_ development, the _picture_ side, but from the
-_non-imitative_, the _abstract_ side.
-
-Our clothes, our homes, our public buildings, our cities, our landscapes
-are made beautiful by the use of line and color in patterns and
-masses--in harmonious composition. It is only here and there that we
-come in contact with either line or color used imitatively.
-
-We all know how distressingly tiresome a wall-paper becomes if it is
-made up of imitative scenes--that is, a series of pictures, and the
-better the pictures the sooner we tire of the paper.
-
-While a paper that contains no imitative spots, or in which the
-imitative features are so subdued and conventionalized we _feel_ them
-rather than _see_ them, may be restful and pleasing; and a wall that is
-a monotone if bordered by wainscoting and frieze in monotones, may wear
-the best of all.
-
-       *       *       *       *       *
-
-But while the great, the practical use of line and color followed
-parallel lines with sound and got farther and farther away from
-imitative features, _the art_ of painting, as it is commonly called,
-developed in just the opposite direction, it became more and more
-imitative, until of late years it would seem that the last word has been
-said in the reproduction of natural objects and natural light and color
-effects.
-
-Of course the _last_ word has not been said, and never will be said so
-long as _individuals_ are born, but _so much_ has been said that it is
-not surprising there is a reaction, nor is it surprising that one phase
-of this reaction should be an attempt to use line and color as the
-decorator and the dressmaker and a thousand others use them, to express
-and kindle pleasurable emotions.
-
-In short it is not surprising that the painter of pictures should awaken
-to the realization of the fact that others use and have used, from the
-beginning, line and color to make delightful compositions that have no
-relation to natural objects, as the musician uses sound to make
-delightful compositions that have no relation to natural noises.
-
-       *       *       *       *       *
-
-As a rule women have a finer instinct for the use and arrangement of
-color than painters. Few wives of painters would trust their husbands to
-decorate their dinner tables.
-
-Look at the gruesome and ugly “still lifes” done by painters of renown.
-I saw one the other day of some fish on a platter by an American painter
-famous for such things. If his wife had found that platter of dead and
-clammy fish in her drawing room she would have exclaimed, “For goodness
-sake, how did that get in here? Take it back to the kitchen.”
-
-       *       *       *       *       *
-
-Look at the naive and absurd compositions of flowers and fruit that
-painters put together to paint; no woman of taste would permit them on
-her tea table.
-
-I know a charming woman whose dinner tables are a dream of beauty,
-veritable compositions in which flowers and fruits and lights and every
-detail are far more thoughtfully considered than are the details in most
-pictures. In short, without knowing it she creates a work of art each
-time she entertains. Imagine what her table would be if left to an
-artist or a committee of artists--or her husband!
-
-Most painters’ studios are either devoid of all color arrangement or
-positively ugly.
-
-So far as _color_ goes many a portrait owes its success more to the
-_modiste_ than the artist.
-
-       *       *       *       *       *
-
-From the painting of color harmonies and line harmonies it is but a step
-to insist that line and color composition may be used like sound
-compositions to express one’s moods and emotions.
-
-That is what these modern men are trying to do.
-
-You may not think it is possible for them to succeed but why should you
-ridicule the attempt?
-
-The attempt is an ambitious one, it is an attempt to extend the sphere
-of painting, and it may lead to new and beautiful things. Should we not
-watch it with interest and sympathy even if you think it foredoomed to
-failure?
-
-       *       *       *       *       *
-
-     Watch a painter preparing to paint a picture of still life. He
-     takes a vase of flowers and places it on a table; beside it he
-     poses, perhaps a brass bowl and some other objects, having regard
-     throughout for light and, above all, for proportion and color. That
-     is when he is _really painting_ his picture, when he is really
-     _composing_, receiving his impression, creating his subjective
-     mood. The objective part of his work is done; all that remains now
-     is to give expression to that impression, that mood. Instead of
-     thus allowing his inspiration to gain its full value and
-     significance, he sits down and reproduces it with a varying degree
-     of literalness. He becomes nothing more or less than a copyist, a
-     photographer of his own work. He kills within himself its
-     subjective values, or, at best, seeks to give them expression
-     filtered by objectivity. Or, again, consider the case of the
-     portrait painter. He studies sitters from every point of view,
-     gathering impressions. Then he begins to experiment with poses,
-     draperies, light effects, seeking to heighten the impression
-     already received from the sitter himself. At last he is content
-     with pose, draperies, background, lights--his picture is there. But
-     why, then, go to the trouble of painting it, of copying it? If the
-     work he has done, finished in all its details, is to benefit him,
-     he must proceed from it and beyond it. His real work then is to
-     communicate to others the mood awakened in him.[42]
-
-       *       *       *       *       *
-
-In another interview Picabia said:
-
-     You of New York should be quick to understand me and my fellow
-     painters. Your New York is the cubist, the futurist city. It
-     expresses in its architecture, its life, its spirit, the modern
-     thought. You have passed through all the old schools, and are
-     futurists in word and deed and thought. You have been affected by
-     all these schools just as we have been affected by our older
-     schools.
-
-     Because of your extreme modernity therefore, you should quickly
-     understand the studies which I have made since my arrival in New
-     York. They express the spirit of New York as I feel it, and the
-     crowded streets of your city as I feel them, their surging, their
-     unrest, their commercialism, and their atmospheric charm.
-
-     You see no form? No substance? Is it that I go out into your city
-     and see nothing? I see much, much more, perhaps, than you who are
-     used to it see. I see your stupendous skyscrapers, your mammoth
-     buildings and marvellous subways, a thousand evidences of your
-     great wealth on all sides. The tens of thousands of workers and
-     toilers, your alert and shrewd-looking shop girls, all hurrying
-     somewhere. I see your theater crowds at night gleaming, fluttering,
-     smilingly happy, smartly gowned. There you have the spirit of
-     modernity again.
-
-     But I do not paint these things which my eye sees. I paint that
-     which my brain, my soul, sees. I walk from the Battery to Central
-     Park. I mingle with your workers, and your Fifth Avenue mondaines.
-     My brain gets the impression of each movement; there is the driving
-     hurry of the former, their breathless haste to reach the place of
-     their work in the morning and their equal haste to reach their
-     homes at night. There is the languid grace of the latter, emanating
-     a subtle perfume, a more subtle sensuousness.
-
-     I hear every language in the world spoken, the staccato of the New
-     Yorker, the soft cadences of the Latin people, the heavy rumble of
-     the Teuton, and the ensemble remains in my soul as the ensemble of
-     some great opera.
-
-     At night from your harbor I look at your mammoth buildings. I see
-     your city as a city of aerial lights and shadows; the streets are
-     your shadows. Your harbor in the daylight shows the shipping
-
-[Illustration: HERBIN
-
-Landscape]
-
-     of a world, the flags of all countries add their color to that
-     given by your sky, your waters, and your painted craft of every
-     size.
-
-     I absorb these impressions. I am in no hurry to put them on canvas.
-     I let them remain in my brain, and then when the spirit of creation
-     is at flood-tide, I improvise my pictures as a musician improvises
-     music. The harmonies of my studies grow and take form under my
-     brush, as the musician’s harmonies grow under his fingers. His
-     music is from his brain and his soul just as my studies are from my
-     brain and soul. Is this not clear to you?
-
-       *       *       *       *       *
-
-You say all this cannot be done.
-
-That is precisely the question, and one thing certain, it cannot and
-will not be done, unless some one _tries_ to do it.
-
-It is just as legitimate to attempt to express one’s emotions by the use
-of line and color as by the use of sound as in music, or by the use of
-motion as in pantomime.
-
-One man says, “I will paint the portrait of a beautiful woman.”
-
-A second says, “I will not paint her portrait, but I will put on canvas
-a composition of colors so joyous it will express my admiration for
-her.”
-
-A third says, “I will compose a sonata or a symphony or a ‘song without
-words’ to express my love for her.”
-
-The public accepts without question the work of the first and third--the
-portrait painter and the musician--but rejects the work of the
-second--the painter of harmonies. Why? Because he does not copy the
-features and the dress of the woman.
-
-Picabia again says:
-
-     Art, art, what is art? Is it copying faithfully a person’s face? A
-     landscape? No, that is machinery. Painting Nature as she is, is not
-     art, it is mechanical genius. The old masters turned out by hand
-     the most perfect models, the most faithful copies of what they saw.
-     That all their paintings are not alike is due to the fact that no
-     two men see the same things the same way. Those old masters were,
-     and their modern followers are, faithful depicters of the actual,
-     but I do not call that art today, because we have outgrown it. It
-     is old, and only the new should live. Creating a picture without
-     models is art.
-
-     They were successful, those old masters; they filled a place in our
-     life that cannot be filled otherwise, but we have outgrown them. It
-     is a most excellent thing to keep their paintings in the art
-     museums as curiosities for us and for those who will come after us.
-     Their paintings are to us what the alphabet is to the child.
-
-     We moderns, if so you think of us, express the spirit of the modern
-     time, the twentieth century. And we express it on canvas the way
-     the great composers express it in their music.
-
-There is plenty of clear expression and fine enthusiasm in those three
-paragraphs.
-
-       *       *       *       *       *
-
-There is, however, another side to Cubism and one not so easy to
-understand.
-
-Painting color harmonies for the sake of their emotional effect is easy
-of comprehension. But when the Cubist sets out to convey the impression,
-not of the surfaces, but of the very substance of things, he is
-attempting something very different from what has heretofore been
-considered within the sphere of painting. Possibly he is attempting
-something painting cannot do.
-
-The theory is so abstract and so scientific it comes near paralyzing the
-art. It is _too coldly logical_ and unemotional to produce great art,
-for great art is and must be fundamentally _emotional_.
-
-Of Picasso, the founder and leading exponent of Cubism, a sympathetic
-writer says:
-
-     His whole tendency is a negation of the main tenets of the gospel
-     of Cézanne whose conception of form he rejects, together with
-     Monet’s conception of light and color. To him both are
-     non-existent. Instead he endeavors “to produce with his work an
-     impression, not with the subject, but the manner in which he
-     expresses it,” to quote his confrère, Marius De Zayas, who studied
-     the raison d’être of this work, together with Picasso. Describing
-     his process of aesthetic deduction further, M. De Zayas tells us
-     that “he (Picasso) receives a direct impression from external
-     nature; he analyzes, develops, and translates it, and afterwards
-     executes it in his own particular style, with the intention that
-     the picture should be the pictorial equivalent of the emotion
-     produced by nature. In presenting his work he wants the spectator
-     to look for the emotion or idea generated from the spectacle and
-     not the spectacle itself.
-
-     “From this to the psychology of form there is but one step, and the
-     artist has given it resolutely and deliberately. Instead of the
-     physical manifestation he seeks in form the psychic one, and on
-     account of his peculiar temperament, his psychical manifestation
-     inspires him with geometrical sensations. When he paints he does
-     not limit himself to taking from an object only those planes which
-     the eye perceives, but deals with all those which, according to
-     him, constitute the individuality of form; and with his peculiar
-     fantasy he develops and transforms them.
-
-     “And this suggests to him new impressions, which he manifests with
-     new forms, because from the idea of the representation of a being,
-     a new being is born, perhaps different from the first one, and this
-     becomes the represented being. Each one of his paintings is the
-     coefficient of the impressions that form has performed in his
-     spirit, and in these paintings the public must see the realization
-     of an artistic ideal, and must judge them by the abstract sensation
-     they produce, without trying to look for the factors that entered
-     into the composition of the final result.
-
-     “As it is not his purpose to perpetuate on canvas an aspect of the
-     external world, by which to produce an artistic impression, but to
-     represent with the brush the impression he has directly received
-     from nature, synthesized by his fantasy, he does not put on the
-     canvas the remembrance of a past sensation, but describes a present
-     sensation.... In his paintings perspective does not exist; in them
-     there are nothing but harmonies suggested by form, and registers
-     which succeed themselves, to compose a general harmony which fills
-     the rectangle that constitutes the picture.
-
-     “Following the same philosophical system in dealing with light, as
-     the one he follows in regard to form, to him color does not exist,
-     but only the effects of light. This produces in matter certain
-     vibrations, which produce in the individual certain impressions.
-     From this it results that Picasso’s paintings present to us the
-     evolution by which light and form have operated in developing
-     themselves in his brain to produce the idea, and his composition is
-     nothing but the synthetic expression of his emotion.”
-
-     Thus it will be seen that he tries to represent in essence what
-     seems to exist only in substance. And, inasmuch as his psychical
-     impressions inspire in him geometrical sensations, certain of these
-     exhibits are in the nature of geometrical abstractions that have
-     little or nothing in common with anything hitherto produced in art.
-     Its whole tendency would appear to be away from art into the realm
-     of metaphysics.
-
-     Here is a design, a pattern of triangles, ellipses and semi-circles
-     that at first glance appears to be little more than the incoherent
-     passage of a compass across the paper in the hands of some
-     absent-minded engineer. After a little attentive study, however,
-     these enigmatic lines resolve themselves into the semblance of a
-     human figure and one begins to discover a clearly defined intention
-     behind this apparent chaos of ideated sensations. There is evident
-     a method in his madness which, after all, may only be truth turned
-     inside out. And this is what should make one pause and investigate
-     the matter further.
-
-     The fact that one may get nothing out of it as yet in the way of
-     tangible or even vaguely experienced emotions is beside the point.
-     The interest in this whole matter rests on the fact that here is
-     revealed a new form of aesthetic expression as yet only tentative
-     and groping perhaps, but reaching out in new directions. And it
-     must not be forgotten that the pioneer is usually misunderstood; he
-     is so far in advance of current ideas as to be out of touch with
-     his fellow men who might appropriately be called follow-men, they
-     lag so far behind the progress of new ideas. Cézanne and
-     Picasso--they mark the parting of the ways: a fulfilment and a
-     promise. Quo Vadis?[43]
-
-Not many years ago Picasso was painting under the influence of the
-pointillists. Almost every year he changed his style, until he developed
-the pure, the geometrical Cubism of the drawing shown herein. He had a
-period of painting very uninteresting blue portraits, one of which was
-shown at the exhibition.
-
-His “Woman with the Mustard Pot” belongs with his sculpture, which is
-interesting but, to most people, ugly.
-
-He has such phenomenal powers of absorption and his technical facility
-is such that he does anything he pleases
-
-[Illustration: PICASSO
-
-Drawing]
-
-with ease, and what he does today is no sure indication of what he will
-attempt tomorrow.
-
-For the moment he seems absorbed in the _music of planes_, so to speak.
-Take, for instance, a still life wherein there seem to be a pipe, a
-wall, a musical instrument, a glass, something like a stairway, street
-signs, etc. These may or may not have been the objects the painter had
-before him, but whether they are or not it is quite clear that he was
-not content with dealing with superficial planes, that is, with the
-visible lines and surfaces of the objects, but he _lets the planes
-project and intersect_ very much as if the objects were
-semi-transparent.
-
-To state the matter in other words--by using only the essential lines of
-an object and treating the object as otherwise more or less transparent,
-one readily understands why the essential lines of all objects in _the
-rear show through_, and the result is a confused mass of planes with
-here and there more conspicuous surface indications such as the pipe,
-the signs, the glass, etc.
-
-In much of Picasso’s later work he suppresses all such surface
-indications, until only a few absolutely elemental lines remain.
-
-The result is a picture so scientific, so abstract, it appeals to but
-few and excites no emotion in anyone because it was not the result of
-emotion in the artist.
-
-In short, Picasso and a few followers have reached a degree of
-abstraction in the suppression of the real and the particular that their
-pictures represent about the same degree of emotion as the demonstration
-of a difficult geometrical proposition.
-
-Beyond the few lines they use there is the bare canvas; they have
-reached the limit and they must turn in their tracks. The reaction is
-bound to come, and come quickly.
-
-Meanwhile the Cubists, who have been painting along emotional, as
-distinguished from the coldly scientific lines, are still turning out
-pictures that possess a charm in line and color irrespective of their
-theoretical significance and much may still be done in this direction.
-
-       *       *       *       *       *
-
-The Cubists are fond of quoting the following from Plato:
-
-     Socrates: What I am saying is not, indeed, directly obvious. I must
-     therefore try to make it clear. For I will endeavor to speak of the
-     beauty of figures, not as the majority of persons understand them
-     such as those of animals, and some paintings to the life; but as
-     reason says, I allude to something straight and round, and the
-     figures formed from them by the turner’s lathe, both superficial
-     and solid and those by the plumb-line and the angle-rule, if you
-     understand me. For these, I say, are not beautiful for a particular
-     purpose, as other things are; but are by nature ever beautiful by
-     themselves, and possess certain peculiar pleasures, not at all
-     similar to those from scratching; and colors possessing this
-     character are beautiful and have similar pleasures.--From
-     “Philebus.”
-
-       *       *       *       *       *
-
-Every really great painter must have moments when, as he thinks of the
-days and years spent painting _things_--just things for people to look
-at and see--he asks himself, “Is it worth while to spend all one’s life
-painting things one _sees_? Is it not possible to paint the things one
-_feels_?”
-
-       *       *       *       *       *
-
-Sargent is tired of portrait painting--why? Because he longs to do
-something else. But what he is doing is simply another form of portrait
-painting--and not so big. He has simply turned from men and women to
-chairs and tables--so to speak; that is, from portraits of people to
-pictures of things--all the same art. So far as any one knows he has not
-tried to make compositions of line and color that would be beautiful in
-themselves. In short, great painter as he is, he seems to lack the
-ambition or the inspiration to try to do what Whistler for more than
-forty years was trying to do--lift painting from the rut of reality to a
-plane more nearly on a level with that occupied by the greatest masters
-of China and Japan.
-
-       *       *       *       *       *
-
-The following paragraphs from a little book on Cubism by two well known
-Cubist painters throw some light on the subject:
-
-     We should be the first to blame those who, to hide their
-     incapacity, should attempt to fabricate puzzles. Systematic
-     obscurity betrays itself by its persistence. Instead of a veil
-     which the mind gradually draws aside as it adventures toward
-     progressive wealth, it is merely a curtain hiding a void.
-
-     It is not surprising that people ignorant of painting should not
-     spontaneously share our assurance; but nothing is more absurd than
-     that they should be irritated thereby. Must the painter, to please
-     them, turn back in his work, restore things to the commonplace
-     appearance from which it is his mission to deliver them?
-
-     From the fact that the object is truly transubstantiated, so that
-     the most accustomed eye has some difficulty in discovering it, a
-     great charm results. The picture which only surrenders itself
-     slowly seems always to wait until we interrogate it, as though it
-     reserved an infinity of replies to an infinity of questions.[44]
-
-By way of comment on this paragraph:
-
-Why should we deny to painting one of the greatest charms of
-poetry--_elusiveness_?
-
-Great poetry is _rarely_ superficially plain to the casual reader.
-
-Great music is _never_ superficially plain to the casual hearer.
-
-But the attitude of the public is that great painting shall always be
-superficially plain to the casual observer.
-
-A painter may paint things every one understands at a glance, but is it
-not his _right_, if he wishes, to paint things no one understands but
-himself?
-
-In other words, what right have _we_ to say to the poet, “If you don’t
-write things we understand you are no poet,” or to the painter, “If you
-don’t paint things we understand you are no painter?”
-
-The only difference between poet and painter is that one uses a _pen_,
-the other a _brush_ to express _himself_.
-
-       *       *       *       *       *
-
-     Without employing any allegorical or symbolical literary artifice,
-     merely by inflections of lines and colors, a painter can show, _in
-     the same picture_, a Chinese city, a French town, together with
-     mountains, oceans, fauna, and flora, and nations with their
-     histories and their desires--all that separates them in external
-     reality. Distance or time, concrete fact, or pure conception,
-     nothing refuses to be uttered in the language of the painter, as in
-     that of the poet, the musician, or the scientist.
-
-Here is a most significant statement of a _truth_ and an assertion of
-_freedom_.
-
-We all know how the poet in a dozen lines may give us glimpses of the
-universe; he may leap from flower to star, from city to city, nation to
-nation, age to age; nothing confines him, he knows no restraint.
-
-In one short poem he may give us glimpses of the four quarters of the
-globe--of Athens, London, Chicago, Pekin. His imagination knows no
-bounds, his art is unlimited.
-
-For the first time in the history of painting painters are
-systematically claiming the same independence, the same right to
-_express themselves freely_ in each canvas, to paint in the one picture
-_if they see fit_ glimpses of different countries, cities, scenes,
-different times as well as places; to use them and suggest them as
-freely as the poet does to _express a mood_--and why not?
-
-But the painter must be sure of his mood, and be doubly sure that what
-he is trying to say _requires_ a wealth of illustration, otherwise his
-painting will be but a fantastic jumble,
-
-[Illustration: MARC
-
-The Steer]
-
-[Illustration: KANDINSKY
-
-Landscape With Two Poplars]
-
-just as many poems lose themselves in not a _wealth_ but a _confused
-mass_ of irrelevant illustrations.
-
-       *       *       *       *       *
-
-The _assertion_ of freedom is one thing, the _exercise_ of it is quite
-another.
-
-The point is that, fundamentally, there is no reason why a painter
-should not show in one canvas things and events unrelated in either
-space or time, leaving the observer to work out the more or less hidden
-meaning of it all.
-
-There is no reason why he should be tied down to the realistic painting
-of an apple or an apple tree if he prefers to paint some flight of the
-imagination into which apple and apple tree enter together with strange
-glimpses of temples and pyramids, playing children and armed battalions,
-weeping women and fighting men.
-
-Read the foregoing lines once more. Eight objects are mentioned--apple,
-apple tree, temples, pyramids, children, battalions, weeping women,
-fighting men--by no possibility could these strangely diverse objects be
-found grouped together in actual life, yet it is safe to say that _as
-you read them_ no feeling of utter incongruity was experienced. On the
-contrary your imagination unconsciously created a picture, vague and
-indistinct because fleeting, which combined them all, possibly a
-strange, poetic scene with orchards and playing children, temples and
-pyramids in the distance, with armed battalions, weeping women and
-fighting men passing by in clouds or fanciful shapes.
-
-Thousands of such pictures are painted every year and they are mostly
-rather poor works of the imagination.
-
-There is, however, no reason why the same freedom, the same arbitrary
-indifference to actualities, should not be exercised in the painting of
-good pictures.
-
-No reason why, for instance, painters should not _experiment freely
-with all the so-called laws of art_, and that is what the Cubists and
-others of the moderns are doing.
-
-       *       *       *       *       *
-
-     That the ultimate aim of painting is to touch the crowd we have
-     admitted; but painting must not address the crowd in the language
-     of the crowd; it must employ its own language, in order to move,
-     dominate, and direct the crowd, not in order to be understood. It
-     is so with religions and philosophies. The artist who concedes
-     nothing, who does not explain himself and relates nothing,
-     accumulates an internal strength whose radiance shines on every
-     hand.
-
-     It is in consummating ourselves within ourselves that we shall
-     purify humanity; it is by increasing our own riches that we shall
-     enrich others; it is by kindling the heart of the star for our own
-     pleasure that we shall exalt the universe.
-
-       *       *       *       *       *
-
-To explain Cubism, or any attempt in art to suppress the objective, one
-must fall back on music.
-
-Grieg calls a certain composition “In the Hall of the Mountain King.”
-Not for a moment did he attempt realistically to suggest a hall, a
-mountain, a king or any object; to have done so would have been folly.
-And if that particular composition were played for the first time before
-a body of keen musicians, no title mentioned, and not a word said about
-its being a part of the Peer Gynt suite, no two would agree as to what
-the composer had in mind, though many might have very interesting
-impressions regarding the _mood of the composer in writing it_.
-
-But once understand it is part of the Peer Gynt suite and once told it
-is “In the Hall of the Mountain King,” the weird and fascinating music
-explains itself, it is recognized as a wonderfully successful attempt to
-realize an impressive scene by a combination of sounds.
-
-       *       *       *       *       *
-
-The veriest tyro in music feels the cheapness of imitative music, the
-imitation of the nightingale, the ripple of notes to imitate a rippling
-brook, the beating of a drum to imitate thunder, the tremolo of violins
-to represent fright, etc., etc.
-
-From such bald attempts at realism to the abstract beauty of a symphony
-by Beethoven is a vast interval.
-
-The severely logical composer will not name his symphony for fear of
-suggesting ideas that will interfere with the pure enjoyment of his
-abstract conception. There have been painters--like Whistler--who
-preferred to call their works “Harmonies” or “Arrangements” or “Studies”
-rather than subject their canvases to a clamoring horde of suggestions
-by choosing names that must inevitably divert the observer.
-
-However at times a name helps, it at least puts us on the right track,
-it enables us to measure the piece of music or the picture by the
-artist’s intention. If it is utterly impossible for the best and most
-sympathetic minds after long study to find any suggestion of the title
-in the work, it means either the artist has been unsuccessful in
-conveying his idea in sound or in line and color, or--what often
-happens--he has carelessly and arbitrarily chosen a title after his work
-was finished, a title that imperfectly fits his original impulse.
-
-       *       *       *       *       *
-
-It is most disappointing to hear a man go into raptures over what he
-cannot explain.
-
-The greatest enemies of the moderns are their friends. But there have
-been published a number of books in German and French that are well
-worth reading if approached with an open mind.
-
-If read with preconceived notions and prejudices the result will be very
-irritating. Several artists, notably Kandinsky, have taken the utmost
-pains to explain in print what they believe and what they are trying to
-do.
-
-But it is often quite as difficult to understand some of the things the
-painters write about their work as it is to understand their pictures;
-but this is because some of the new men carry their theories so far it
-is hard for the layman to follow, however earnest and sympathetic his
-efforts.
-
-But because we do not understand what a man says is no good reason for
-calling him an ignoramus.
-
-The trouble _may_ be with him, it is _probably_ with us. At all events
-each re-reading, like each re-scrutiny of the pictures, yields clearer
-results.
-
-To a man _really and profoundly interested_ in art nothing has occurred
-in many a generation so full of significance, so worthy one’s earnest
-attention, as the present new movements--all the more interesting
-because changing so rapidly and because some of them are certain to be
-so fleeting.
-
-The art institute which does not secure and preserve some examples
-illustrative of the extraordinary upheaval in the art world is
-derelict--as derelict as a natural history museum would be if it passed
-over indifferently the evidence of some mysterious upheaval in nature.
-
-       *       *       *       *       *
-
-When a man stands before a cubist painting or an improvisation by
-Kandinsky and says he sees all sorts of things in it, do not take him
-too seriously; he is like members of those extraordinary Browning Clubs
-who destroy our enjoyment of the poetry by reading into each line things
-the poet never dreamed.
-
-       *       *       *       *       *
-
-The Cubists and most of the moderns are very young men, what they
-_think_ is of far less interest than what they _do_.
-
-What a young man does is often of vital importance, what he thinks may
-be of no importance at all--save to himself.
-
-Moved by the most naive theories and enthusiasms youth
-
-[Illustration: CHABAUD
-
-Cemetery Gates]
-
-will do wonderful things, things the sober reflection of age would fear
-to do.
-
-One of the charms of the Cubists is their child-like faith in the
-absolute supremacy of their art; this faith is interesting in them
-because it leads them to produce works that cause us to stop and look
-and think, but when their followers indulge the same blind faith in
-print their utterances are mostly incoherent and boresome.
-
-       *       *       *       *       *
-
-The violent partisan who sees all sorts of things in the modern painting
-is at one extreme, the violent opponent who sees nothing at all is at
-the other--let them fight it out.
-
-The truth lies midway, that there is _something_ worth finding in even
-the most extravagant attempts of the new movement no thoughtful man will
-deny. The very fact the paintings attract such crowds and excite so much
-controversy proves there is _something_ for serious investigation; the
-something may not turn out to be of overwhelming importance, but it will
-have its influence upon the future of art.
-
-No one for a moment doubts that the exhibitions held in New York,
-Chicago, and Boston are destined to have a very great effect upon
-American art, especially upon the art of the men most bitterly opposed
-to Cubism, and everything akin to Cubism. The academic has received a
-severe but healthful jolt.
-
-Whatever affects us has, at least, the merit of _affecting_ us, and
-whatever moves us to do better work, whether in an old way or a new way,
-has the merit of _affecting us for good_.
-
-
-
-
-VII
-
-THE NEW ART IN MUNICH
-
-
-“WE cling more closely to the old masters; what we are doing is simply
-the natural development of their principles and their methods,” said a
-well-known painter of Munich while speaking of the Cubists and other
-moderns of Paris, and the words had direct reference to the head of a
-woman, by Jawlenski, reproduced herein in color.
-
-It would be difficult to convince the casual observer that this head has
-any relationship to portraits by Titian, _and yet_--
-
-       *       *       *       *       *
-
-The Cubists are also equally quick to demonstrate the logical connection
-between their works and those of the old masters, tracing the connection
-through Courbet, El Greco, and so on.
-
-The truth, of course, is that _everything_ modern is a development of
-_something_ ancient, that _nothing_ exists _unrelated_.
-
-Art is as _continuous_ as everything else in life and nature.
-
-One thing flows inevitably out of another.
-
-       *       *       *       *       *
-
-Sorolla and Zoloaga are the children of Velasquez. Puvis de Chavannes
-may seem nearer Raphael and the Italian Primitives than Degas and Manet,
-but he is simply the fruition of one collateral line, while Degas is the
-fruition of another, and Manet of another--_they are all painters_, and
-the art of painting admits endless variations in theory and technic.
-
-       *       *       *       *       *
-
-It is, therefore, true that every modern experiment, however strange,
-may trace its genealogy to the Old Masters and through them to the
-Primitives, and through them to the Cave Painters.
-
-So that when a Munich artist argues that the strange heads of Jawlensky
-and the still stranger compositions of Kandinsky are based upon the best
-there is in Italian art, the proposition in its broad significance may
-be conceded and plenty of room be still left for startling differences
-between the art of Venice in the sixteenth century and that of Munich in
-the twentieth.
-
-       *       *       *       *       *
-
-There is, however, some slight but tangible foundation for the assertion
-that the work of the extreme men of Munich is closer to that of the Old
-Masters than the work of the extreme men of Paris, in that most of the
-former paint more _solidly_ and _substantially_, while most of the
-latter paint more _lightly_ and _superficially_--just about the
-difference that exists between the two cities, the two environments. The
-worker in Munich cannot help being influenced by the _German_
-atmosphere, the worker in Paris cannot help being influenced by the
-_French_--in fact each is where he is because he finds the particular
-atmosphere congenial.
-
-       *       *       *       *       *
-
-“The New Artists’ Federation,” in Munich, was founded in January, 1909,
-by Adolf Erbslöh, Alexej von Jawlensky, Wassily Kandinsky, Alexander
-Kanoldt, Alfred Kubin, Gabriele Münter, Marianna von Werefkin, Heinrich
-Schnabel, and Oskar Wittenstein. During the first year Paul Baum,
-Wladimir von Bechtejeff, Erma Bossi, Karl Hofer, Moissey Koga, and
-Albert Sacharoff joined. Paul Baum and Karl Hofer soon resigned their
-membership. In 1910 the Frenchmen, Pierre Girieud and Le Fauconnier,
-became members, and in 1911 Franz Marc and Otto Fischer, followed in
-1912 by Alexander Mogilewsky.
-
-     The first exhibition was held in the winter of 1909 in the Modern
-     Gallery, Munich. Indignation and derisive laughter, and insults
-     from the press were the outward result. Still the seed scattered
-     was not lost. Similar exhibitions were held in many cities of
-     Germany and Switzerland. Everywhere they met with opposition, but
-     also made some friends at each place.
-
-     The second exhibition, held in the fall of the following year,
-     brought the members into contact with a large number of outside
-     artists, some of whom have become of great importance in the new
-     art, and most of whom were, up to that time, unknown in Germany.
-     These were the Germans, Hermann Haller, Bernhard Hoetger, Eugen
-     Kahler, Adolf Nieder; the Frenchmen, Georges Bracque, André Derain,
-     Kees Van Dongen, Francisco Durio, Pablo Picasso, Georges Rouault,
-     and Maurice de Vlaminck; finally, the Russians, Mogilewsky, David
-     and Wladimir Burljuk, and Seraphim Sudbinin. This was the first
-     exhibition at which it was possible to rightly estimate the
-     development and the international character of the new movement.
-
-     The preparations for the exhibition in the year 1911 led to a
-     split. Some of the members insisted that, as regarded their works,
-     the custom of a jury should be dispensed with, while others were in
-     favor of having the entries rigidly judged in order to insure
-     proper selection. Kandinsky, Kubin, Marc, and Gabriele Münter in
-     consequence announced their withdrawal from the federation. Thus a
-     difference of opinion and convictions was openly vented that had
-     existed in secret for quite a time. The members named, under the
-     name of “Redaktion des Blauen Reiters,” opened a separate
-     exhibition and have since continued to work under this banner.
-
-     The New Artists’ Federation, since its third exhibition in 1912,
-     has held a series of exhibits of the works of individual artists in
-     its rooms at Munich, and its members are represented at nearly all
-     important exhibitions in Germany and Switzerland.[45]
-
-       *       *       *       *       *
-
-The key-note of the modern movement in art is _expression of self_; that
-is, the expression of one’s _inner self_ as distinguished from the
-representation of the outer world.
-
-       *       *       *       *       *
-
-[Illustration: MATISSE
-
-Woman in Red Madras]
-
-I have before me six of Jawlensky’s heads, painted a year or so apart.
-They range from almost conventional portrait studies in strong
-impressionistic manner to heads very like Matisse’s “Madras Rouge,”
-thence to the head reproduced, which was the last painted.
-
-The series shows an interesting development of the painter’s
-_convictions_, his technic remains essentially the same, facile and
-competent, only the latest picture places a much greater stress upon his
-resources.
-
-It was apparent from things in his studio, canvases ten or twelve years
-old, that he could have made a commercial success as a painter of
-portraits.
-
-       *       *       *       *       *
-
-To say that Jawlensky’s latest heads with their strange, expressive,
-exaggerated eyes are not wholly new one has only to turn to any work on
-Greek painting wherein are reproduced some of the encaustic and tempera
-portraits found in the Fayum some twenty-odd years ago.
-
-       *       *       *       *       *
-
-When asked why he preferred his latest work to the earlier, Jawlensky
-said:
-
-“I have put more of myself into them; they are more expressive of what I
-feel.”
-
-And he went on to say the development seemed to him natural and logical.
-He could not understand why the heads should strike others as queer or
-laughable since they were the products of absolute sincerity.
-
-Of his work a friendly critic says:
-
-     Jawlensky, formerly an officer in the Russian army, resigned a
-     captain’s commission and turned to painting. Today he looks back
-     into an artistic past rich in changes and just as rich in successes
-     achieved. Gauguin, VanGogh and Cézanne have given much to him; more
-     recently, oriental and primitive art, Byzantine pictures and
-     antique German woodcarvings have not been without influence on
-     him. His color is peculiarly his own, with its limpidity, its
-     bloom, and bold modulations, the spontaneous, expressive force of
-     which have a most refreshing effect. In its soft and surprising
-     beauty one may perhaps discover a distinctly Russian quality. It is
-     almost an injustice toward this artist’s pictures to reproduce them
-     colorless. His still-life pictures excel in composition and charm
-     by their color effects. In his landscapes a peculiar mood finds
-     expression, always striking, always original, and often with great
-     simplicity and beauty. His heads and half figures might be termed
-     snapshots of the soul: a pose, a motion, a glance of the eye,
-     retained by the briefest and most effective means. Here, too, a
-     conscious simplifying and exaggeration becomes more and more
-     evident. For this artist, art itself has the grace of a gesture;
-     the soul part immediately becomes expression, and thus is shown
-     everywhere the creative quality of an impulsive nature that owes
-     its best to the inspiration of the moment, and from it proceeds to
-     work with a most happy facility.[46]
-
-       *       *       *       *       *
-
-Marianna von Werefkin, a Russian, uses water color, gouache, and prefers
-the mystery of the night to daylight. Her pictures are interesting human
-documents. She does not seek startling or novel pictured effects.
-
-       *       *       *       *       *
-
-There is another and almost unknown artist, P. Klee, who is very highly
-esteemed by the most advanced men. There is certainly an exquisite
-refinement to his line; it is so alive it scintillates.
-
-Gabriele Münter has a vision of things quite her own, a sense of humor
-and of life that penetrates beneath the surface, and that manifests
-itself in a technic that is, one might say, almost nonchalant.
-
-A. Bloch is a young American, living in Munich, who has allied himself
-with the Blue Knights and made an impression by his very personal
-expressions. He was given a one-man exhibition in Berlin in December
-last, and his pictures were highly praised in a well-written article in
-the Berlin _Borsen-Courier_. Absolute and unswerving fidelity to one’s
-ideals is the only sure road to success, and this sort of sincerity is
-manifest in the work of Bloch.
-
-Franz Marc is in a class by himself. He is the animal painter of the
-Blue Knights, and his pictures have a fairly steady sale notwithstanding
-they are extreme in conception and execution. Animal forms and their
-phases of composition seem to appeal to him, but he often uses the forms
-as arbitrarily as Matisse uses his nudes to secure an effect of life or
-grace. His color is always delightful, and there is a flow, a rhythm to
-his pictures that is fascinating.
-
-In an article in “Der Blaue Reiter” he says:
-
-     It is remarkable how _spiritual_ acquisitions are valued so
-     differently by men as compared with _material_. If someone conquers
-     a new colony for his country everybody applauds; if, however,
-     someone has the _inspiration_ to give to mankind a new and purely
-     spiritual value, it is rejected with scorn and indignation, the
-     gift is suspected, and the people try to suppress and crush it. Is
-     not this a frightful condition?
-
-And speaking of the new movement in art, which he considers a
-_spiritual_ offering to the public, he says:
-
-     The public is against us, with scorn and abuse it refuses our
-     pictures; but we may be right. They may not want our gifts, but
-     perhaps they cannot help accepting them. We have the consciousness
-     that our world of ideas is no card house with which we play, but it
-     contains the vital elements of a _movement_ the vibrations of which
-     are felt today _the world_ over.
-
-In the orthodox sense these men may or may not be religious--I do not
-know--but one thing is certain, there is an immense amount of religious
-power in their propaganda.
-
-       *       *       *       *       *
-
-The most extreme man not only of Munich but of the entire modern art
-movement is Wassily Kandinsky, also a Russian.
-
-There was one of his Improvisations in the International Exhibition.[47]
-
-It did not hang with the Cubists, not even in the large room with
-Matisse and other radical men. Evidently those in charge of the hanging
-did not know what to make of it or what to do with it, so they
-side-tracked it on a wall that was partly in shadow. Visitors who paused
-to look at it dismissed it as meaningless splotches of paint, and passed
-on.
-
-There is this to be said for the public, that with no word of
-explanation one of Kandinsky’s Improvisations does seem--_at first
-glance_--the last word in extravagance; on fourth or fifth glance it
-appears to have a charm of color that is fascinating; on _study_ it
-begins to _sound_ like color music.
-
-       *       *       *       *       *
-
-There were three of his canvases in the London Exhibition in Albert Hall
-in July, 1913, “Landscape with Two Poplars,” “Improvisation No. 29,” and
-“Improvisation No. 30,” the last reproduced herein in color.
-
-Of these three paintings a critic said:[48]
-
-     By far the best pictures there seemed to me to be the three works
-     by Kandinsky. They are of peculiar interest, because one is a
-     landscape in which the disposition of the forms is clearly prompted
-     by a thing seen, while the other two are improvisations. In these
-     the forms and colors have no possible justification, except the
-     rightness of their relations. This, of course, is really true of
-     all art, but where representation of natural form comes in, the
-     senses are apt to be tricked into acquiescence by the intelligence.
-     In these improvisations, therefore, the form has to stand the test
-     without any adventitious aids. It seemed to me that they did this,
-     and established their right to be what they were. In fact, these
-     seemed to me the most complete pictures in the exhibition, to be
-     those which had the most definite and coherent expressive power.
-     Undoubtedly representation, besides the evocative power which it
-     has through association of ideas,
-
-[Illustration: KANDINSKY
-
-Improvisation No. 29]
-
-     has also a value in assisting us to coordinate forms, and, until
-     Picasso and Kandinsky tried to do without it, this function at
-     least was always regarded as a necessity. That is why of the three
-     pictures by Kandinsky, the landscape strikes one most at first.
-     Even if one does not recognize it as a landscape, it is easier to
-     find one’s way about in it, because the forms have the same sort of
-     relations as the forms of nature, whereas in the two others there
-     is no reminiscence of the general structure of the visible world.
-     The landscape is easier, but that is all. As one contemplates the
-     three, one finds that after a time the improvisations become more
-     definite, more logical and more closely knit in structure, more
-     surprisingly beautiful in their color oppositions, more exact in
-     their equilibrium. _They are pure visual music._
-
-People who do not find a _picture_ turn away disappointed and irritated,
-but many turn back to look again, attracted by the strength and charm of
-the compositions, and in the end not a few reluctantly concede, “Yes,
-they have fine color, but--” and then follows the old demand for some
-familiar object as anchorage.
-
-       *       *       *       *       *
-
-Of Kandinsky’s qualifications from the academic point of view let it be
-said he is a superb draftsman, though he no longer attaches any
-importance to drawing _per se_; and he is a master of color
-combinations.
-
-One would say that the two, mastery of drawing and mastery of color,
-would make a great painter, and so they _did_ and _do_.
-
-I have at hand some of his earlier work along conventional lines, and I
-have seen tempera drawings of Moroccan scenes that would delight a
-Whistler, they are so delicate and so filled with subtle charm. Then I
-have a series of sketches, extending over a number of years, which show
-the development of his later works.
-
-       *       *       *       *       *
-
-He has explained his theories at length in his book, “Ueber das
-Geistege in der Kunst,”[49] and in numerous articles, notably in “Der
-Blaue Reiter.”
-
-The keynote of the entire modern movement is found in the first sentence
-of his book,
-
-“_Every work of art is the child of its own times._”
-
-A man may so steep himself in history and tradition that all he does is
-reminiscent of the past, but such work marks no progress and such men
-are negligible factors in the advancement of mankind.
-
-It is the man who yields himself to _his times_, who absorbs all there
-is of good in the _life about him_, who sees everything, feels
-everything, who mingles with his respect for the achievements of the
-past a mighty admiration for the triumphs of the present--such a man is
-a leader among his fellows; brilliant thinker, daring adventurer, he
-blazes the way for the timid to follow.
-
-If we were Greeks of the fifth century we would carve the marbles they
-did. If we were Romans under the Caesars we would build the buildings
-they built. If we were Christians of the middle ages we would rear
-cathedrals. If we were English, French, German, Chinese, or Japanese, we
-would do the things they do, like the things they like. But we are none
-of these peoples; we are Americans living in an age of steam and
-electricity, of automobiles and aeroplanes, in an age of kaleidoscopic
-changes, of marvelous and startling developments.
-
-What _must_ happen in painting, music, sculpture?
-
-Exactly what has happened in architecture.
-
-Painting, music, sculpture that will go with our mighty steel buildings,
-with our factories and railroads.
-
-Painting, music, sculpture varied in form, as old and as new as the
-brain of man can conceive, but always and essentially _our own_. That
-is the secret, it must be characteristic of our age--_our own_.
-
-       *       *       *       *       *
-
-This is not a placid age.
-
-It is an age of feverish activities, brilliant imaginings, profound
-emotions.
-
-Hence our art will not be placid, but will be an art of the imagination
-and the emotions.
-
-Venturesome souls will not be content to paint things, or even people,
-but they will paint _themselves_, not their _outer_ selves, but their
-_inner_; they will put on canvas what they _feel_. That is as near the
-final word in art as man can utter--to _paint_ instead of _speak_ his
-most subtle emotions.
-
-       *       *       *       *       *
-
-In a recent article[50] Kandinsky summarises part of his theory as
-follows:
-
-A work of art consists of two elements, the _inner_ and the _outer_.
-
-The inner is the emotion in the soul of the artist. This emotion has the
-power to arouse a similar feeling in the soul of the observer.
-
-The soul being connected with the body it is affected through the medium
-of the senses--feelings; emotions are stirred and aroused by sensations.
-Hence our sensations are the bridge, the physical connection between the
-_immaterial_, the emotion in the soul of the artist, to the _material_,
-resulting in the production of the work of art.
-
-And again the sensations are the bridge from the _material_, the artist,
-and his work, to the _immaterial_, emotion in the soul of the observer.
-
-The sequence is, _emotion_ (in
-artist)--sensations--_work_--sensations--_emotion_ (in observer).
-
-The two emotions will be like and equal to the extent the _work_ is
-successful. In this respect a painting is no different from a song, each
-is a message; the successful singer succeeds in arousing in his hearers
-the emotions he feels; the successful painter should do no less.
-
-The inner element, emotion, must exist, else the work will be a sham.
-The inner element determines the _character_ of the work.
-
-In order that the inner element which at first exists only as an
-emotion, may develop into work, the _second_ element--the _outer_ is
-used as the embodiment. Therefore emotion is always seeking means of
-expression, seeking a material form, a form that can stir the
-senses.[51]
-
-The _vital_, the _determining_ element is the _inner_, that controls the
-outer form, even as the idea in the mind determines the words we use,
-and not the words the idea.
-
-Therefore the selection of the _form_ of a work of art is determined by
-the _inner_ irresistible force--this is the only unchangeable _law_ of
-art.
-
-A _beautiful_ work is the product of the harmonious cooperation of the
-two elements, the inner and outer. A painting, for instance, is an
-intellectual organism which, like every material organism, consists of
-many parts.
-
-These single parts, if isolated, are as lifeless as a finger severed
-from the hand.
-
-The single parts live only through the whole.
-
-The endless number of single parts in a painting is divided into two
-groups:
-
-1. The _designed_ form.
-
-2. The _picturesque_ form.
-
-       *       *       *       *       *
-
-An examination of a work of art, especially a painting,
-
-[Illustration: VAN GOGH
-
-Woman with Frying Pan]
-
-[Illustration: VAN GOGH
-
-Chair with Pipe]
-
-usually discovers the presence of parts and forms drawn from _nature_,
-from _objects_.
-
-As the _imitation_ of natural forms forms no part of the definition of
-pure art how is it these objective representations creep in?
-
-The origin of painting was the same as that of the other arts, and of
-every human action. It was _purely practical_.
-
-If a native hunter chases game for days, he is induced to do so by
-_hunger_.
-
-If today a princely hunter chases game, he is induced to do so by the
-desire for _enjoyment_. Just as hunger is of _bodily_ value, here the
-enjoyment is of _aesthetic_ value.
-
-If a savage requires artificial sounds for his dance, he is induced
-thereto by sexual impulse. The artificial sounds, from which through
-centuries the music of today developed, moved savages to an expression
-of passion in the form of dancing.
-
-If the man of today attends a concert he is not seeking the music for
-_practical_ results, but _pleasure_.
-
-Also here the original _practical_ motive changed to the _aesthetic_.
-That means that also here the practical want of the body changed to that
-of the _soul_.
-
-During this progress toward refinement (or spirituality) of the most
-simple practical (or bodily) wants, two consequences are to be noticed
-throughout: The _separation_ of the spiritual _from_ the bodily element
-and its further _independent development_ through the different arts.
-
-Here the above mentioned laws (of the inner element and the form)
-gradually apply with ever increasing force, until finally out of each
-art comes a _pure_ art.
-
-This is a steady, logical, natural growth, like the growth of a tree.
-
-The process is to be noticed in painting.
-
-First period, _Origin_: _Practical_ desire to make use of _physical_.
-
-Second Period, _Development_: The gradual separation of this _practical_
-purpose, and the gradual ascendancy of the _spiritual_ element.
-
-Third Period, _Aim_: The attainment of a higher stage in _pure art_; in
-this the remains of the practical desire are _totally separated_
-(abstracted). Pure art speaks from soul to soul, it is not dependent
-upon the use of objective and imitative forms.
-
-We can distinguish all of these three stages in various combinations in
-paintings of today.
-
-First Period: _Realistic Painting_. The realism here is understood to be
-such as developed traditionally into the nineteenth century--the
-_practical_ desire to exhibit objective realities--portraits,
-landscapes, historical paintings, etc., in the direct sense.
-
-Second Period: _Naturalistic Paintings_ in the form of Impressionism, of
-the New Impressionism and Expressionism--to which partly Cubism and
-Futurism belongs: The separation of the _practical_ aim and the _general
-preponderance_ of the _spiritual element_; from Impressionism through
-Neo-Impressionism to Expressionism always increasing separation and
-always increasing preponderance of the spiritual.
-
-Apparently in this finer development _nature_ as such is no more taken
-into consideration; but this is only “apparently” so, for as a matter of
-fact nature is used as a motive, a background, a basis for the pictures,
-and if the attempt is made to separate the natural or _objective_ part
-of the picture from the purely artistic, the result is the picture falls
-for lack of support.
-
-       *       *       *       *       *
-
-In other words, in most of even the very abstract paintings, such as
-even Picasso’s, there is a foundation, a background of objects without
-which the pictures would not exist.
-
-Picasso may refine a “Woman with a Mandolin,” to a dozen intersecting
-lines that disclose neither woman nor mandolin, but _both_ were present
-in his mind’s eye when he created his work, and without them the work
-has no reason for existing.
-
-It is here that one begins to understand Kandinsky’s attitude, and how
-diametrically he diverges from Picasso. The two have nothing in common
-save the desire to produce more abstract art, but Picasso abstractions
-are based on the _outer_ world, while Kandinsky’s are based on the
-_inner_.
-
-When Picasso has refined nature, that is, things _outside_ him, to the
-_last degree_, to the simplest mode of expression in line and mass, he
-has reached an _impasse_, further progress is impossible, further
-scientific subdivision in unattainable, his art in _that direction_ is
-finished.
-
-But Kandinsky has before him an unlimited view. With him the elimination
-of nature, of all things _physical_ from his compositions, simply gives
-him greater freedom in the painting of compositions representing
-things--moods--_spiritual_.
-
-       *       *       *       *       *
-
-To go on with his own explanation, not in his exact words, but in
-substance:
-
-It is thus seen that in both the first and second signs in the
-development of art, the objective foundation or background is not of
-simply secondary importance, but of _first_; it is essential because
-without it the work would not exist.
-
-To create _pure art_ it is necessary to eliminate this background of the
-physical, and substitute for it _pure artistic form_, which alone can
-give the picture independent life.
-
-This step we find in the _dawning third period_ of
-painting--_Compositional painting_.
-
-According to the scheme of the three periods, we have arrived at the
-third one--which was designated as the _Aim_.
-
-In the _compositional painting_ which is developing today we see the
-signs of the attainment of the higher step of _pure art_, in which the
-remains of the _practical_ desire (all evidences of objectivity) can be
-perfectly separated, which can speak from soul to soul in purely
-artistic language.
-
-The conscious and oftentimes also still unconscious striving, which
-strongly (and ever stronger) shows itself today, to replace the
-objective (subject paintings) by pure construction (pure composition) is
-the first sign of the dawning of that _pure art_ to which the past art
-periods inevitably led.
-
-     I have been trying to briefly deal with the entire development and
-     more especially the situation today in broad schematic outlines;
-     therefore there are many deficiencies (gaps) which necessarily
-     remain uncovered, and there are passed over many interesting lesser
-     developments, which are inevitable in progress, like smaller
-     branches on the tree, which extend outward notwithstanding the
-     tree’s growth upward.
-
-     The further development, which is pending in painting, will still
-     have to suffer many seeming contradictions and diversions, as was
-     the case with music, which today we know already as pure art.
-
-     The past teaches us that the development of humanity consists in
-     the increasing _spirituality_ of various factors. Among these
-     factors art takes the first place.
-
-     Among the arts painting is following the road that leads it from
-     the _practical_-efficiency to the _intellectual_-efficiency. From
-     the _subject-picture_ to the _pure composition_.
-
-To better understand the foregoing take the “Improvisation No. 30.”[52]
-
-It is a very pure example of _compositional_ painting, but it
-
-[Illustration: KANDINSKY
-
-Improvisation No. 30]
-
-is not _absolutely pure_, in that it contains many more or less obvious
-suggestions of familiar forms and objects.
-
-Some workmen who happened to be handling the painting, referred to it as
-the “War Picture,” and many casual observers insist it is an impression
-of war or of a battle field.
-
-This is because two cannon are quite plain in the lower right-hand
-corner, and the two oblong blue masses projecting from the cannons’
-mouths would seem to be the smoke of the discharges.
-
-Then, too, the seeming cataclysmic effect, the suggestion of a helmet, a
-tottering tower, banners, aerial flashes or fireworks, all accentuate
-the impression of conflict and explosions.
-
-If one looks long enough in this mood it is not difficult to read into
-the canvas all sorts of interpretations of a warlike character.
-
-Yet the painting was “improvised”--_composed_ with no _direct_ intention
-of suggesting war.
-
-In his own personal note book wherein he keeps a record of all his work,
-Kandinsky identifies the picture by a hasty pencil sketch and the words,
-“Blue Splashes,” or “Masses,” and “Cannons.”
-
-Of the painting he says in a letter:
-
-     The designation “Cannons,” selected by me _for my own use_, is not
-     to be conceived as indicating the “contents” of the picture.
-
-     These contents are indeed what the spectator _lives_, or _feels_
-     while under the effect of the _form and color combinations_ of the
-     picture. This picture is nearly in the shape of a cross. The
-     centre--somewhat below the middle--is formed by a large, irregular
-     blue plane. (The blue color in itself counteracts the impression
-     caused by the cannons!) Below this centre there is a muddy-gray,
-     ragged second centre almost equal in importance to the first one.
-     The four corners extending the oblique cross into the corners of
-     the picture are heavier than the two centres, especially heavier
-     than the first, and they vary from each other in characteristics,
-     in lines, contours, and colors.
-
-     Thus the picture becomes lighter, or looser in the centre, and
-     heavier, or tighter towards the corners.
-
-     The scheme of the construction is thus toned down, even made
-     invisible for many, by the looseness of the forms. Larger or
-     smaller remains of _objectivity_ (the cannons, for instance)
-     produce in the spectator that secondary tone which objects call
-     forth in all who feel.
-
-     The presence of the cannons in the picture could probably be
-     explained by the constant war talk that had been going on
-     throughout the year. But I did not intend to give a representation
-     of war; to do so would have required different pictorial means;
-     besides, such tasks do not interest me--at least not just now.
-
-     This entire description is chiefly an analysis of the picture which
-     I have painted rather subconsciously in a state of strong inner
-     tension. So intensively did I feel the necessity of some of the
-     forms, that I remember having given loud voiced directions to
-     myself, as for instance: “But the corners must be heavy!” In such
-     cases it is of importance exactly to discern all things, the
-     weight, for instance, by the feeling. Generally speaking, I might
-     almost declare that where the feeling that lies in the soul, in the
-     eye, and in the hand is strong enough to faultlessly determine the
-     finest measurements and weights, “schematism” and the much-dreaded
-     “consciosity” will not become dangerous. On the contrary, in this
-     case, the said elements will even prove immeasurably beneficial.
-
-     I would that all my pictures might be judged exclusively from this
-     point of view, and that the non-essentials might completely
-     disappear from the judgment.
-
-       *       *       *       *       *
-
-In subsequent letters he said:
-
-     Whatever I might say about myself or my pictures can touch the
-     _pure artistic meaning_ only _superficially_. The observer must
-     learn to look at the picture as a graphic representation of a
-     _mood_ and not as a representation of _objects_.
-
-       *       *       *       *       *
-
-     All that anyone can say about pictures, and what I might say
-     myself, can touch the contents, the _pure artistic meaning_, of a
-     picture _only superficially_. Each spectator for himself must learn
-     to view the picture _solely_ as a graphic representation of a mood,
-     passing over as unimportant such details as representations or
-     suggestions of natural objects. This the spectator can do after a
-     time, and where one can do it, many can.
-
-Given a work of art, painting, sculpture, music--anything--its
-appreciation and understanding depend upon the _attitude_ of the
-audience.
-
-A work of art may be, and ultimately must be viewed from two very
-different points of view--the point of view of the _artist_, and the
-point of view of the _observer_.
-
-The great majority of people view a painting only from the latter point
-of view, only in the light of _their preconceived_ notions and
-prejudices--hence the ridicule of the strange and the protest against
-the new.
-
-A very, very small minority--a minority so small it numbers scarce one
-in ten thousand--view a new work searchingly and at the same time
-sympathetically _from the artist’s point of view_, seeking diligently to
-find out what he is trying to do, and not permitting a single prejudice
-or preconceived notion of their own to bias their judgment.
-
-_After_ this class of observers have ascertained what the artist
-intended, _then_, and not until then, do they turn and view the work
-from their own point of view--that is, in the light of their own likes
-and dislikes.
-
-Their final appreciation may be that _granting the theories of the
-artist_ the picture is a fine one, but they do not agree with the
-artist’s theories, hence the picture from their point of view is a
-failure as a work of art.
-
-To rightly view a work of art is an _act of creation_; the true observer
-is a painter; the true reader is a poet.
-
-       *       *       *       *       *
-
-It is not at all strange that the great majority referred to should
-resent Kandinsky’s improvisations, for they are not easy to understand,
-though most of them are undeniably fascinating in color.
-
-It is not even strange that a large percentage of the intelligent and
-sympathetic minority should finally reach the
-
-     conclusion that the theories of the artist are not sound, and
-     therefore all his work based on his extreme theories fails as art
-     work, but the attitude of this fraction of the minority is an
-     attitude of intelligent and conscientious conviction, reached after
-     long and impartial investigation, while the attitude of the great
-     majority is that of impulsive ignorance and irritation, reached on
-     first impression and without the slightest attempt at
-     understanding.
-
-       *       *       *       *       *
-
-To illustrate: The great majority of people on first hearing Chinese
-music exclaim, “What a horrid din!” and turn away.
-
-A very, very small minority, about one man in a million, say, “True, it
-sounds to us like a din, but to a people of extraordinary civilization
-it is music; the matter is worth investigating,” and on investigation it
-would be found that Chinese music from time immemorial has been under
-state supervision.[53]
-
-The very ancient scale was pentatonic--five tones. It was in the seventh
-century, B.C., that the Asiatic flute was introduced into Greece and the
-Greek Doric scale transformed into one of five tones.[54]
-
-     Among the more cultivated nations, the Chinese, and Celts of
-     Scotland and Ireland still retain the scale of five notes without
-     semitones, although both have become acquainted with the complete
-     scale of seven tones.
-
-     The division of the octave into twelve semitones, and the
-     transposition of scales have also been discovered by this
-     intelligent and skilful nation.
-
-     But, generally speaking, both the Gaels and the Chinese,
-     notwithstanding their acquaintance with the modern tonal system,
-     hold fast by the old. And it cannot be denied that by avoiding the
-     semitones
-
-[Illustration: GAUGUIN
-
-Portrait of Self]
-
-[Illustration: GAUGUIN
-
-Farmyard]
-
-     of the diatonic scale, Scotch airs receive a peculiarly bright and
-     mobile character, although we cannot say as much for the
-     Chinese.[55]
-
-While we are content with a scale divided into semitones, the more
-delicate oriental ear requires _quarter_ tones. The Arab octave is
-divided into _twenty-four_ intervals. A distinguished musician on a
-visit to Cairo wrote Helmholtz as follows: “This evening I have listened
-attentively to the song on the minarets, to try to appreciate the
-_quarter-tones_ which I had not supposed to exist, as I had thought the
-Arabs sang _out of tune_. But today as I was with the dervishes I became
-certain that such quarter-tones existed.[56]
-
-In discussing the development of our modern, _equal_ temperament
-(adopted commercially in England for pianos not until 1846), Helmholtz
-says, “Amiot reports equal temperament from China long previously even
-to Pythagoras.”[57]
-
-     The Chinese are the only people who, thousands of years ago,
-     possessed a system of octaves, a circle of fifths, and a normal
-     tone. With this knowledge, however, their eighty-four scales, _each
-     of which has a special philosophical signification_, appear all the
-     more incomprehensible to us.[58]
-
-“The Chinese believe their music to be the first in the world. _European
-music_ they consider to be _barbaric_ and _horrible_.”[59]
-
-       *       *       *       *       *
-
-All this goes to show how hazardous it is to jump to the conclusion that
-what we don’t understand has no meaning.
-
-To one ignorant of Chinese or Japanese or Hebrew handwriting it seems
-just as absurd and meaningless as a drawing by Picasso or a painting by
-Kandinsky, but to the earnest
-
-     and indefatigable searcher after hidden meanings the strange
-     handwriting and the strange pictures both deliver up a message.
-
-       *       *       *       *       *
-
-Of such paintings as Kandinsky’s improvisations it is often flippantly
-said, “They paint that way because they can’t draw.”
-
-As a matter of fact most of the extreme moderns such as Picasso,
-Matisse, Kandinsky, are past-masters of the art of drawing.
-
-But they do not now attach the importance to drawing, merely for the
-sake of drawing, they once did.
-
-Kandinsky’s own attitude is expressed in the following extract from a
-letter:
-
-     As regards other artists, I am very tolerant, but at the same time
-     most severe; my opinion of artists is influenced but little by
-     considerations of the element of form, pure and simple; I expect of
-     the artist to bear within at least the “sacred spark” (if not
-     “flame”). There really is nothing easier than to master the form of
-     something or someone. Boecklin is quoted as having said that even a
-     poodle-dog might learn how to draw, and in this he was correct. At
-     the schools I attended I had more than a hundred colleagues who had
-     learned something, many had in good time managed to draw quite well
-     and anatomically correct--_still_, they were not artists, not a
-     pfennig’s worth. In short, I value _only_ those artists who really
-     are artists; that is, who consciously or unconsciously, in an
-     _entirely original form_, or in a style bearing their _personal
-     imprint_, embody the expression of their _inner self_; who,
-     consciously or unconsciously, work _only_ for _this end_ and cannot
-     work _otherwise_. The number of such artists is very few. If I were
-     a collector I would buy the works of such even if there were
-     weaknesses in what they did; _such_ weaknesses grow less in time
-     and finally disappear entirely, and though they may be apparent in
-     the earlier works of the artist still they do not deprive even
-     these earlier and less perfect works of value. But the _other_
-     weakness, that of _lack of soul_, never decreases with time, but is
-     sure to grow worse and become more and more apparent, and so render
-     absolutely valueless works that _technically_ may be very correct.
-     The entire history of art is proof of this. The _union_ of _both_
-     kinds of strength--that of intellect or spirituality with that of
-     form, or technical perfection--is most rare, as is also
-     demonstrated by the history of art.
-
-       *       *       *       *       *
-
-From his exceedingly abstruse article “On the Question of Form” in “Der
-Blaue Reiter,” I take and paraphrase the following:
-
-At certain times our inner forces--impulses--mature and the result is a
-longing to create something, and we try to find a material
-form--manifestation--for the _new value_ that exists in us in spiritual
-or intellectual form.
-
-This is the seeking of the _spiritual_ for material expression. Matter
-is but the store house out of which the spirit selects the necessary
-elements to secure the objective result.
-
-Thus the _creative spirit_ is hidden in the matter, behind the material
-manifestation through which it must make itself known. But often the
-material envelope is so dense that only a few people can discern the
-spiritual idea within and behind it; some people never penetrate behind
-the matter at all, and therefore, never comprehend the spiritual
-message.
-
-While many comprehend the _spiritual_ content behind the _outward_ forms
-of religion, they do not realize that there is, or should be, a
-_spiritual_ content behind the _outward_ forms of art.
-
-There are whole epochs when men seem blind to the spiritual truths that
-are behind material manifestations; generally speaking, the nineteenth
-century was a century of _materialism_.
-
-It is as if a _black hand_ were placed over the eyes of men so they
-should not see the spiritual forces behind the material, and the
-production of new spiritual values is fought by mockery and calumny. The
-man who produces the new value is held up to ridicule and called a
-charlatan.
-
-The _joy of living_ is the _perpetual victory_ of the new, the
-_spiritual value_. But even as men learn to appreciate the new of
-yesterday and today they establish it as a barrier against the new of
-tomorrow. Spiritual development and evolution are a constant throwing
-down of these bars that are as constantly re-erected by the materialism
-and blindness of mankind.
-
-Therefore the important thing is not only the impulse to create new
-spiritual values, but _liberty_ to do so.
-
-The spiritual is the _absolute_, the outward form is _relative_, it is
-born of the place and the hour. Therefore one should not fall into the
-worship of a particular form, but should use whatever form best serves
-to express the spiritual content.
-
-And, naturally, each artist must use _his own form_ to express his own
-ideas, and _form_ should have the stamp of _personality_.
-
-Each nation, each epoch will develop its own forms, or peculiarities of
-forms, and it is the reflection of the nation, the epoch, the individual
-in the particular form that is known as, or makes the _style_.
-
-When a group of artists is animated by the same spirit the forms they
-use will be so alike the result will be a “movement” or “school” in art;
-but a “school” should not be permitted to dominate the freedom of
-others. Every individual must be at liberty to choose the form that best
-expresses the spiritual message he wishes to utter.
-
-The form--picture--may be agreeable or disagreeable, beautiful or ugly,
-harmonious or disharmonious, but it must not be judged on its outward
-appearance; it must be judged by the _idea_, the _spiritual value_
-behind it. We must look _through_ the form to the spiritual, as we would
-look through the deformed body of the cripple to the soul of the man.
-
-In practical life we never meet a man who, if he wishes
-
-[Illustration: GAUGUIN
-
-Scene in Tahiti]
-
-[Illustration: GRIS
-
-Still Life]
-
-to go to Berlin, gets off the train at Regensberg. But in spiritual life
-it is a common thing to find people who step out at Regensberg.
-Sometimes the engine driver refuses to go on and all the travelers have
-to leave the train at Regensberg. How many who are _looking for God_
-stop before a _carved image_! How many who are looking for art are
-caught by some form that has been used by some great artist to express
-_his_ ideas!
-
-And in conclusion he asserts, it is not of vital importance whether the
-_form_ is personal, national, according to prevailing mode, or whether
-it is related to “schools,” “movements,” etc., etc., or is isolated.
-“_The important question is whether the form has grown out of the inner,
-spiritual necessity._”
-
-       *       *       *       *       *
-
-In art, especially in painting, we have today striking richness of form
-which shows the immense striving that is going on.
-
-To adhere stubbornly to one form is to travel a lane that has no outlet.
-
-Many call the present state of painting “anarchy,” and so they say of
-music, but this appearance of anarchy, of lawlessness, is due to the
-workings of spiritual forces that cannot be expressed in old forms, but
-demand new manifestations.
-
-It is one thing to reproduce on canvas an accurate representation of an
-object, but such a representation is no more than the outer shell; to
-find out whether the picture has any real, any spiritual value one must
-get rid of this outer shell. Step by step the “objective,” the
-photographic elements are eliminated until in the end there may be no
-trace of any object, and with this elimination the spiritual content
-becomes plainer and plainer. The steps are:
-
-Realism--abstraction--
-
-Abstraction--_reality_.
-
-       *       *       *       *       *
-
-Objects need not necessarily be eliminated from a picture, but they
-should be used _not_ for the sake of forcing their photographic
-likenesses upon the observer, but solely to more perfectly express the
-inner, the spiritual significance of the work.
-
-If a painter introduces a suggestion of a landscape or a bit of still
-life it should be for the purpose of making _his_ meaning, _his_ inner
-feeling plainer to the beholder, and not for the purpose of making a
-colored photograph of a field or flowers.
-
-Therefore it does not matter whether _actual_ or _abstract_ forms are
-used by the artist, so long as both are used to express _spiritual
-values_. The sole question regarding form the artist should put to
-himself is, “Which form, or combination of forms, shall I use in this
-case to express most fully and plainly my spiritual mood?”
-
-       *       *       *       *       *
-
-The _ideal art critic_ is not the critic who tries to discover mistakes,
-ignorance, imitations in the form, but he who tries to _feel_ and
-_understand_ how the form _expresses_ the _inner feeling_ of the artist
-and who tries to make the public understand.
-
-A painter may use new and strange forms for the sake of the forms, just
-for the sake of painting new and strange pictures, but the result will
-be lifeless.
-
-It is only when new and strange forms are used _because_ they are
-necessary to express a spiritual content that the result is a _living_
-work of art.
-
-“_The world reverberates; it is a cosmos of spiritually working human
-beings. Thus matter is living spirit._”
-
-       *       *       *       *       *
-
-Rather a fine philosophy, is it not?
-
-One cannot but feel that out of such thoughts good works must come.
-
-       *       *       *       *       *
-
-To quote once more from a personal letter:
-
-“I have now been exhibiting for almost fifteen years, and for the same
-fifteen years I have been hearing (although more rarely of late) that I
-have gone too far on my way; that in time my exaggerations will most
-surely decrease, and that I would yet paint in an ‘entirely different
-manner'; that I would ‘return to nature.’ I had to hear this for the
-first time when I exhibited my studies painted on the naturalist basis
-with the horn (spatula).
-
-“The truth of the matter is that every really gifted artist, that is, an
-artist working under an impulse _from within_, must go in a way that in
-some mystical manner has been laid out for him from the very start. His
-life is nothing but the fulfillment of a task set for him (_for him, not
-by himself_). Meeting with enmity from the start, he feels only vaguely
-and indistinctly that he carries a message for the expression of which
-he must find a _certain_ manner. This is the period of ‘storm and
-stress,’ then follow desperate _searching_, pain, great pain--until
-_finally_ his eyes open and he says to himself, ‘There is my way.’ The
-rest of his life lies along this path. And one must follow it to the
-very last hour _whether one wants to do so, or not_. And no one must
-imagine that this is a Sunday afternoon’s walk, for which one selects
-the route at will. Neither is there any Sunday about it; it is a working
-day, in the strongest sense possible. And the greater the artist, the
-more one-sided is he in _his_ work; true, he retains the ability to do
-‘nice’ work of other kind (by reason of his ‘talent'), but _innerly_
-weighty, infinitely deep, and immeasurable serious things he can achieve
-_only_ in his _one-sided_ art. Talent is not an electric pocket lantern,
-the rays of which one may at will direct now hither and then thither;
-it is a star for which the path is being prescribed by the dear Lord.
-
-“As far as I am concerned personally, I was as if thunderstruck, when
-for the first time and in only a general manner I began to see my way. I
-was awed. I deemed this inspiration to be a delusion, a ‘temptation.’
-
-“You will easily understand what doubts I had to overcome, until I
-became convinced that I had to follow this way. Of course, I clearly
-understood what it means ‘to drop the objective.’ With what doubts I was
-troubled regarding my own powers! For I knew at once _what_ powers were
-_absolutely_ required for this task. How this inner development
-proceeded, how _everything_ pushed me on to this way and how the
-exterior development slowly but logically (step by step) followed suit,
-you will see from my book that is to appear shortly (in English). All
-that I still see _ahead_ of me, all these tasks, the ever-increasing
-wealth of possibilities, the ever-growing depth of painting I cannot
-describe. And one must and _may_ not describe such things: they must
-mature _innerly_ in secret confinement and may not be expressed
-otherwise than by the painter’s art.
-
-“If in time you acquire the ability to more exactly _live_ my pictures,
-you will have to admit that the element of ‘chance’ is very rarely met
-with in these pictures, and that it is more than amply covered by the
-large positive sides--so amply, indeed, that it is not worth while to
-mention those weak spots.
-
-“My constructive forms, although outwardly appearing indistinct, are in
-fact rigidly fixed as if they were cut in stone.
-
-“These explanations lead us too far; they could help only if illustrated
-by examples. Also, this letter is already much longer than it ought to
-be. I trust that I have expressed myself clearly! These things are so
-infinitely complicated,
-
-[Illustration:
-
-     VLAMINCK
-
-     Village
-]
-
-and how often do I deviate from my theme and thus (instead of producing
-‘clarity') cause confusion to become worse confounded!”
-
-       *       *       *       *       *
-
-The result are paintings such as the four reproduced in color and
-half-tone.
-
-The brilliant color combinations and harmonies of the originals are
-inadequately disclosed in the reproductions, the scale is too reduced.
-But the forms are well indicated, strange, curious forms, meaningless on
-first impression but _insistent_.
-
-Most people are repelled at once by the landscapes because they seem so
-badly drawn a child could do better; but even as landscapes, as
-impressions of nature--or rather of _something in nature_--the pictures
-will not be denied.
-
-If they were intended to be accurate representations of natural scenes,
-mountains, fields, trees, houses, they would be ridiculous indeed, but
-they are not so intended, therefore they should not be so judged.
-
-In looking at these pictures--compositions, rather, it is but fair to
-look at them from the point of view of the painter, try to _read_ them
-as he _wrote_ them.
-
-       *       *       *       *       *
-
-“_Compositional_” painting is no radical departure, no new discovery.
-
-The instinct of the child is to “compose,” to create. It is only after
-much chiding and correction that the child draws literally--copies what
-it _sees_.
-
-       *       *       *       *       *
-
-It takes a big and strong man to pass through schools and academies and
-come out unscathed. The art school is a godsend to talent and
-mediocrity; it is a menace to genius.
-
-Most paintings are “compositional” to _some_ extent. But from the
-literalness of Monet’s hay stacks to the abstract qualities of
-Kandinsky’s improvisations the interval is great.
-
-There is, too, a difference in kind, as well as degree, between the
-compositions of the painter who simply re-arranges nature, persons, or
-objects to secure a pleasing or effective result, and the painter who
-uses nature, life, or objects as so many signs or notes to express his
-inner feelings; the former paints to _impress_ others, the latter paints
-to _express himself_ to others. The one is thinking all the time of his
-picture, the other is thinking all the time of his message.
-
-All great painters have combined the two attitudes, they have _expressed
-themselves_ in pictures that not only convey the message but _as
-pictures_ impress others--that is characteristic of the world’s great
-art.
-
-At the moment the pendulum is swinging toward the extreme where
-everything is subordinated to the expression of the artist’s _self_, and
-the indications are that some subtle and wonderful things will be
-painted before the pendulum swings back.
-
-       *       *       *       *       *
-
-To what extent the public generally will accept pure compositional
-painting it is impossible to say; but the number of those who enjoy it
-will steadily increase until there will be many lovers of art who will
-collect only the most abstract works.
-
-       *       *       *       *       *
-
-A Russian painter of great strength but entirely different inspiration
-and technic was asked, “Do you like Kandinsky’s Improvisations?”
-
-“Very much.”
-
-“Do you understand them?”
-
-“No.”
-
-“Then why do you like them?”
-
-“Because they give me pleasure and I am sure that as I look at them
-they excite in me the same pleasure they excited in him when he painted
-them; he has succeeded in conveying to me his own emotions and that is
-the most any artist can hope to do.”
-
-Which brings us back to the proposition laid down in an earlier chapter:
-the emotional reaction to music and painting may be and usually is quite
-independent of the intellectual, and while it may be either increased or
-diminished in _volume_ by _understanding_, it is necessarily _changed_
-in character.
-
-       *       *       *       *       *
-
-Another artist, an Austrian, was asked:
-
-“How do you like Kandinsky’s Improvisations?”
-
-After a moment’s hesitation he replied slowly: “They interest me
-immensely, and I admire the man’s courage to express himself in his own
-way regardless whether people understand him or not, but he goes so far
-that it is almost impossible for even his friends and sympathizers to
-understand his pictures. He goes so far he is quite alone, no one can
-follow, and therein I think perhaps he makes a mistake, for after all
-pictures should be so painted that those who earnestly try can
-understand them.”
-
-But that is just the question that every great artist is obliged to put
-to himself, “Shall I write or paint so that others will understand, or
-shall I express myself in my own way even though no one but myself
-comprehends and even I fail at times?”
-
-It is just as bad to paint with the sole purpose of being
-understood--_commercialism_--as it is to paint with the sole purpose of
-being misunderstood--_charlatanism_.
-
-
-
-
-VIII
-
-COLOR MUSIC
-
-
-Color music is no new idea, but of late it is finding new expression.
-
-While painters are beginning to paint color harmonies that are
-independent of the representations of natural objects, others are
-seeking the same emotional effects with colored lights.
-
-A “color organ” has been invented[60] which deals with color for its own
-sake as music does with sound, thereby opening up a new world of beauty
-and interest as yet to a great extent unexplored.
-
-     When you enter Mr. Rimington’s English studio you see at one end of
-     it a curious instrument with a keyboard and stops, while at the
-     other end is a white screen, hung in folds to give greater depth
-     and life to the colors playing upon it. What happens when the
-     instrument is played is thus described by Mr. Rimington:
-
-     “Imagine a darkened concert room. At one end there is a large
-     screen of white drapery in folds, surrounded with black and framed
-     by two bands of pure white light. Upon this we will suppose, as an
-     example of a simple color composition, that there appears the
-     faintest possible flush of rose color, which very gradually fades
-     away while we are enjoying its purity and subtlety of tint, and we
-     return to darkness. Then, with an interval, it is repeated in three
-     successive phases, the last of which is stronger and more
-     prolonged.
-
-     “While it is still lingering upon the screen, a rapid series of
-     touches of pale lavender notes of color begin to flit across it,
-     gradually strengthening into deep violet. This again becomes shot
-     with amethyst, and afterward changing gradually into a broken tint
-     of ruby, gives a return to the warmer tones of the opening passage.
-
-     “A delicate primrose now appears, and with little runs and flushes
-     of pulsation leads through several passages of indescribable
-     cinnamon
-
-[Illustration: PICASSO
-
-Old Woman]
-
-[Illustration: GIRIEUD
-
-Woman Seated]
-
-     color to deep topaz. Then suddenly interweavings of strange green
-     and peacock blue, with now and then a touch of pure white, make us
-     seem to feel the tremulousness of the Mediterranean on a breezy
-     day, and as the color deepens there are harmonies of violet and
-     blue green which recall its waves under a Tramontana sky. More and
-     more powerful they grow, and the eye revels in the depth and
-     magnificence of the color as the executant strikes chord after
-     chord among the bass notes of the instrument.
-
-     “Then suddenly the screen is again dark and there is only a
-     rhythmic and echoing beat of the dying color upon it. At last this
-     disappears also, and there is another silent pause, then one
-     hesitating tint of faded rose as at the opening of the composition.
-
-     “Upon this follows a stronger return of the color, and as the
-     screen once more begins to glow with note after note of red and
-     scarlet, we are prepared for the rapid crescendo which finally
-     leads up to a series of staccato and forte chords of pure crimson
-     which almost startle us with the force of their color before they
-     die away into blackness!
-
-     “This,” says Mr. Rimington, “is an extremely simple example, but it
-     may suffice to show the kind of effect produced by an unadorned
-     form of mobile color not accompanied by music. In some cases a
-     musical accompaniment was found to add greatly to the interest of a
-     color composition. The nearest approach to color music in nature is
-     to be found in certain sunsets.” Of the emotional and aesthetic
-     effect of color music on various beholders we read:
-
-     The amount of pleasure and interest derived from color compositions
-     varies immensely with individuals. An interesting instance of this
-     was the case of a well-known London doctor, who told the author,
-     after first seeing a recital of color-music, that he was absolutely
-     unappreciative of any form of “sound music;” that it was, in fact,
-     a pain to him, and that he had always detested it. “But,” he said,
-     “from the moment that I first saw a display of mobile color, I
-     realized what I had missed all my life through my inability to
-     appreciate music. It opened up a new world of sensations to me and
-     gave me the greatest mental pleasure I have ever experienced.” This
-     clearly shows that to some persons mobile color would, or does,
-     fill the place which music can not occupy in their lives.
-
-     On the other hand, there can be little doubt that to some, though
-     they would hardly own it, color of any kind is more or less
-     unpleasant, and they would prefer to live in a monotonic world. One
-     must therefore be prepared for a great variety of opinions with
-     regard to any such art as that of mobile color. The majority of
-     people will probably derive a moderate but increasing pleasure from
-     it.
-
-     There are many to whom it at once provides a surpassingly
-     interesting source of enjoyment and education, and some to whom,
-     like my medical friend, it will open up an entirely new world of
-     sensations; and there are others, again, to whom it will be
-     supremely distasteful. It is well to recognize this to avoid
-     disappointment, and be prepared for very divergent expressions of
-     opinion about it.
-
-     Speaking broadly, it appeals most to those who have had an artistic
-     training into which color has entered, and it is less attractive to
-     those whose interests center in music. This is not what the author
-     personally expected. He imagined that the connection with music
-     being so close on some points, those who would take the greatest
-     interest in mobile color would be musicians; but, with some
-     striking exceptions among distinguished musicians, the musical
-     world, as far as it has yet come into contact with color-music, has
-     been at first inclined to see points of divergence rather than
-     those of analogy and to look upon the art as a possible rival. A
-     similar attitude is often adopted toward any new departure in
-     science or art, and there is no reason for resenting it; it merely
-     makes the cooperation of those among musicians who are able to take
-     a sympathetic view and welcome the endeavor to open up new fields
-     of investigation all the more valuable.
-
-       *       *       *       *       *
-
-From time immemorial child and man have taken the keenest delight in
-fireworks and colored lights which are after all a species of light
-music.
-
-Since the adoption of electricity for lighting it is comparatively easy
-to produce the most wonderful effects both indoors and out.
-
-As yet little thought has been given to producing harmonious light
-effects on streets--save in advertising signs. For the most part the
-lighting is garish in the extreme, often positively painful to the eyes,
-but in time this will be corrected. Public authorities cooperating with
-private owners will work out schemes for lighting streets and shops that
-will yield charming effects.
-
-       *       *       *       *       *
-
-Already much has been done in the theater, especially in Russia and
-Germany. The value of light effects is being recognized. Soft music is
-often played to enhance the effect of a tender or pathetic scene, and it
-is quite common for the lights to change in harmony.
-
-By the use of light alone as an accompaniment to a love scene the same
-effect on the audience can be secured as by the use of soft music.
-
-So far all this has been done crudely and for the most part
-unscientifically. Producer and electrician have worked together in a
-haphazard way, often with great success, sometimes with most
-disagreeable results.
-
-The very term “stage lighting” is not inspiring, but the art of light
-music will be developed and be taught in theory and practice. Masters of
-the art will come and men will realize that it is just as great an art
-to satisfy the eye with light melodies as it is to please the ear with
-sound melodies.
-
-There yet may be entertainments where only light music is played as
-there are concerts where only sound music is played.
-
-And why not? Just ask yourself the question--Why not?
-
-Of all the organs of sense the eye is the most delicate and the most
-wonderful. The ear responds to _air_ waves that travel at the rate of
-1,100 _feet_ per second and vary in frequency from 16 to 32,000 per
-second. The musical notes vary from 32 to 5,000 beats per second.
-
-The eye responds to _ether_ waves that travel at the rate of 182,000
-_miles_ per second and vary in frequency from 400 millions millions--the
-lowest red of the spectrum--to 750 millions millions (red
-400,000,000,000,000; violet 750,000,000,000,000) the highest violet.
-
-       *       *       *       *       *
-
-Man has devoted ages to developing harmonies in the combination of air
-waves, and he has reduced sound music to a science.
-
-He has devoted _all_ the ages of his being to the use of color in one
-way and another to please his eye, but only of late has he made any
-attempt to understand the _science_ of light and color music.
-
-       *       *       *       *       *
-
-The _material_ civilization we _have_ attained in comparison with the
-_spiritual_ civilization we _should_ attain is fairly well indicated by
-the vast difference between the crude and natural art of _sound_ effects
-which is, so far, man’s most abstract achievement in art, and the
-incomparably finer and more ethereal art of light and color effects
-which will be one of the crowning achievements of man’s nobler future.
-
-       *       *       *       *       *
-
-The painter of _easel_ pictures arrogates to himself the name artist and
-to his work the phrase _fine art_. He looks down upon the house painter,
-the dressmaker, and the interior decorator.
-
-Yet as compared with those who clothe our bodies and decorate our homes
-in harmonies of line and color the painter of easel pictures cuts very
-little figure in life; he plays his part but much of his inspiration is
-drawn from the work of the other two.
-
-It should never be forgotten that in all the great portraits of the
-world the clothes and the interiors that furnish the beautiful color
-schemes _preceded_ the pictures often by generations.
-
-The costumer and the decorator work year in and year out, from
-generation to generation, throughout the centuries, with not so much as
-a thought of the painter in the corner with his little canvas,
-faithfully copying.
-
-Now and then a great painter, a great sculptor, takes off his coat,
-turns workman for the moment and makes sculptures for buildings, paints
-pictures on walls, devises costumes, and contributes to making our
-environment more beautiful.
-
-But not infrequently the sculptor and the painter upset the equilibrium
-of the work of others by doing things which are out of key or out of
-proportion. The “fine artist” _may_ bring the work of decorating to a
-standstill by painting spotty _easel_ pictures on walls that should be
-treated in harmony with the entire building and with its uses.
-
-       *       *       *       *       *
-
-The time will come when art schools will teach pure color composition as
-well as drawing and the painting of pictures.
-
-Why should not prizes be offered for color harmonies?
-
-As it is now pupils are taught everything _except_ the use of color _for
-the sake of color_.
-
-       *       *       *       *       *
-
-What is a “still life”? Simply a painting of a number of objects
-selected and arranged primarily for their color notes. Why not paint the
-notes without the fruit and dishes?
-
-So far as the color harmony is concerned the _figure_ of an orange, an
-apple, a banana is not essential; in reality the photographic
-realization distracts. But the public is not accustomed to _pure_ color
-music, it is not accustomed to seeing canvases that contain only color
-harmonies with no suggestion of object or form, it demands that the note
-of yellow shall be a lemon or a banana, that the note of purple shall
-assume the shape of a plum and so on, and so on; yet all the time the
-enjoyment derived from a fine “still life” is from the harmony that
-results from the combination of colors, and in no sense from the objects
-arbitrarily and artificially grouped together.
-
-       *       *       *       *       *
-
-The use of line and color _imitatively_ to depict objects is one thing.
-
-The use of line and color _freely_ to produce pure line harmonies and
-pure color harmonies, with no reference to objects is quite another, and
-in a sense, a far higher art--a more abstract art.
-
-It is toward the development of this more abstract art that the modern
-experiments are tending. The net result in the long run will be the
-education of a considerable fraction of the public to the appreciation
-of pure line and color music and a consequent demand for paintings that
-are simply pure line and color compositions.
-
-With this development of a taste for a very abstract art all the arts
-and crafts are certain to be beneficially affected.
-
-The study of line for the sake of line, and of color for the sake of
-color if systematically pursued will make all draftsmen greater masters
-of line, and all painters--to the humblest house painter--greater
-masters of color.
-
-
-
-
-IX
-
-ESORAGOTO
-
-
-Neither the Cubists nor Kandinsky troubled a very distinguished Japanese
-expert who spent many days at the exhibition.
-
-“The principles of all this are old, very old, in Japan.”
-
-He was far more interested in the extreme drawings and paintings than in
-the more academic. Pointing to a drawing that seemed scarce more than a
-few careless strokes, he said, “That is quite in the spirit of the best
-Japanese art.”
-
-Of the “King and Queen” he said, “I like that very much,” and so on,
-passing from one Cubist picture to another, commenting upon each
-seriously and intelligently.
-
-       *       *       *       *       *
-
-To either copy or be in the slightest degree hampered by nature is a
-mark of inferiority in Chinese and Japanese art.
-
-The very abstract art of the Orient has its elaborate conventions, but
-those conventions are all in the direction of _pure_ art, whereas the
-conventions of our art (music always excepted) are all in the direction
-of imitation.
-
-     It was a theory of the great Chinese teacher, Chinanpin, and
-     particularly enforced by him, that trees, plants, and grasses take
-     the form of a circle, called in art _Rin kan_; or a semi-circle,
-     _Han kan_; or an aggregation of half circles, called fish-scales,
-     _Gyo sin_; or a modification of these latter, called moving
-     fish-scales, _Go sin Katsu_.[61]
-
-       *       *       *       *       *
-
-     In regard to painting moving waters, whether deep or shallow, in
-     rivers or brooks, bays or oceans, Chinanpin declared it was
-     impossible for the eye to seize their exact forms because they are
-     ever changing and have no fixed, definite shape; therefore, they
-     cannot be sketched satisfactorily; yet, as moving water must be
-     represented in painting, it should be long and minutely
-     contemplated by the artist and its general character--whether
-     leaping in the brook, flowing in the river, roaring in the
-     cataract, surging in the ocean or lapping the shore--observed and
-     reflected upon, and after the eye and the memory are both
-     sufficiently trained and _the very soul of the artist is
-     saturated_, as it were, with this one subject, and he feels his
-     whole being calm and composed, he should retire to the privacy of
-     his studio and with the early morning sun to gladden his spirit
-     there attempt to reproduce the movement of the flow; _not by
-     copying what he has seen_, for the effect would be stiff and
-     wooden, but by symbolizing according to certain laws _what he feels
-     and remembers_.
-
-       *       *       *       *       *
-
-It begins to be plain why the Japanese expert was profoundly interested
-in the modern pictures and drawings.
-
-       *       *       *       *       *
-
-     One of the most important principles in the art of Japanese
-     painting--indeed a fundamental and entirely distinctive
-     characteristic--is that called living movement, _sei do_, or
-     _Kokoro machi_, it being, so to say, the transfusion into the work
-     of _the felt nature_ of the thing to be painted by the artist.
-     Whatever the subject to be translated--whether river or tree, rock
-     or mountain, bird or flower, fish or animal--the artist at the
-     _moment of painting it must feel its very nature_, which, by the
-     magic of his art, he transfers into his work to remain forever,
-     affecting all who see it with the same sensations he experienced
-     when executing it.
-
-     This is not an imaginary principle, but a strictly enforced law of
-     Japanese painting. The student is insistently admonished to observe
-     it. Should his subject be a tree he is urged when painting it to
-     _feel_ the _strength_ which shoots through the branches and
-     sustains the limbs; or if a flower to try to _feel_ the grace with
-     which it expands or bows its blossoms. Indeed, nothing is more
-     constantly urged upon his attention than this great _underlying
-     principle_ that it is _impossible to express in art what one does
-     not first feel_.
-
-       *       *       *       *       *
-
-    “Waga kokoro waga te woyaku
-     Waga te waga kokoro ni ozuru.”
-     Our spirit must make our hand its servitor;
-     Our hand must respond to each behest of our spirit.
-
-[Illustration: SOUSA CARDOZA
-
-Stronghold]
-
-     The Japanese artist is taught that even to the placing of a dot in
-     the eyeball of a tiger, he must _first feel_ the savage, cruel,
-     feline character of the beast, and only under such influence should
-     he apply the brush. If he paint a storm he must at the moment
-     _realize_ passing over him the very tornado which tears up trees
-     from their roots and houses from their foundations. Should he
-     depict the seacoast with its cliffs and moving waters, at the
-     moment of putting the wave-bound rocks into the picture he must
-     _feel_ that they are being placed there to resist the fiercest
-     movement of the ocean, while to the waves in turn he must give an
-     irresistible power to carry all before them. Thus, by this
-     sentiment called living movement (_sei do_), _reality_ is imparted
-     to the inanimate object. This is one of the marvelous secrets of
-     Japanese painting handed down from the great Chinese painters and
-     based on psychological principles--_matter responsive to mind_.[62]
-
-       *       *       *       *       *
-
-In the light of the foregoing, one begins to understand why Winslow
-Homer painted such wonderful realizations of the sea and rocky
-coasts--he _lived_ removed from men, his most intimate friends the rocks
-and waves.
-
-One also begins to understand how painters who show great strength and
-promise in their earlier works, based upon surroundings they know, lose
-both strength and promise when, flushed by prosperity or attracted by
-tinsel and glitter, they establish their studios in cities and still try
-to paint the sea or the country.
-
-       *       *       *       *       *
-
-     Japanese artists are not bound down to the literal presentation of
-     things seen. They have a canon, called _esoragoto_, which literally
-     means an invented picture, or a picture into which certain fictions
-     are painted.
-
-     Every painting to be effective must be _esoragoto_; that is there
-     must enter therein certain artistic liberties. It should aim not so
-     much to reproduce the exact thing as its sentiment, called _kokoro
-     mochi_, which is the moving spirit of the scene; it must not be a
-     facsimile.
-
-       *       *       *       *       *
-
-     It is related that Okubo Shibutsu, famous for painting bamboo, was
-     requested to execute a kakemono representing a bamboo forest.
-     Consenting, he painted with all his well-known skill a picture in
-     which the entire bamboo grove was in red. The patron upon its
-     receipt marveled at the extraordinary skill with which the painting
-     had been executed, and, repairing to the artist’s residence, he
-     said:
-
-     “Master, I have come to thank you for the picture; but, excuse me,
-     you have painted the bamboo red.”
-
-     “Well,” cried the master, “in what color would you desire it?”
-
-     “In black, of course,” replied the patron.
-
-     “And who,” answered the artist, “ever saw a black-leaved bamboo?”
-
-     This story well illustrates _esoragoto_. The Japanese are so
-     accustomed to associate true color with what the _sumi_ [the black
-     so commonly used in Japan] stands for, that not only is fiction in
-     this respect permissible but actually missed when not employed.
-
-       *       *       *       *       *
-
-_Esoragoto_ is a very good word for the Post-Impressionists to
-appropriate. We have no word in English and I know of none in French
-that is anywhere near its equivalent.
-
-Impressionism is painting with a minimum of _esoragoto_;
-Post-Impressionism is painting with a maximum of _esoragoto_.
-
-The pendulum in art and literature swings from less _esoragoto_ to
-more--from realistic transcription with a minimum of self, to idealistic
-compositions with a _maximum_ of self.
-
-       *       *       *       *       *
-
-All the great art of the world is _esoragoto_.
-
-The greatest paintings in the world are indoor not outdoor
-paintings--_in-self_ not _out-self_.
-
-All the great Italian paintings and frescoes are creations of the
-imagination. The portraits of Velasquez, Rembrandt, Hals are
-_esoragoto_. They are the sitters idealized by the genius of the
-artists. They are far removed from photographic realism.
-
-Why are the portraits of the same man or woman painted by different
-artists so unlike? Because each is more or less _esoragoto_--more or
-less the reflection of the painter rather than the sitter.
-
-       *       *       *       *       *
-
-For a long time we have been so influenced by the theories of the
-Impressionists, the realists, the _plein-air_ school, that we resent it
-when an artist says, “I will paint something more beautiful than nature;
-I will paint nature herself more beautiful than she is. I will paint the
-spirit of nature. I will paint trees that do not look like trees, but
-will give you the feeling, the dignity, the power of trees. I will paint
-the earth, not as it looks, but in a way that will give you an
-impression of its fertility and fecundity. I will paint you flowers, not
-by faithfully copying them as they are in the field, but as they bloom
-and blossom in your memory. I will paint you men and women, not as you
-see them on the street and in the drawing room--superficial
-resemblances--but as they really are to you and to me, human beings the
-true significance of which is not expressed in the drooping of a
-moustache, the lifting of an eyebrow. I will paint them in black or
-brown or red or blue, or in gold or bronze, as does the sculptor; I will
-paint them in a way so strange you have never seen the like before, but
-I will make you _feel_ their _humanity_.”
-
-       *       *       *       *       *
-
-To illustrate the arbitrary manner which the great oriental artists use
-colors to produce harmonious results irrespective of nature, I once used
-a number of old Chinese paintings borrowed from a famous collection--in
-each of which the hair of the figures was painted _blue_.
-
-And why not? Black, brown, or flaxen would not have given the effect the
-painter desired, any more than C, D, or E would take the place of F in a
-chord.
-
-The Oriental needs a note of blue and so paints the hair blue. And when
-one comes to think of it, next to some marvelous shades of red, blue
-hair is far more positive and picturesque than gray, or yellow, or any
-black but a glossy raven.
-
-We never think of resenting a terra cotta horse in a print by Hokusai;
-it does not disturb us because we instinctively recognize the fact that
-a strong note of terra cotta is needed precisely where it is used--a
-terra cotta horse, or rock, or man, it matters not.
-
-       *       *       *       *       *
-
-Human faces of gold, silver, bronze, even marble--that ugliest of all
-stones, in its natural state--do not worry us.
-
-In fact when we look at marble sculpture we are in the attitude of the
-man who ordered the painting of the bamboo forest. We are so accustomed
-to seeing ghostly white marble busts and statues we actually resent it
-if the sculptor _stains_ or _colors_ the marble not to make it more
-realistic, but to make it _more beautiful_.
-
-Yet all Greek sculpture was painted or treated with wax in such a manner
-the harshness of the stone was modified. The sensitive vision of the
-Greeks could not tolerate the cold, hard whiteness.
-
-Much of our enjoyment of ancient sculpture is due to its discoloration,
-to what time and the elements have done to its surfaces.
-
-       *       *       *       *       *
-
-Our appreciation of art will never be true until we can gaze with
-unprejudiced eye upon any combination of lines and colors the artist
-chooses to use.
-
-So long as we demand that he shall use only those combinations we are
-accustomed to, just so long do _we_ by _our_ attitude check his
-development.
-
-The average man is bewildered by the new and the strange; he is
-bewildered by new cities, new countries, new peoples, new pictures, new
-sculpture, new architecture, new music, new books, new ideas--because he
-is not used to them and does not understand them; he does not know
-whether to like them or not so he condemns them in order to make a
-pretense of knowing.
-
-       *       *       *       *       *
-
-The rare man is not bewildered by the new and the strange at home or
-abroad, in art or life. He is interested and at once sets about learning
-and comprehending. He _loves_ the new and the strange _instinctively_
-because they excite his curiosity and pique his intelligence. He loves
-to meet the new and the strange as an archeologist loves to find an
-inscription in an unknown tongue--for the hidden significance.
-
-       *       *       *       *       *
-
-This chapter may be concluded appropriately by four warnings which
-Chinese wisdom pours into the ears of art students. Many of the modern
-painters should ponder these precepts.
-
-“Ja, Kan, Zoku, Rai.”
-
-“_Ja_ refers to attempted originality in a painting without the ability
-to give it character, departing from all law to produce something not
-reducible to any law or principle.
-
-“_Kan_ is producing only superficial pleasing effect without any _power_
-in the brush stroke--a characterless painting, to charm only the
-ignorant.
-
-“_Zoku_ refers to the fault of painting from a mercenary motive
-only--thinking of money instead of art.
-
-“_Rai_ is the base imitation of or copying or cribbing from others.”
-
-
-
-
-X
-
-UGLINESS
-
-
-The modern movement is in the direction of greater freedom, freedom to
-produce beautiful things in one’s own way.
-
-_Unhappily many of the things produced are not beautiful now_--not
-nearly so dignified and beautiful as thousands upon thousands of old
-pictures.
-
-One’s _first_ impression on entering an exhibition of extreme modern
-works is not an impression of beauty but of _ugliness_.
-
-There is no denying that, and it takes even the most impartial and
-sympathetic observer a long time to pick out the things which are fine
-in color and line and to readjust his notions of beauty.
-
-Many of the pictures are brutal and most of them are crude, but while
-the first impression may be one of ugliness it is more, it is one of
-_exceeding vitality_.
-
-There is nothing musty about the moderns, their canvases are so alive
-_they scream_.
-
-As compared with the subdued tones of an academic exhibition a modern
-seems like a babel of discordant sounds, but the confusion is more
-apparent than real. By going day after day one gets accustomed to the
-newness, the freshness, the strangeness of it all and begins to
-understand and appreciate the one big, dominant note--_vitality_.
-
-       *       *       *       *       *
-
-Then, too, when we say the _first_--and last for most people--impression
-is one of ugliness, we must not forget
-
-[Illustration:
-
-     DERAIN
-
-     Forest at Martigues
-]
-
-that our appreciations are primarily the result of environment and
-habit, and only secondarily, and with comparatively few, the result of
-intelligent discipline.
-
-We like what we are accustomed to and dislike what we are not accustomed
-to. Few take the pains to discipline their likes and dislikes.
-
-       *       *       *       *       *
-
-Seventy years ago public and critics thought Turner ugly in the extreme.
-
-Sixty years ago public and critics thought Millet ugly in the extreme.
-
-Fifty years ago public and critics thought Manet ugly in the extreme.
-
-Forty years ago public and critics thought Monet ugly in the extreme.
-
-Thirty years ago public and critics thought Cézanne ugly in the extreme.
-
-Twenty years ago public and critics thought Gauguin ugly in the extreme.
-
-Ten years ago public and critics thought VanGogh ugly in the extreme.
-
-Today public and critics think the Cubists and nearly all the new men
-ugly in the extreme.
-
-Each decade has its men in art, music, science, literature whose works
-at first seem ugly, only to win out in the long run.
-
-Hence the danger in pronouncing this or that painting ugly; it may seem
-grotesque and hideous today; thirty years hence it may command thousands
-from men and museums eager to possess it. That has been the history of
-many great paintings.
-
-       *       *       *       *       *
-
-Still we do have our notions regarding the ugly and the beautiful, and
-while our notions change and develop year by year they naturally control
-at each given moment; that is, we cannot say we _think_ a picture or a
-piece of music is beautiful today because the chances are we will think
-it beautiful a dozen years hence, any more than we can say we like
-olives on first tasting them, simply because most people come to like
-them after a time.
-
-To the London public in 1840 the pictures of Turner were absurd.
-
-To the Paris public in 1874 the pictures of the Impressionists were
-ridiculous.
-
-To the New York public in 1913 the pictures of the Cubists were
-grotesque.
-
-These several publics were not to blame; they could not help their
-impressions. They had been brought up on very different picture-food and
-did not like the taste of the new.
-
-The attitude of the public was normal, logical, and sane. If the people
-had received the new men with wild acclamations of joy and called them
-great on first sight it would have meant such instability of opinion and
-character as to render the homage absolutely worthless.
-
-In a sense, tenacity of opinion on the part of the public is the
-salvation of art as well as of morals; it is essential to substantial
-progress.
-
-Therefore the everlasting conflict between the old and the new is a
-normal conflict; the clash between the public and new art, new music,
-new thought is a healthful clash, because the fiercer the conflict the
-more certain that what survives will be worth having.
-
-       *       *       *       *       *
-
-The only excuse for an ugly picture is superb technic--and even then the
-excuse is not a very good one for the same technic should paint a
-beautiful thing.
-
-There were plenty of ugly pictures in the exhibition; some were
-interesting on account of their technic, others were without any excuse
-at all--_just ugly_.
-
-A great painter may paint things, a great writer may write things which
-no amount of good painting and no amount of good writing can
-excuse--there are plenty of such paintings and books in the world.
-
-But because there were a number of ugly--ugly to the extent of being
-objectionable--pictures in the exhibition, that should not and does not
-detract from the merits of men who did not paint them.
-
-An ugly work is a comment upon him who produces it and upon those who
-accept it. It is a golden opportunity, a touchstone to those who reject
-it.
-
-       *       *       *       *       *
-
-There is a great deal of the ugly in the work of Matisse, mixed with a
-great deal of extraordinary technic. He is a good man to study, but a
-bad man to imitate--for that matter, the same, in a profounder sense,
-may be said of every man of ability.
-
-Then, too, it should never be forgotten that _refinement_ is an
-essential element in all _great_ art.
-
-       *       *       *       *       *
-
-The supreme justification of the new art is that its works shall tend
-toward the beautiful. If they make for ugliness their existence is
-without rhyme or reason. Many of the new men seem to forget this.
-
-However, even the ugly, the grotesque, the hideous has its use. Any art
-may become so smug, so complacent, so conceited that it requires the
-shock of the ugly to stir it to new life.
-
-After Bouguereau, Matisse was inevitable.
-
-However, a very little of the ugly goes a long ways, a very little of
-Matisse at his worst is all that is needed as an antidote to Bouguereau.
-
-Zola-like fidelity in depicting the ugly in life has its uses--and
-abuses.
-
-       *       *       *       *       *
-
-It is easy enough to paint a conglomeration of angles and cubes, but it
-will be as hollow and meaningless as the pattern of an oilcloth unless
-it has sincerity behind it.
-
-No doubt many of the new men lack sincerity. Doubtless not a few are
-inspired with simply the desire to create a sensation, but these men
-soon betray themselves.
-
-The artist may not succeed in making _his_ meaning clear, but the
-public--yes, even the much despised public--will instinctively _feel_
-whether there is _some_ meaning, _some_ intention worth finding out.
-
-That was the secret of the success of the Cubist pictures. They
-attracted throngs because they were strange, but the throngs would never
-have gazed as they did unless behind the outward strangeness there had
-not been an inward seriousness of purpose.
-
-“Those fellows are trying to do something,” was an expression often
-heard.
-
-       *       *       *       *       *
-
-The papers would say, “They are simply making fun of the public,” but
-the public, generally speaking, did not feel that way.
-
-A goodly section of the public made fun of the pictures, but very few
-people honestly felt the pictures made fun of the public--if anything
-they were rather too serious.
-
-       *       *       *       *       *
-
-To return to the proposition that a Cubist picture--being so largely
-_esoragoto_--must be well painted.
-
-[Illustration: JAWLENSKY
-
-Head of a Girl]
-
-The painter of scenes and things is helped out by his subject.
-
-The portrait of a beautiful woman may be very badly painted, but if it
-conveys the impression of a beautiful woman it is accepted.
-
-The Cubist who tries to paint _his_ impression of a beautiful woman has
-no likeness to help him out; he must make his painting so beautiful in
-itself that those who see it will, without knowing why, get some of the
-enjoyment from the mere composition of line and color that the artist
-received from knowing the woman who inspired the picture.
-
-To do this a man must be a greater master of line and color, a greater
-technician, than the average portrait painter.
-
-       *       *       *       *       *
-
-Ask the average portrait painter to paint a composition of line and
-color, beautiful in itself without reference to any object, and not one
-in a hundred can do it.
-
-The average portrait painter finds his compositions of line and color
-ready-made; he takes them as they come to him. He has little practice in
-_composing_ for himself.
-
-       *       *       *       *       *
-
-However disconcerting the exhibition was to most painters it should have
-been stimulating to decorators and interior furnishers.
-
-The older pictures are of little help to the decorator. On the contrary
-he rather dreads their presence on his walls. A room may be quite upset
-by a strong picture. To make the Leyland dining room harmonize with the
-“Princess from the Land of Porcelain” Whistler painted practically every
-inch of walls and ceilings, completely covering costly woodwork and old
-Spanish leather.
-
-To rightly hold a Rembrandt a room must be subdued and rich in tone,
-otherwise the picture is a dead weight. The greater the picture, the
-more completely the surroundings must either rise to it or be completely
-subordinated to it.
-
-It is not so with the more abstract Cubist pictures; they do not thrust
-a great landscape or a powerful personality into the room; they are not
-intended to thrust any object upon the attention of the visitor.
-Intended to express simply the mood or emotion of the painter, they are
-unobtrusive, as unobtrusive as a pattern of the wall covering, a rug, or
-a tapestry; in effect they are not unlike a tapestry, save they are
-essentially modern in feeling, and therefore fit into our modern rooms
-as tapestries--and often rugs--do not.
-
-       *       *       *       *       *
-
-Imagine the editorial room of a live, up-to-date newspaper--say a
-typical yellow journal--hung with Titians and Rembrandts! The paper
-would be paralyzed, the editorial staff would be depressed by the
-dignity and the sobriety, by the old-world flavor.
-
-Whereas a lot of Cubist, Futurist, Orphist pictures would be quite in
-keeping with modern journalistic methods, and stimulating in the
-extreme. In the picturesque language of current journalism, they would
-be “live stuff.”
-
-       *       *       *       *       *
-
-It is worth noting in passing that the time is probably coming when
-about as many pictures will be bought for offices as for homes, and
-fewer and fewer will be bought for those graveyards of art--private
-galleries.
-
-Why should men buy pictures and hang them where they are seldom seen,
-often in places where the light is so bad they cannot be seen?
-
-Where do most men spend most of their time? In their places of business.
-Then why not make their places of business attractive and livable?
-
-Every man knows how relaxing and delightful it would be if in the midst
-of a busy afternoon he could drop business for a moment and read an
-interesting book or listen to some good music. Well, we can’t do that;
-it takes too long to get into a book, and music is not at hand.
-
-But we can turn from our desks and in a second lose ourselves in the
-contemplation of a beautiful picture.
-
-       *       *       *       *       *
-
-The physician covers the walls of his office with prints of such
-pictures as Rembrandt’s “Lesson in Anatomy.” Ugh!
-
-The lawyer covers the walls of his office with dusty lawbooks. Whew!
-
-The manufacturer covers the walls of his office with prints of
-factories, machinery, goods, etc., etc. Shop! Shop! Shop!
-
-No relief anywhere for man, patient, client, or customer.
-
-Tired eyes that seek rest in change are met with the same old
-story--reflections of the daily grind.
-
-Speaking from experience, I can say that next to getting out of an
-office for a brief respite, the contemplation of pictures yields the
-greatest rest, actually enabling one to do more work per day with less
-fatigue.
-
-It is so refreshing to get up from one’s desk for only a few moments and
-be instantly transported far away on the wings of the imagination of a
-painter.
-
-It is a rest, a complete rest, for the tired brain-cells, to lift one’s
-eyes from one’s work and gaze at a picture--the effect is like unto that
-of distant music wafted through the open window.
-
-Of all men in the world, the busy American is most in need of pictures
-on the walls of his office--not one or two, but many. The busier he is,
-the more he needs; his walls should be a blaze of color.
-
-       *       *       *       *       *
-
-Most of our bankers and corporation magnates spend large sums in “solid
-mahogany fittings.” Their offices resemble old-fashioned Pullman
-sleepers. Cost is the one impressive feature. Woodwork, furniture, rugs,
-everything to the inkstand are massive and--oppressive. Everything is
-admirably calculated to make work more burdensome; commercial and
-financial life more sombre.
-
-Why not the reverse of all this? Why fit up an office so that it is
-about as inviting as a tomb?
-
-Why not make it so attractive that a man will look forward each morning
-to entering it? Why not so inviting that friends and strangers will be
-glad to visit it?
-
-Why should an office be a place where no one goes except for business?
-Why should not men say to one another, “Come in a minute; I have a new
-picture I want to show you”?
-
-       *       *       *       *       *
-
-One has simply to enter the offices and school-rooms of any art
-institute to realize the hollowness of the pretense of love for the
-beautiful. Infinite pains are taken to arrange the pictures and
-sculpture in the galleries; once out of the galleries, and all feeling
-of art disappears; the offices and school-rooms are more sordid, barren,
-and uninviting than most shops and factories.
-
-In other words, the very men who are supposed to be devoting their lives
-to the service of art, to making the world more beautiful, who promote
-exhibitions and urge people to buy pictures, are content to pass all
-their working lives amidst surroundings unrelieved by a single picture,
-unadorned by a single fresco.
-
-There is a great opportunity for missionary work in this direction. Why
-should not the many organizations such as “Friends of American Art,”
-etc., whose disinterested purpose is to advance art, organize a movement
-the object of which will be to place, by loaning if necessary, pictures
-and small sculpture in the offices and business haunts of the busy
-American man, and so create a new demand for beautiful things?
-
-Once fill a man’s office with pictures, he will be reluctant to let them
-go.
-
-
-
-
-XI
-
-FUTURISM
-
-
-There were no Futurist pictures in the exhibition, but there were
-several more or less influenced by Futurism, notably the “Nude
-Descending the Stairs,” by Duchamp.
-
-In many respects this was the least satisfactory of his pictures,
-because it is neither good Cubism nor good Futurism.
-
-It is easy to distinguish a figure drawn in more or less Cubist fashion,
-at the right--the spectator’s right--of the confused mass of lines; it
-is quite easy, if the balance of the picture be covered.
-
-The confused mass is just so many overlapping figures coming down the
-stairs. As a child exclaimed one day, “Why, I see them; there’s one on
-every step.” The Cubist drawing did not bother the child.
-
-       *       *       *       *       *
-
-A sympathetic writer says of the picture:
-
-     M. Duchamp says in effect something like this: “If you paint a girl
-     coming downstairs, on any one step you will not show her moving. If
-     you paint a girl on every step, like Burne-Jones with the ‘Golden
-     Stair’ you have a crowd and still no movement. But if you get the
-     forms down to simplest and most essential, just swaying shoulders
-     and hip and knee, bent head and springy sole--and then show them on
-     every step and between all the steps, passing and always passing
-     one into the next, you give the sense of movement, as with a run of
-     arpeggios on the harp or a cadenza on the violin. You and your
-     friends don’t feel the movement--too bad, my friends and I do.” And
-     pure movement is what, after all, here was sought.
-
-     Pure movement, it will hardly be questioned, these men can give.
-
-[Illustration: BALLA
-
-Dog and Person in Movement]
-
-     Picabia makes the lines in his “Dance at the Spring” leap and swing
-     and flicker like a fiddler’s bow. If he and others want, when they
-     choose, to abandon the last pretense of representation and convey
-     directly to you the way they feel mass and motion, as music conveys
-     inner experience always, who is to stop them?
-
-       *       *       *       *       *
-
-Futurism had its beginning in Italy a few years ago. The first
-exhibition in Paris was held in February, 1912. One of its fundamental
-notions in painting is a certain theory regarding the painting of
-motion. It is that in order rightly, scientifically, to indicate motion
-on a canvas it is not sufficient to paint the figure of a man in an
-attitude of walking, but a series of more or less clearly outlined
-figures must be shown overlapping, a sort of cinematograph effect; very
-much as every painter shows a blur of spokes to indicate a wheel
-turning, if an individual is in motion there must be a blur of many
-overlapping individuals. (See the half-tone of the girl with the dog.)
-
-The theory is interesting, it is based on recognized optical conditions,
-and no doubt the experiments will have their value. Some very
-interesting results have been obtained in photography already.
-
-       *       *       *       *       *
-
-The program of the Futurists is, however, far more ambitious than the
-mere painting of motion effects. They have issued the following formal
-“Manifestoes”:
-
-1. “Manifesto of Futurism,” February, 1909; written by F. T.
-Marinetti.[63]
-
-2. “Manifesto of Futurist Painters,” April, 1910.
-
-3. “Manifesto of Futurist Musicians,” May, 1911.
-
-4. “Manifesto of the Futurist Woman,” March, 1912.
-
-5. “Manifesto of Futurist Sculpture,” April, 1912.
-
-6. “Manifesto of the Technic of Futurist Literature,” May, 1912.
-Supplement to same, August, 1912.
-
-And every few months new declarations of faith are issued in Milan,
-each, if possible, more violent and extravagant than its forerunner.
-
-If the public looked upon the Cubist pictures as “crazy,” what would it
-think of these manifestoes if printed in English and scattered
-broadcast?
-
-The work of madmen!
-
-So many madmen and visionaries have influenced the world by their
-utterances that we must not turn a deaf ear.
-
-       *       *       *       *       *
-
-The Futurists are the anarchists of the art and literary world.
-
-The Cubists, Orphists, and other extreme moderns all _reason from_ the
-past; the Futurists would _break with_ the past entirely--as if it were
-possible!
-
-All who do not agree with them are _Pass-ists_, and every form of art
-and literature up to Futurism belongs to _Pass-ism_, and is therefore
-condemned.
-
-       *       *       *       *       *
-
-There is much in Futurism that is repellant, just as there is much in
-Anarchism that is repellant.
-
-When men push their opposition to established order to extremes, their
-hatred of the traditional and conventional is such they indulge in wild
-and foolish excesses; they even defy law and order and decency, and
-require curbing.
-
-       *       *       *       *       *
-
-The unprejudiced reader will find a great deal that is suggestive in
-some of these Futurist declarations mixed with much that is
-philosophically and ethically unsound.
-
-Take, for instance, some of the propositions regarding the technic of
-the literature of the future:
-
-1. Use only the _infinite form_ of the verb, because only the infinite
-mood gives the sense of the _continuity of life_.
-
-2. Abolish the use of the _adjective_ so that the noun _standing alone_
-may speak for itself with all its force. The adjective implies
-modification, an arrest of judgment, meditation, and is, therefore,
-opposed to the _human vision dynamic_, to the _force_ and _energetic
-flow_ of human thought.
-
-3. Abolish the _adverb_, which is a _superfluous refinement_, a
-fastidious hampering of human expression.
-
-4. New _punctuation_: Adjectives and adverbs and conjunctive phrases
-being suppressed, punctuation goes with them naturally, in the varied
-continuity of a living style which creates itself without the use of
-absurd commas and periods. To accentuate certain movements and indicate
-their directions, certain mathematical and unusual signs will be used.
-
-5. Abolish the “I” from literature, that is to say, _psychology_;
-replace the “I,” the ego, by the _matter_, the essence of which must be
-appreciated by intuitions. Heretofore the matter, the real substance of
-a book or a poem, has been obscured by the intervention of the ego of
-the writer, by the persistent “I” of the author, who is too much
-pre-occupied with himself and filled with prejudices and conceits in his
-own supreme wisdom. In short, writers use the subjects of the works as
-vehicles to exploit themselves.
-
-(Here the Futurists certainly put their finger on one of the weak spots
-in literature.)
-
-6. Revolution in _typographical_ appearance: Suppress the ornaments,
-fancy initials, &c., &c., of the presented printed page, which impede
-rather than assist the natural flow of expression. “We will employ on
-the same page three or four inks of different colors, and twenty
-different characters, if necessary: for example, italics to express
-rapid sensations; capitals for violent; &c., &c. New conception of the
-_graphic_ printed page.”
-
-       *       *       *       *       *
-
-All of which sounds wildly extravagant, but in sum and substance it
-simply means the death of the, let us say, Henry James style and the
-apotheosis of the front page of the modern sensational journal.
-
-And is it not true that the painfully involved and boresome style of
-Henry James--the adjectival and adverbial style, the style of endless
-qualifications, the assertion and amplification of the “ego” style--is
-rapidly becoming obsolete in fiction as it has long been obsolete in
-American journalism?
-
-And is it not true that the _terse_, the _substantive_, the
-_journalistic_ style, together with the printed page in many colors and
-many types, is gaining vogue?
-
-In even the matter of punctuation the painstaking use of the comma and
-the semicolon has yielded to the free use of the dash. Only a short time
-ago there appeared a lamentation by a well-known writer over the use of
-the dash in dialogue. He counted an unbelievable number on one page of a
-popular magazine, each of which, he thought, should have been replaced
-by one of the more orthodox signs.
-
-But the orthodox signs are _too slow_. Modern conversation does not move
-in studied phrases and rounded periods; its sign is the _dash_, because
-the dash either breaks the thought abruptly or carries it over into the
-words of the next speaker.
-
-       *       *       *       *       *
-
-Furthermore, before leaving the subject, it should be
-
-[Illustration: VAN REES
-
-Maternity]
-
-noted that there is coming over our literature a profound, a radical
-change, _a change in the direction of terser, more forcible expression_;
-a change in the _direction of the elimination of superfluous words_, of
-_condensation_, to the end that the imagination and intelligence of the
-_reader_ will be called more and more into play.
-
-It is conceivable that the reading public may become so _intelligent_
-and so keenly _sensitive_ that _one word_ will suffice to convey a
-wealth of information or suggestion where _a page_ is now necessary.
-
-Certain it is, if mankind is progressing at all, it is progressing in
-_that direction_.
-
-       *       *       *       *       *
-
-The _rise_ of the _printed_ drama means the _fall_ of the _descriptive_
-novel.
-
-A few years ago no American publisher would risk the printing of a play;
-now every play of any merit and many of no merit are issued in book
-form.
-
-The novelist devotes two-thirds of his book to descriptions of persons
-and places, and most of the remaining third to banal psychological
-analysis and comment. He leaves little to the imagination of the reader,
-who is told the color of the heroine’s eyes and hair, the number of her
-dimples, the length of her smile, the shape of her teeth, her make of
-face powder, together with endless references to her hats, gowns, shoes,
-parasols, etc., etc.
-
-Usually the novelist has some young woman acquaintance in mind, and he
-_literally forces_ the woman he likes upon the reader, who may be in
-love with an entirely different type, and who, if left to himself, would
-find the girl he likes in the pages of the story.
-
-The dramatist does nothing of the kind. “Mary Smith, age about twenty,”
-suffices for him. Shakespeare gives no more than the name.
-
-As for description of places, “a room,” or “an office,” “a wood,” “a
-garden,” answers every purpose.
-
-Managers and players have no trouble in building up both scenes and
-characters; the less “directions,” the more room for individual
-initiative.
-
-Nor is the reader of a play troubled by entire absence of description
-and “directions.” His imagination supplements the dramatist’s, and he
-creates heroes and heroines to please himself.
-
-That psychological _analysis_ is not only not essential to the
-psychological novel, but positively detrimental, is demonstrated by the
-entire absence of such analysis in so profound a psychological study as
-Hamlet. Paul Bourget is as obsolete as Henry James.
-
-       *       *       *       *       *
-
-Bernard Shaw is the one conspicuous reactionary. He still exploits the
-ego, and writes as if his readers were fools--perhaps they are.
-
-       *       *       *       *       *
-
-The popularity of the cinematograph lies not in the cheapness of the
-entertainment, nor in its _novelty_, which wore off long ago, but in the
-fact that it is _without words_ and each onlooker enjoys his own
-interpretation; from child to old man, every one in the audience is _his
-own playwright_, supplying his own dialogue as the scenes flicker on the
-curtain.
-
-The best of modern plays leave much to the imagination of the audience.
-Words and bits of business absolutely necessary thirty years ago are
-considered childishly obvious nowadays, as is amply demonstrated in
-revivals of old plays.
-
-Apparently the development is toward more action and less dialogue--more
-cinematograph, fewer words.
-
-Scenery will become less and less obvious--save, of course, where it is
-intended to be of first importance. In the theater of the future there
-will be less and less on the stage to interfere with the _play--of the
-spectator’s_ imagination.
-
-       *       *       *       *       *
-
-There is a precisely parallel tendency in print--more action, fewer
-words; more suggestion, less description.
-
-The future novel will leave more and more to be supplied by the reader.
-Paragraphs, pages, whole chapters now deemed essential, will be omitted.
-
-In books such as histories, philosophical works, scientific treatises,
-&c., &c., the skill and art of the printer will be exhausted to make the
-page not only attractive but expressive--_readable at a glance_, instead
-of, as now, to make the volumes as forbidding as possible.
-
-The much-despised “yellow journal” of America has taught a valuable
-lesson in the _art of emphasis_, and its effect is seen not only in the
-make-up of newspapers but of periodicals, and will be felt in the
-make-up of books.[64]
-
-       *       *       *       *       *
-
-In America the art of advertising has far outstripped the art of
-literature. The advertising pages of our periodicals are often more
-interesting and _always_ more _alive_ than the literary.
-
-A magazine devotes pages to an article or a story every line of which
-betrays the writer’s evident desire to write as _many words_ as
-possible. In the advertising pages, to every square inch, the minds not
-of one but of three or four experts have been concentrated upon the
-attempt to express an idea in as _few words_ as possible and in such a
-manner it will stand out and be read with a minimum of trouble.
-
-Why should not stories be told that way? Why should not all literature
-be written and printed that way?
-
-The proposition may seem a startling one, but the _tendency is_ that
-way.
-
-We find fault with our plays, our poetry, our fiction, our serious
-literature; we complain people prefer the _flashy_ periodical; well the
-word _flashy_ is doubly descriptive--it is commonly used to describe the
-_quality_ but it also measures _time_.
-
-       *       *       *       *       *
-
-Meanwhile most of us underrate the intelligence of our readers and use
-more words than are necessary to carry our meanings.
-
-The Futurists themselves use an abundance of words in advocating their
-cause, though their examples of Futurist literature contain many lines
-and pages that are written in strict accordance with their theories.
-
-Marinette says in so many words, “Philosophy, science, politics,
-journalism, must still make use of the conventional syntax and
-punctuation; I am myself obliged to use them to explain my ideas.”
-
-       *       *       *       *       *
-
-March 8, 1910, in the Theatre Chiarella, at Turin, before an audience of
-three thousand, the Futurist painters launched their first declaration
-of faith, “which contained,” to follow their own words, “all our
-profound disgusts and hatreds, our revolts against vulgarity, against
-academic and pedantic mediocrity, against the fanatic cult of what is
-antique.”
-
-[Illustration: MUNTER
-
-The Boat Ride]
-
-[Illustration: MUNTER
-
-The White Wall]
-
-     1. Our desire for the truth no longer contents itself with form and
-     color as heretofore understood.
-
-     2. What we wish to reproduce on the canvas is not an instant or a
-     moment of immobility of the universal force that surrounds us, but
-     _the sensation of that force itself_.
-
-     3. As a matter of fact everything moves, everything runs,
-     everything transforms rapidly. A profile is never immobile before
-     us, but it appears and disappears without ceasing.
-
-     Given the fact of the momentary persistence of the image on the
-     retina, objects in movement multiply, change form and follow like
-     vibrations in space. A running horse has not four legs, but twenty,
-     and their movements are triangular.
-
-     4. Nothing is absolute in painting. That which was a truth for the
-     painters of yesterday, is a lie for those of today. We declare, for
-     example, that a portrait should not resemble its sitter, and that
-     the painter carries in his own imagination the landscape he wishes
-     to place upon the canvas.
-
-[On this point the Futurists and Cubists agree.]
-
-     5. To paint the human figure it is not necessary to paint the
-     _figure_ but simply to give its _envelopment_. Space does not
-     exist. Millions of miles separate us from the sun, yet that is no
-     reason why the house before us should not be encased in the solar
-     disk. In our work we can secure effects similar to those of the
-     X-ray. Opacity does not exist.
-
-     They paint all sides of an object as if they saw through it. They
-     will paint a platter on a table and the part of the table covered
-     by the platter; they will paint the entire collar about the neck so
-     that it is visible through the neck. They ignore not only the
-     ordinary conceptions of space, but time does not exist for them.
-     Where in ordinary painting the box of bonbons that is passed at a
-     baptism may be painted closed on a table, the Futurist shows what
-     is inside the box, also the people assembled to whom the bonbons
-     are given, and the infant to be baptized, and perhaps the marriage
-     of the father and mother, the carriages outside the church, etc.,
-     etc.[65]
-
-They illustrate further,
-
-     The sixteen persons about us in a moving omnibus are _in turn_ and
-     _at the same time_, one, ten, four, three; they are immobile and
-     yet move; they go, come, bounding along the street, suddenly lost
-     in the sun, then return seated before you, like _so many symbols
-     persistent of universal vibration_.
-
-     How often it happens that upon the cheek of the person with whom we
-     are talking we see the horse that passes far away at the end of the
-     street. Our bodies become parts of the seat upon which we rest and
-     the seat becomes part of us. The omnibus merges in the houses that
-     it passes, and the houses mix with the bus and become part of it.
-
-     6. The construction of pictures up to this time has been stupidly
-     traditional.
-
-     Painters have always shown things and persons _before_ us. We place
-     the spectator _in the midst_ of the picture.
-
-     Heretofore we have looked at pictures; it is the idea of the
-     Futurist that we should look _through_ them, that the pictures
-     should give us _new visions_ of life and things, new sensations,
-     new emotions.
-
-     We declare:
-
-     That one should hate every form of imitation and glorify every form
-     of originality.
-
-     That it is necessary to revolt against the tyranny of the words
-     “harmony” and “good taste,” expressions too elastic and with which
-     one might easily condemn the works of Rembrandt, Goya, and Rodin.
-
-     That art critics are useless and detrimental.
-
-     That it is necessary to brush aside all the subjects already used,
-     in order to adequately express our turbulent life of steel, of
-     pride, of feverish rapidity.
-
-     That the name madmen applied to all innovators shall be considered
-     a title of honor.
-
-     That the universal force must be shown in painting as a _sensation
-     dynamic_.
-
-     Above all, sincerity and purity are required in the portrayal of
-     nature.
-
-     That movement and light destroy the materiality of objects.
-
-     We are opposed to the use of those bituminous colors by which it is
-     attempted to secure the effect of time on modern pictures.
-
-     We are opposed to the superficial and elementary archaism based on
-     the flat tints and linear manner of the Egyptians, which makes
-     painting puerile and grotesque.
-
-     We are opposed to the false modernism of the Secessionists and
-     Independents who have built up new “schools” as pontifical as the
-     old.
-
-     The nude in painting is as nauseous as adultery in literature.
-
-     To explain this last article: There is nothing immoral in our eyes,
-     it is the monotony of nudity that we fight against. Painters
-     possessed of the desire to display on canvas the bodies of the
-     women with whom they are in love have transformed picture
-     exhibitions into galleries of portraits of disreputables. We
-     demand for the next ten years the absolute suppression of the nude
-     in painting.
-
-       *       *       *       *       *
-
-The first exhibition of Futurist paintings in London was at the
-Sackville Gallery in March, 1912.
-
-The painters printed by way of preface to the little catalogue a
-statement of their beliefs and aims. From this statement the following
-paragraphs are taken:
-
-“We are young and our art is violently revolutionary.”
-
-Speaking of the Cubists and Post-Impressionists generally:
-
-“While we admire the heroism of these painters of great worth, who have
-displayed a laudable contempt for artistic commercialism and a powerful
-hatred of academism, we feel ourselves and we declare ourselves to be
-absolutely opposed to their art.
-
-“They obstinately continue to paint objects motionless, frozen, and all
-the static aspects of nature; they worship the traditionalism of
-Poussin, of Ingres, of Corot, ageing and petrifying their art with an
-obstinate attachment to the past, which to our eyes remains totally
-incomprehensible.
-
-“We, on the contrary, with points of view pertaining essentially to the
-future, seek for a style of motion, a thing which has never been
-attempted before us.
-
-“All the truths learnt in the schools or in the studios are abolished
-for us. Our hands are free enough and pure enough to start everything
-afresh.
-
-“It is indisputable that several of the aesthetic declarations of our
-French comrades display a sort of masked academism.
-
-“Is it not, indeed, a return to the Academy to declare that the subject,
-in painting, is of perfectly insignificant value?
-
-“We declare, on the contrary, that there can be no modern painting
-without the starting point of an absolutely modern sensation, and none
-can contradict us when we state that _painting_ and _sensation_ are two
-inseparable words.
-
-“If our pictures are futurist, it is because they are the result of
-absolutely futurist conceptions, ethical, aesthetic, political, and
-social.
-
-“To paint from the posing model is an absurdity, and an act of mental
-cowardice, even if the model be translated upon the picture in linear,
-spherical, or cubic forms.
-
-“To lend an allegorical significance to an ordinary nude figure,
-deriving the meaning of the picture from the objects held by the model
-or from those which are arranged about him, is to our mind the evidence
-of a traditional and academic mentality.
-
-“While we repudiate impressionism, we emphatically condemn the present
-reaction which, in order to kill impressionism, brings back painting to
-old academic forms.
-
-“It is only possible to react against impressionism by surpassing it.
-
-“Nothing is more absurd than to fight it by adopting the pictural laws
-which preceded it.
-
-“The points of contact which the quest of style may have with the
-so-called _classic art_ do not concern us.
-
-“Others will seek, and will, no doubt, discover, these analogies which
-in any case cannot be looked upon as a return to methods, conceptions,
-and values transmitted by classical painting.
-
-“A few examples will illustrate our theory.
-
-“We see no difference between one of those nude figures commonly called
-_artistic_ and an anatomical plate. There is, on the other hand, an
-enormous difference between one of these nude figures and our futurist
-conception of the human body.
-
-“Perspective, such as it is understood by the majority of painters, has
-for us the very same value which it lends to an engineer’s design.
-
-“The simultaneousness of states of mind in the work of art: that is the
-intoxicating aim of our art.
-
-“Let us explain again by examples. In painting a person on a balcony,
-seen from inside the room, we do not limit the scene to what the square
-frame of the window renders visible; but we try to render the sum total
-of visual sensations which the person on the balcony has experienced;
-the sun-bathed throng in the street, the double row of houses which
-stretch to right and left, the beflowered balconies, etc. This implies
-the simultaneousness of the ambient, and, therefore, the dislocation and
-dismemberment of objects, the scattering and fusion of details, freed
-from accepted logic, and independent from one another.
-
-“In order to make the spectator live in the center of the picture, as we
-express it in our manifesto, the picture must be the synthesis of _what
-one remembers_ and of _what one sees_.
-
-“You must render the invisible which stirs and lives beyond intervening
-obstacles, what we have on the right, on the left, and behind us, and
-not merely the small square of life artificially compressed, as it were,
-by the wings of a stage.”
-
-[This feeling of transparency is fundamental to the theory.]
-
-“We have declared in our manifesto that what must be rendered is the
-_dynamic sensation_, that is to say, the particular rhythm of each
-object, its inclination, its movement, or, to put it more exactly, its
-interior force.
-
-“It is usual to consider the human being in its different aspects of
-motion or stillness, of joyous excitement or grave melancholy.
-
-“What is overlooked is that all inanimate objects display, by their
-lines, calmness or frenzy, sadness or gaiety. These various tendencies
-lend to the lines of which they are formed a sense and character of
-weighty stability or of aerial lightness.
-
-“Every object reveals by its lines how it would resolve itself were it
-to follow the tendencies of its forces.
-
-“This decomposition is not governed by fixed laws but it varies
-according to the characteristic personality of the object and the
-emotions of the onlooker.
-
-“Furthermore, every object influences its neighbour, not by reflections
-of light (the foundation of _impressionistic primitivism_), but by a
-real competition of lines and by real conflicts of planes, following the
-emotional law which governs the picture (the foundation of _futurist
-primitivism_).
-
-“With the desire to intensify the aesthetic emotions by blending, so to
-speak, the painted canvas with the soul of the spectator, we have
-declared that the latter ‘_must_ in future be placed in the center of
-the picture.’
-
-“We may further explain our idea by a comparison drawn from the
-evolution of music.
-
-“Not only have we radically abandoned the motive fully developed
-according to its determined and, therefore, artificial equilibrium, but
-we suddenly and purposely intersect each motive with one or more other
-motives of which we never give the full development but merely the
-initial, central, or final notes.
-
-“As you see, there is with us not merely variety, but chaos and clashing
-of rhythms, totally opposed to one another, which we nevertheless
-assemble into a new harmony.
-
-“We thus arrive at what we call the _painting of states of mind_.
-
-“One may remark, also, in our pictures spots, lines, zones of colour
-which do not correspond to any reality, but which, in accordance with a
-law of our interior mathematics, musically prepare and enhance the
-emotion of the spectator.
-
-“We thus create a sort of emotive ambience, seeking by intuition the
-sympathies and the links which exist between
-
-[Illustration: RUSSOLO Rebellion]
-
-the exterior (concrete) scene and the interior (abstract) emotion. Those
-lines, those spots, those zones of colour, apparently illogical and
-meaningless, are the mysterious keys to our pictures.
-
-“Conclusion: Our futurist painting embodies three new conceptions of
-painting:
-
-“1. That which solves the question of volumes in a picture, as opposed
-to the liquefaction of objects favoured by the vision of the
-impressionists.
-
-“2. That which leads us to translate objects according to the _force
-lines_ which distinguish them, and by which is obtained an absolutely
-new power of objective poetry.
-
-“3. That (the natural consequence of the other two) which would give the
-emotional ambience of a picture, the synthesis of the various abstract
-rhythms of every object, from which there springs a fount of pictural
-lyricism hitherto unknown.”
-
-       *       *       *       *       *
-
-The explanations of two pictures are as follows:
-
-“Leave-taking,” by Boccioni: “In the midst of the confusion of
-departure, the mingled concrete and abstract sensations are translated
-into force lines and rhythms in quasi-musical harmony: mark the
-undulating lines and the chords made up of the combinations of figures
-and objects. The prominent elements, such as the number of the engine,
-its profile shown in the upper part of the picture, its wind-cutting
-forepart in the center, symbolical of parting, indicate the features of
-the scene that remain indelibly impressed upon the mind.”
-
-“Rebellion,” by Russolo: “The collision of two forces, that of the
-revolutionary element made up of enthusiasm and red lyricism against the
-force of inertia and reactionary resistance of tradition. The angles are
-the vibratory waves of the former force in motion. The perspective of
-the houses is destroyed just as a boxer is bent double by receiving a
-blow in the wind.”
-
-       *       *       *       *       *
-
-The theory of the Futurists is vividly illustrated in the following note
-to a picture called “The Street Enters the House.” “The dominating
-sensation is that which one would experience on opening a window: all
-life, the noises of the street rush in at the same time as the movement
-and reality of the objects outside. The painter does not limit himself
-to what he sees in the square frame of the window as would a simple
-photographer, but he also reproduces what he would see by looking out on
-every side from the balcony.”
-
-To the layman this attitude is almost incomprehensible. For instance,
-the Cubist, Pierre Dumont, says of his picture, “The Cathedral at
-Rouen”:
-
-     One must not expect to find in this picture an exact representation
-     of the cathedral at Rouen, but rather my idea, my personal
-     perception, of this cathedral as I see it.
-
-     In painting my picture I did not paint from a fixed point and
-     always from the same point, but I studied the cathedral and
-     surroundings from all points of view and obtained a personal
-     conception of it, which I reproduced on my canvas.
-
-     I only included the details which struck me most forcibly, and
-     thought it necessary to break up the monotony of the roofs in the
-     first plan by one of the most beautiful details of the cathedral--a
-     statue of a saint, who is certainly not in his right place as far
-     as the eye is concerned, but does really occupy the place which he
-     occupies in my conception of what was before me.
-
-       *       *       *       *       *
-
-That a painter should deliberately attempt to show on one canvas
-features of all sides of a building, strikes the layman--and many
-artists--as a “crazy” attempt to achieve the impossible; but it is _not
-impossible_, as a moment’s reflection shows.
-
-It is, of course, easy to show all sides and all details of a building,
-interior and exterior, on one sheet or canvas, by drawing or painting,
-one after another, in panorama effect--that is done in every architect’s
-drawing-room.
-
-It is also equally possible to _superimpose_ these detached drawings one
-over the other and _see_ or _feel_ the outlines _through_. That is, the
-drawing or photograph of the exterior of a cathedral may be so made as
-to show in outline or shadowy substance the altar within.
-
-Illustrations along these lines are common in fiction--ghostly, shadowy,
-mystical effects, effects secured only by treating stones and walls and
-human beings as _semi-transparent_.
-
-In this way every feature of a cathedral that strikes the artist,
-whether on the outside or inside, whether a feature so permanent as a
-statue or so fleeting as a wedding ceremony, may be indicated in his
-picture. By suppressing every detail save the most striking, what
-purports to be the picture of a cathedral may appear to be fragments of
-spires, bronze doors, statues, altars, lights, processions, the
-brilliant color of a priest’s robe, the white note of a bridal veil.
-
-Another man painting his impressions of the same subject might catch
-glimpses of entirely different features.
-
-If we can _in our mind’s eye_ see what is behind an object; if, for
-instance, we can picture to ourselves clearly the children playing in
-the yard back of a house, why may not the painter, if he chooses,
-suggest to us in his picture of the house the vital feature of the
-children in the rear?
-
-The feat is a seemingly impossible one. Perhaps neither the Cubists nor
-the Futurists have accomplished it successfully; but because it is
-difficult is no reason why the attempt should not be made.
-
-_Theoretically_ there is nothing to be said against pictures which show
-what both the _eye_ and the _mind’s eye_ of the artist see.
-
-     The works of the ultra-modern men can be understood only by the aid
-     of the imagination, by the aid of the _mind’s eye_ to see
-     _through_, and _about_ and _into_ things, to see the _inner_
-     conditions, happenings, and significance of things.
-
-     Stated in other terms, the extreme modern is no longer content to
-     paint what is before his eyes at a given moment and from a given
-     point of view; he is no longer content to act the part of a camera,
-     making reproductions of what is in front of it. He demands the
-     freedom to walk around his subject, fly over it, enter it, find out
-     all about it, and then record on canvas the sum and substance of
-     his observations _and_ reflections. The result may not look like a
-     cathedral, but if done by a genius it may give a fine impression of
-     certain salient features of the building, inside and out, and also
-     a vivid impression of some of its great ceremonies. Why not try to
-     paint the _power_ as well as the proportions?
-
-       *       *       *       *       *
-
-If the American public found the work of Lehmbruck and Brancusi queer,
-what would it think of the Futurist sculpture?
-
-The two female figures exhibited by Lehmbruck were simply decorative
-elongations of natural forms. In technic they were quite conventional.
-Their modelling was along purely classical lines, far more severely
-classical than much of the realistic work of Rodin.
-
-The heads by Brancusi were idealistic in the extreme; the sculptor
-carried his theories of mass and form so far he deliberately lost all
-resemblance to actuality. He uses his subjects as motives rather than
-models. In this respect he is not unlike--though more extreme than--the
-great Japanese and Chinese artists, who use life and nature arbitrarily
-to secure the results they desire.
-
-I have a golden bronze head--a “Sleeping Muse,” by
-
-[Illustration: SEGONZAC Pasturage]
-
-Brancusi--so simple, so severe in its beauty, it might have come from
-the Orient.
-
-       *       *       *       *       *
-
-Of this head and two other pieces of sculpture exhibited by Brancusi in
-July, 1913, at the Allied Artists’ Exhibition in London, Roger Fry said
-in “The Nation,” August 2:
-
-     Constantin Brancusi’s sculptures have not, I think, been seen
-     before in England. His three heads are the most remarkable works of
-     sculpture at the Albert Hall. Two are in brass and one in stone.
-     They show a technical skill which is almost disquieting, a skill
-     which might lead him, in default of any overpowering imaginative
-     purpose, to become a brilliant _pasticheur_. But it seemed to me
-     there was evidence of passionate conviction; that the
-     simplification of forms was no mere exercise in plastic design, but
-     a real interpretation of the rhythm of life. These abstract vivid
-     forms into which he compresses his heads give a vivid presentment
-     of character; they are not empty abstractions, but filled with a
-     content which has been clearly, and passionately apprehended.
-
-       *       *       *       *       *
-
-Futurist sculpture, like Futurist painting, starts with a fundamental
-departure.
-
-All sculpture, classic as well as Impressionistic and
-Post-Impressionistic, deals with an object or a group of objects. It
-models and reproduces them _detached_ from their environment.
-
-Futurist sculpture seeks to reproduce a figure or an object _attached_
-to and a _part of_ its fleeting and flowing surroundings, its
-atmosphere, its _medium_.
-
-It goes further; it seeks to convey not only the impression of the truth
-that a figure is a part of its environment, but that its atmosphere and
-environment _flows through_ the figure and the figure _through_ the
-environment, that _nothing is segregated_ but everything _fusing_.
-
-The philosophical thought is old, as old as the earliest Greek
-philosophy, but the attempt to express the thought in stone, wood,
-bronze, is new.
-
-     We may feel sure the attempt is futile, that it cannot succeed, but
-     our scepticism is no reason why a sculptor in his enthusiasm should
-     not make the attempt.
-
-       *       *       *       *       *
-
-In June and July last a Futurist sculptor, Boccioni, exhibited some of
-his work in Paris.
-
-One example, “Head--Houses--Light,” was literally a conglomerate of a
-human bust of heroic size, with hands crossed in front, and the
-following accessories:
-
-On the top of the head the fronts of several small houses, with doors,
-windows, and all details just as the sculptor saw the houses _many
-blocks back_ of his model. The casual observer would be completely
-mystified on seeing several house fronts start out of the head of a
-bust; but when one understands that it is a fundamental belief of the
-Futurists that _all that is within the vision, actual or imagined, of
-painter or sculptor is a part of the picture or bust_, the reason why of
-the houses is plain.
-
-From one shoulder of the figure starts about eighteen inches of a wooden
-railing and iron grill work, part of a balcony, just as the sculptor
-glimpsed it a block or so down the street.
-
-A little to the back of the shoulder is a slightly inclined level
-surface about a foot square; on this surface is the toy figure, an inch
-high, of a woman in street costume. The figure was probably bought at a
-toy store, just as the wooden railing and iron grill work might have
-been picked up at any second-hand shop. The little figure of the woman
-and the level surface represent some open square that--judging from the
-diminutive size of the figure--must have been a long distance away, far
-enough away for a human being to appear no taller than an inch.
-
-The entire bust was crudely colored, and one side of the
-
-[Illustration: BOCCIONI Head--Houses--Light]
-
-face was modelled in downward flowing lines and painted yellow to
-represent rays of strong sunlight.
-
-The figure was ugly in the extreme; the lines were ugly, the coloring
-ugly, the technic clumsy; but _as an illustration of a theory_ the work
-was both curious and interesting.
-
-       *       *       *       *       *
-
-In the creed of the Futurist are found the following:
-
-1. Sculpture must give life to objects by making sensible _their
-extension in space_, for no one today can deny that an object continues
-to where another object begins, and that all things that are about
-us--automobile, house, tree, street, etc., etc.--traverse our bodies,
-dividing us into planes and sections, forming an arabesque of curved and
-straight lines.
-
-This traversing of each object by the planes occupied by all other
-objects is called in the transcendental terminology of Futurism,
-“_Compenetration of planes_.” (Here Futurist and Cubist again meet.)
-
-2. A Futurist sculptural _composition_ will contain in itself the
-marvellous mathematical and geometrical elements of modern objects.
-These objects will not be placed close to the statue, like so many
-_detached_ explanatory attributes or decorative elements, but according
-to the laws of the new conception of harmony they will be _embodied_ in
-the muscular lines of the body. For example, we may see the wheel of an
-automobile starting out of the body of a chauffeur, the line of a table
-traversing the head of a man who is reading, and the pages of his book
-may project through his chest.
-
-3. The abolition complete of the _line finished_ and the _statue
-isolated_! Throw open the figure like a window and make part of it the
-surroundings in which it exists. The sidewalk may extend to your table;
-your head may traverse and include the street, and at the same moment
-your lamp may unite house to house by its searching rays.
-
-The entire world precipitates itself upon us, amalgamates with us,
-creating a harmony that will not be controlled except by creative
-intuition.
-
-4. Do not be afraid to go outside one art and receive assistance from
-others. There is no such thing as painting _alone_, sculpture _alone_,
-music _alone_, poetry _alone_; there is simply _creation_.
-
-Hence if a particular sculptural composition needs some special movement
-to augment or contrast the rhythm of the ensemble, there is no reason
-why one should not make use of a small motor to secure the effect.
-
-5. It is necessary to get rid of the idea, purely literary and
-traditional, that marble and bronze are the materials that must be used
-in great sculpture. The sculptor may use twenty materials in one work if
-required to express his idea. He may use glass, wood, cement, cardboard,
-leather, cloth, mirrors, electric lights, etc.
-
-6. It is only by choosing subjects absolutely modern that one can
-discover new motives and ideas.
-
-7. It is necessary to abandon the nude and the traditional conception of
-the statue and the monument.
-
-8. What the Futurist sculpture creates is, in a way, the _ideal bridge_
-that unites the infinite plastic _exterior_ with the infinite plastic
-_interior_. That is why the objects _never finish_, but they _intersect_
-with endless combinations both sympathetic and averse. The feeling of
-the spectator is at the _center_ of the work, not aloof and outside, as
-with traditional sculpture.
-
-       *       *       *       *       *
-
-All this sounds wildly extravagant, but not absolutely incoherent.
-
-       *       *       *       *       *
-
-The obvious objection to the attempt of the Futurist sculptor to include
-in his _composition_ an object _and_ its environment
-
-[Illustration: HERBIN Still Life]
-
-is found in his own proposition--_which is philosophically valid_--that
-_the universe_ is the atmosphere, the environment of every object from a
-grain of sand to a planet.
-
-Hence the Futurist figure that shows a few houses, a bit of a railing, a
-glimpse of a distant square, is more comprehensive than the conventional
-bust to only an infinitesimal degree; only _almost infinitesimal
-fractions_ of the _enveloping_ universe are shown.
-
-The effect is fragmentary and confusing.
-
-Other sculptors, conspicuously Rodin in some of his work, get the effect
-of atmosphere and environment by detaching the figure or composition
-_only partially_ from the block of marble or mass of bronze, leaving to
-the _imagination of the observer_ the finishing of the work, the
-supplying of both environment and atmosphere.
-
-That would seem to be the finer, the purer, the more abstract way.
-
-       *       *       *       *       *
-
-In fact, there is an obvious contradiction between the creed of the
-Futurist sculptor and the Futurist writer.
-
-The former feels impelled to show environment by encumbering his figure
-with an overwhelming mass of details, houses, railings, sidewalks, petty
-figures, etc., etc.--all the _qualifying_ objects that happen within his
-vision, leaving nothing to the imagination of his observer; while the
-Futurist writer would eliminate from literature all adjectival and
-adverbial words and phrases, leaving the nouns (the simple figures of
-sculpture) to stand alone.
-
-       *       *       *       *       *
-
-Many things can be done in painting that cannot be done in sculpture. A
-figure may be painted against a background of an entire city, or against
-the heavens; or it may be painted in the midst of a battle, or a train
-wreck; the flight of years can be indicated, centuries may be swept into
-one canvas.
-
-In sculpture this cannot be done save, in a measure, in such crude
-mixtures of sculpture, relief, and painted scenes as those large
-circular panoramas so popular twenty years ago, where the spectator
-stood _in the center_--where the theory of the Futurist requires him to
-be--and gazed from life-size figures and objects at his feet across
-smaller and smaller, until reality imperceptibly joined the painted
-canvas, which gave a sense of great distance--entire battle-fields.
-
-The Futurist sculptor cannot give this sense of environment and
-atmosphere by attaching diminutive houses and bits of balconies to the
-bust of a man.
-
-       *       *       *       *       *
-
-In reading their extravagant declarations and denunciations of the past
-it must be remembered that extremes beget extremes, that enthusiasts
-habitually indulge in extravagant arguments and theories for the purpose
-of attracting attention and stimulating discussion.
-
-In an address recently delivered in London, the leader of Futurism
-warned his hearers not to accept too literally the startling
-extravagances of some of the Futurist manifestoes and literature. He
-stated frankly that many of the most violent propositions were uttered
-for the purpose of arousing public attention to what they considered
-very real evils in our modern life. For instance, when the Futurists
-cry, “Down with all museums,” “Destroy all remains of antiquity,” they
-do not mean that if they were given the power they would do these
-things, but what they desire is to arouse Italy and the ancient world to
-the fact that Italy has a position as a _modern_ nation. The Futurists
-resent the attitude of the world toward Rome and Athens; they resent the
-attitude of travelers who visit those two places solely to look at the
-remains of the _ancient world_; they believe that Italy is just as much
-a _modern nation_ as is America, and that Rome is just as much alive as
-is New York, and they would have people come to Italy, not to see ruins,
-but to see her factories and industries and places of business. When one
-rightly considers the matter this is a very rational and patriotic
-attitude, and it is the only attitude that is wholly consistent with the
-development and progress of a nation as a _vital force_ in the world of
-_today_.
-
-Viewed in the light of the intense patriotism which is behind some of
-these wildly extravagant denunciations of the past, they do not seem so
-devoid of reason.
-
-We in America have no past to oppress us; therefore it is difficult for
-us to realize the feeling of a modern nation, or a modern city, which
-the civilized world will not accept as modern, but insists upon viewing
-as a museum of antiquities.
-
-       *       *       *       *       *
-
-The address referred to also said:
-
-     “Futurism was first put forward by me for the purpose of renovating
-     and reawakening the Italian race to a true appreciation of the true
-     art in literature as well as in painting and sculpture. Precisely
-     because it has a splendid past, Italy is today in some sort
-     disinherited. The cult of the past is upheld among them by a whole
-     world of interested people, and the Futurist movement in its
-     creative effort is hampered not only by such economic hindrances
-     but by the mental cowardice of people.
-
-     “In art you must continually advance; those who stop are already
-     dead, or candidates for death. The Romanticism of artists like
-     Baudelaire and Wagner and Flaubert was inspired by two or three
-     principles which are worn out today. ‘Salambo’ was the type romance
-     of that old sensibility. In a certain sense such Romanticism is the
-     identification of the
-
-idea of beauty with the idea of woman. We are at the end of that period.
-
-“Woman as the center, the obsession has already gone out of poetry. As a
-leit-motif she has no longer the same force; other problems have taken
-her place. According to our view, poetry is nothing but a more intense,
-a more exalted, life--and that is why we combat the constant intrusion
-into it of the ‘domestic triangle’ in various forms, and which has been
-its ruin.
-
-“Now, Futurists are found everywhere. In England you have H. G. Wells.
-We all realize the need to be more rapid, more intense, more essential,
-and though our method of expression has been stigmatized as ‘telegraphic
-lyricism’ I take no exception to that so long as it makes people talk
-and brings them to examine our underlying rules of action.
-
-“Art, either plastic or active, is not a religion. It is the best part
-of our strength, of our physiological being. It is, in consequence,
-absurd to consider it as a system, as something to worship with joined
-hands; it should express all the intensity of life--its beauty,
-greatness, its fire, its brutality, its sordidness.
-
-“Futurism in poetry represents a realism profound, rapid, intense--the
-very complex of our life of today.”
-
-
-
-
-XII
-
-VIRILE-IMPRESSIONISM
-
-
-What is happening in America? Exactly what might be expected in a
-_young_, _vigorous_, and _virile_ country.
-
-America has been keenly susceptible to art influences from every
-section. Her students are everywhere, her exhibitions are gathered from
-the four quarters of the globe. She is very much alive to what Europe is
-doing, she has long been interested in what China and Japan have done.
-
-While her art is in the main conservative, it is not the conservatism of
-stubbornness or stolidity, it is rather the conservatism of isolation;
-but her isolation is a thing of the past. Communication is so frequent,
-travel so easy, transportation so cheap, that both art and artists flow
-hither and thither almost unrestricted.
-
-In spite of this freedom of inter-communication, the development of
-American art has been along independent lines--at least along _one_
-independent line, a line so individual in its characteristics it
-deserves the name _American_-Impressionism, or, more generically,
-Virile-Impressionism.
-
-By Virile-Impressionism is meant a manner of viewing nature and a mode
-of painting quite different from the more superficial refinements of
-Impressionism on the one hand and the extraordinary developments of
-Post-Impressionism on the other.
-
-Let us try to make this clear.
-
-       *       *       *       *       *
-
-As already noted, Impressionism attained a logical end in the painting
-of brilliant light effects, especially in the works of the
-Neo-Impressionists, the pointillists.
-
-In short, the drift of Impressionism in France was toward more and more
-brilliant reflections of the _surfaces_ of things.
-
-This extreme _attentuation_ was quite foreign to the spirit of America,
-which is more _material_ and _practical_.
-
-       *       *       *       *       *
-
-It may be our fault, it is certainly our virtue, that we are material
-and practical in our outlook. In a big, sane sense we are _dreamers_.
-Only dreamers could carry the Panama Canal to completion, and, to
-mention lesser works, only dreamers could build such terminals as the
-Pennsylvania and New York Central in New York, and such buildings as the
-Woolworth and the Manhattan. But our dreams always take practical shape.
-We are a nation of inventors _because_ we are a nation of dreamers.
-
-Hence, while our artists were quick to respond to all that is good and
-strong in Impressionism, they found little satisfaction in the
-ultra-refinements of Neo-Impressionism.
-
-The result was that when France pressed Impressionism to its extreme, a
-normal and healthy reaction took place in American art.
-
-Many of the strong painters of America began doing things of their own.
-They still adhered closely to nature. They remained Impressionists
-in the older significance of the term, but they painted not the
-_surfaces_ of things but the _substance_--in short, they were
-_Cézanne_-Impressionists as distinguished from _Monet_-Impressionists.
-
-For instance, Winslow Homer was a great and true Impressionist, but he
-had nothing in common with the Neo-Impressionists, and little in common
-with Monet. He had, however, a great deal in common with Cézanne. His
-pictures give one an impression of _nature herself_, of the power of the
-sea, the adamant of the rocks, the significance of life, yet each one is
-an accurate transcript of what he saw. He did
-
-[Illustration:
-
-     SEGONZAC
-
-     Forest
-]
-
-not go into his studio and _create_ pictures out of his imagination; he
-let his imagination play upon nature, but nature controlled all he did.
-
-He was, in a sense, the greatest of _American_-Impressionists--he was a
-Virile-Impressionist.
-
-There are many Virile-Impressionists in Europe, but they are so many
-individuals; here Virile-Impressionism is the result of racial,
-national, geographical conditions.
-
-It was inevitable that Impressionism in America should follow along
-virile and substantial lines rather than along nervous and superficial;
-it is the way the country is built.
-
-       *       *       *       *       *
-
-Sargent is a Virile-Impressionist. He paints striking _likenesses_, but
-he also paints marvellous _characterizations_; that is, he gets beneath
-the skin of his sitters and paints them as they _are_, not as they seem.
-His sense of color is very deficient; many of his portraits from a
-decorative point of view are almost the reverse of pleasing; he had not
-the faintest appreciation of the subtle refinements of the things
-Whistler strove so long and earnestly to achieve; in his best things he
-is strong and direct to the point of brutality--all of which is
-characteristic of Virile-Impressionism, and exactly what one would
-expect from a vigorous, muscular, frank American. Though Sargent spends
-most of his time on the other side, he is no more English than French;
-his pictures fit into an American exhibition far more comfortably than
-into the Royal Academy or the old Salon.
-
-Robert Henri is another strong Virile-Impressionist.
-
-       *       *       *       *       *
-
-The attitude of American painters toward the extreme modern developments
-is both curious and interesting.
-
-On the opening of the International Exhibition there was an outburst of
-violent indignation from the older men, ordinary speech failed to
-express their feelings, and they rushed into print with language as
-violent as the press would accept. All that made lively reading and lent
-zest to current literature.
-
-Six months later this feeling of angry opposition largely subsided. As
-an illustration, one of the bitterest of the Academicians accepted as a
-“good idea” the organization of an _independent_ exhibition, open to
-artists _without the intervention of a jury_, under the auspices of the
-National Academy, as soon as a building could be provided that would
-adequately house all exhibitions.
-
-Again, the very conservative authorities of a large art institute
-listened receptively to the suggestion that every art museum owed the
-public two things in the way of exhibitions:
-
-_First_, exhibitions selected by juries which would give the public the
-benefit of the best expert judgment available.
-
-_Second_, exhibitions wherein painters and sculptors barred by the
-juries would have opportunities to present their works _to the judgment
-of the public_.
-
-In short, suggestions that would not have been listened to before the
-International are now discussed as quite within the range of
-possibilities.
-
-There is no danger of these things coming to pass in the _immediate_
-future; there is still too much latent opposition, but the virulent has
-measurably subsided.
-
-So much for the _older_ men.
-
-       *       *       *       *       *
-
-The younger were naturally much more tolerant. They were more--they were
-both _curious_ and _receptive_. Many of them searched with eager eye for
-valuable hints, for ways and means to perfect their own art.
-
-It was a great pleasure to watch and talk with these young men, the
-_rising_ generation.
-
-Many of them, to their own surprise, found they had been working along
-modern lines without fully realizing it.
-
-They had not cut loose from Impressionism, but they were doing things
-_constructively_ rather than _superficially_; they were painting like
-Cézanne rather than Monet.
-
-       *       *       *       *       *
-
-If the attempt were made to name these younger men, the result would be
-injustice to many whose works are unknown to the writer, and the
-argument would be confused.
-
-To speak, therefore, of one of the paintings reproduced, take the “Still
-Life,” by Kroll. In the decorative arrangement of the draperies and in
-the manner in which the fruit and stone jug are painted, the feeling is
-quite _Post_-Impressionistic; while the glimpse of the street out the
-window is purely _Impressionistic_.
-
-That is to say, all within the window is painted solidly and
-constructively, quite under the influence of Cézanne; all that is
-without is painted fleetingly and superficially, more under the
-influence of Monet. It was done intentionally, to secure a certain
-effect of contrast; but the result is neither _French_-Impressionism nor
-_Post_-Impressionism, but _American_-Impressionism--a certain
-_eclecticism_.
-
-The glimpse of the street is delightful, but the arbitrarily arranged
-interior is more than delightful; it possesses strength of line, fine
-color, and solid masses, _done constructively_.
-
-Still, one has only to compare this picture with the “Still Life,” by
-Herbin, and the “Forest at Martigues,” by Derain, to see how close to
-nature it is, how _Impressionistic_ it is as distinguished from the
-_Post_-Impressionistic, or creative, spirit.
-
-Kroll painted what he felt, _controlled_ by what he saw. Derain painted
-what he felt, _influenced only slightly_ by what he had seen.
-
-       *       *       *       *       *
-
-The foregoing illustrates the position of the more vigorous of the
-younger American painters; they are so strong, so virile, so
-muscular--let us say--that instinctively they lean toward the painting
-of things in a big, broad _constructive_ manner; the refinements of
-_superficial_ impressionism do not interest them.
-
-At the same time they have not reached the point where they are willing
-to let go of nature entirely and do purely _creative_ things.
-
-Perhaps this is just as well.
-
-America--like every new country--is so essentially practical, practical
-in even its most imaginative flights, that it is difficult for its
-painters to retire within themselves and do things that have only an
-esoteric or metaphysical relation to actualities; that sort of thing in
-both art and literature is much easier on the continent than in either
-England or America; it is especially easy in the highly charged and
-hyper-artificial atmosphere of Paris.
-
-       *       *       *       *       *
-
-Purely _creative_ work is done in a masterly manner--in his best
-things--by Arthur Davies. It is attempted and quite successfully by
-Kenneth Miller, to mention only two of many.
-
-To the casual observer Davies may seem to lose himself at times in his
-theories, to press his dreams and speculations beyond the confines of
-his art, but on this point the opinion of the “casual observer” is of
-little value, for Davies’s pictures cannot be casually observed; they
-challenge the attention of the most serious and repay study. I make no
-pretense to having fathomed their mystery, to understanding their inner
-significance, but enjoy and have always enjoyed the marvellously fine
-way in which they are done, and their rare decorative quality.
-
-Here is a man doing _creative_ work, work in which he plays with and
-uses nature to attain ends far above and far removed from nature. He is
-in no sense a Virile-Impressionist, no one would think of classing him
-as an Impressionist at all. Yet he is not a Post-Impressionist as the
-term has been defined in this book.
-
-He belongs rather to the class of inspired or _poetic_ painters, a few
-of whom are with us always, men who neither found nor belong to a
-“school,” but who express on canvas or in stone their fancies in a way
-that reminds one of fairy-tales.
-
-Davies may admire much of the work of some of the ultra
-Post-Impressionists; he likes, for instance, much of Matisse’s work; he
-may even fancy he has something in common with these men, but he has
-not. He was painting his pictures long before theirs were very much
-known, and he would have painted his if theirs had never been produced
-at all.
-
-Matisse is moved by a _spirit fundamentally different_ from that which
-animates Davies.
-
-       *       *       *       *       *
-
-“The Bridge,” by Kroll, is another striking example of
-American-Impressionistic art. It is one of a series of pictures of lower
-New York, each painted “on the spot,” some from roofs and high places
-difficult of access and dangerous.
-
-It is comparatively easy to go out and make a few sketches of portions
-of a city like New York and then retire to the studio and paint faint
-and superficial reproductions, such inadequate reproductions as appear
-on the walls of any metropolitan exhibition; it is quite another thing
-to plant one’s easel on slippery rocky heights and day after day, in
-the cold, paint from nature as directly as Monet ever painted and in a
-much more virile way.
-
-It takes imagination and enthusiasm and the superb confidence of youth
-to attempt such colossal things, and it takes an unusual technical
-facility to “get away” with the attempt.
-
-       *       *       *       *       *
-
-Winslow Homer’s name has been mentioned and mentioned with the respect
-due one of the greatest painters this country has produced, but the
-besetting weakness of picture buyers is undue reverence for the man who
-has “arrived,” above all for the master who is dead.
-
-_Better pictures are being painted in America today than Homer painted_,
-and he would be the first to say so if living.
-
-Since he painted his best pictures the art of painting has advanced,
-painters have improved their technic and broadened their outlook.
-
-There are pictures being painted today by young Americans that will be
-worth far more than Homer’s, and that is said with the full realization
-that no lover of what is big and strong in art could ask for more virile
-impressions of nature than those of Homer at his best.
-
-       *       *       *       *       *
-
-When the Morgan pictures were hanging in the Metropolitan Museum,
-acclaimed in parrot phrases by critics and visited by multitudes, it was
-a delight, a veritable refreshing of the soul, to get away from the
-smell of the dead into the living atmosphere of the Hearn collection and
-see pictures that _belong to us_, to our own times, that are flesh of
-our flesh, bone of our bone.
-
-Every picture in the Morgan collection had its vital relation
-
-[Illustration:
-
-     KROLL
-
-     Brooklyn Bridge
-]
-
-to life _once_--_when_ it was painted and _where_ it was painted.
-
-Not one has even a remote relation to the life of America.
-
-They are valuable, very valuable, in the sense that old tapestries, old
-armor, old brocades, old pottery, etc., etc., are valuable--valuable as
-illustrating the history and development of painting, and beautiful as
-many old things are beautiful--but _not half so beautiful as the living
-and breathing things of today_.
-
-       *       *       *       *       *
-
-But how can we appreciate the beauty of the things our painters and
-sculptors are doing when we are blind to the superb, the magnificent
-beauty of what our engineer-builders are doing--our _steel_
-“_sky-scrapers_”--America’s greatest achievement and unique contribution
-to the arts--an _absolutely new architecture_?
-
-       *       *       *       *       *
-
-Though the artist may be quick to disavow all such intention, it is
-obvious that there is much Post-Impressionism in John W. Alexander’s
-work.
-
-In both his technic and his inspiration he is very Post-Impressionistic.
-
-In the delightful sweep of his line, and the purely decorative use of
-color, he departs far from nature.
-
-The attitude of Sargent toward a model or sitter and that of Alexander
-are diametrically opposed, the one seeks to paint a vigorous
-_characterization_ of the person before him, the other seeks to _create
-a picture_, and to do so by a technic so different from that commonly
-used it still occasions much of the wonderment it excited years ago.
-
-Some of the portraits by Alexander are conspicuous on the walls of an
-exhibition for very much the same reasons such a picture as Van Rees’s
-“Maternity” would be conspicuous.
-
-The landscape and cattle piece by Segonzac are both examples of
-Virile-Impressionism. But Segonzac has painted many other pictures that
-are Post-Impressionistic--arbitrary in design and execution, and still
-others that are both Virile-Impressionistic and Post-Impressionistic,
-such as his large canvas, “A Pastoral,” shown at the International,
-wherein the cattle are Virile-Impressionistic creations while the nude
-figures and the entire scheme are purely Post-Impressionistic.
-
-       *       *       *       *       *
-
-The two landscapes by Vlaminck and Charmy are good examples of the
-transition state from Virile-Impressionism to Post-Impressionism.
-
-They are sufficiently close to nature to be Impressionistic in the large
-sense of the term; at the same time they are so arbitrary and decorative
-in technic as to be quite Post-Impressionistic. They are about as far
-removed from the average exhibition of Impressionistic pictures as they
-are from the creative and abstract art of the Cubists, yet they will
-hang with either without unduly shocking the spectator’s sense of the
-fitness of things.
-
-       *       *       *       *       *
-
-The three Cardoza’s are purely Post-Impressionistic; they are charming
-examples of what might be called _romantic_ Post-Impressionism as
-distinguished from the more _abstract_ conceptions of the Cubists; they
-have no more relation to life than a fairy tale, rather less if
-anything, for they are primarily decorative rather than significant.
-
-       *       *       *       *       *
-
-Zak’s “Shepherd” is also Post-Impressionistic, romantic in feeling like
-Cardoza’s, but of deeper human significance. The utter loneliness of the
-shepherd’s life, the monotony of its outlook, the note of resignation,
-are all as subtly indicated
-
-[Illustration:
-
-     CHARMY
-
-     Landscape
-]
-
-as are any of the human qualities in Millet’s pictures of peasant life;
-yet in technic and composition the picture is essentially
-Post-Impressionistic, a decorative and musical work of the _creative_
-imagination. One would not be far astray in classing it with the poetic
-work of Arthur Davies.
-
-
-
-
-XIII
-
-SCULPTURE
-
-
-Developments in sculpture do not always parallel those in painting.
-
-In comparison painting is so facile that it lends itself easily to
-experiments, responds quickly to moods and fancies. In short, painting
-is more susceptible--more volatile.
-
-Not that the painter and the sculptor are different human beings, but
-the mediums whereby they express themselves are so different, and the
-demands for their work are so unequal, that sculpture usually lags
-behind in new ventures. The sculptor, however great his desire, cannot
-afford to make the experiments the painter makes, or at the best he can
-only embody his new ideas and aspirations in uninviting plaster casts.
-
-He is bound by some of the conditions that hamper the architect, one of
-which is difficulty in finding a patron who will take the risk and pay
-the expense of innovations.
-
-       *       *       *       *       *
-
-The reaction in sculpture has been from the _classic_ along two opposed
-lines:
-
-A. Back to nature.
-
-B. Purely creative.
-
-       *       *       *       *       *
-
-The movement back to nature, to a closer observation of life, even to
-the rendering of the human figure with brutal frankness, is exemplified
-in the work of Matisse, work so _ugly_--to most people--it seems a
-grotesque caricature of
-
-[Illustration: BRANCUSI
-
-M’lle Poganey]
-
-[Illustration: LEHMBRUCK
-
-Kneeling Woman]
-
-the human form, but the human form today is never so symmetrical, so
-perfect as in classic sculpture, and one suspects the Greeks themselves
-idealized their young men and maidens.
-
-Long before Matisse, Rodin started the “return to nature.” His “Age of
-Bronze,” 1877, was so literal a transcript it was denounced as a cast
-from life; sculptors and critics refused to believe human fingers could
-model so perfect an impression. His “Saint John,” “Eve,” “Bourgeois of
-Calais,” “Le Penseur,” “La Belle Heaulmière,” to mention only a few,
-were all created in a spirit diametrically opposed to the classic--yet
-Rodin is a most intelligent lover of the classic.
-
-_Per contra_, most of Rodin’s marbles are a fine mixture of the classic
-and purely modern--of the _classic_ and the _romantic_.
-
-The point here is that in some of his bronzes he exhibits as clear and
-merciless an observation of nature as Matisse or any other modern. It
-may be said once for all that in the number and _variety_ of things he
-does, in the manner in which he links past and present, Rodin stands
-quite alone among sculptors. If he has little sympathy with the extreme
-sculpture of the hour it is because life is short and in his life time
-he has covered so vast a territory, responded to so many impulses,
-ancient and modern, he is not unnaturally reluctant to embark upon new
-experiments or interest himself vitally in what others are doing.
-
-       *       *       *       *       *
-
-The best American sculpture, even more than American painting, is
-solidly virile-impressionistic, notably the work of such men as Barnard
-and Borghlum. Davidson has one foot firmly planted within the confines
-of Post-Impressionism, but he has by no means cut loose from the past.
-His “Decorative Panel” in the Exhibition was purely
-post-impressionistic, a work of the imagination, while his figures were
-virile-impressionistic.
-
-       *       *       *       *       *
-
-It is only by comparing the work of these new men with that of St.
-Gaudens, French, MacMonies--to mention no others--that one begins to
-rightly understand what is meant by the “_reaction to nature_.”
-
-There is plenty of pure _observation_ and plenty of fine _imagination_
-in the work of those three men, but there is also much of the purely
-classical, and not one of them showed or shows any desire to break with
-tradition, while the very essence of the modern movement is a disregard,
-conscious or unconscious, for tradition; in many of the new men there is
-a violent revolt against the domination of the past.
-
-       *       *       *       *       *
-
-It is when we come to the work of Brancusi and Archipanko that we find
-the most startling examples of the reaction along purely creative lines.
-
-Nature is purposely left far behind, as far behind as in Cubist
-pictures, and for very much the same reasons.
-
-Of Brancusi something has been said already.
-
-Of all the sculpture in the International Exhibition the two pieces that
-excited the most ridicule were Brancusi’s egg-shaped portrait of Mlle.
-Pogany and “Family Life” by Archipanko.
-
-Both are _creative_ works, products of the imagination, but in their
-inspiration they are fundamentally different.
-
-       *       *       *       *       *
-
-In his symmetrical oval head with the spiral masses where the neck would
-be, it is apparent the sculptor’s interest is in the play of line and
-relation of masses, no profound human problem troubled him. That there
-is a relation between the strange shape of the head and his theories of
-life and art no
-
-[Illustration: BOCCIONI
-
-Spiral Expansion of Muscles in Action]
-
-[Illustration: MATISSE
-
-Portrait Heads]
-
-serious observer of his other work could doubt, but his unusual technic
-over-shadows other interest.
-
-       *       *       *       *       *
-
-In his “Family Life,” the group of man, woman, child, Archipanko
-deliberately subordinated all thought of beauty of form to an attempt to
-realize in stone the relation in life that is at the very basis of human
-and social existence.
-
-     Spiritual, emotional, and mathematical intellectuality, too, is
-     behind the family group of Archipanko. This group, in plaster,
-     might have been made of dough. It represents a featureless, large,
-     strong male--one gets the impression of strength from humps and
-     lumps--an impression of a female, less vivid, and the vague
-     knowledge that a child is mixed up in the general embrace. The
-     faces are rather blocky, the whole group with arms
-     intertwined--arms that end suddenly, no hands, might be the sketch
-     of a sculpture to be. But when one gets an insight it is intensely
-     more interesting. It is, eventually, clear that in portraying his
-     idea of family love the sculptor has built his figures with
-     pyramidal strength; they are grafted together with love and
-     geometric design, their limbs are bracings, ties of strength, they
-     represent, not individuals, but the structure itself of family
-     life. Not family life as one sees it, but the unseen, the deep
-     emotional unseen, and in making his group when the sculptor found
-     himself verging upon the seen--that is, when he no longer felt the
-     unseen--he stopped. Therefore the hands were not essential. And
-     this expression is made in the simplest way. Some will hoot at it,
-     but others will feel the respect that is due one who simplifies and
-     expresses the deep things of life. You may say that such is
-     literature in marble--well, it is the modernest sculpture.[66]
-
-       *       *       *       *       *
-
-The group is so angular, so _Cubist_, so ugly according to accepted
-notions, that few look long enough to see what the sculptor means; yet
-strange as the group was it undeniably gave a powerful impression of the
-binding, the _blending_ character of the family tie, a much more
-powerful impression than groups in conventional academic pose could
-give.
-
-In considering the extreme modern movement in sculpture it must not be
-forgotten that groups and figures just as strange have been done in the
-past--that even queerer and more grotesque things have been used to
-adorn churches and altars.
-
-True, those sculptures and carvings are _naive_ and _primitive_, but may
-not the naive and primitive be closer to life and to life’s great truths
-than the sophisticated and classical?
-
-That is the question.
-
-The answer of the moderns is that the swing of the pendulum in art is
-from the naive and primitive through the more and more conventional to
-the fixed and lifeless mold of the classic and academic, then back again
-to the naive, traversing the romantic, in its course, both ways.
-
-[Illustration: MATISSE
-
-Back of Woman]
-
-[Illustration: ERBSLOH
-
-Young Woman]
-
-
-
-
-XIV
-
-IN CONCLUSION
-
-
-To gather the loose ends of the argument in one skein.
-
-       *       *       *       *       *
-
-Impressionism was the natural, the inevitable reaction from the romantic
-and story-telling art of the forties, fifties, and sixties--a return to
-_nature_ from the _studio_, to works of the _observation_ from works of
-the _imagination_.
-
-Impressionism developed along three diverging lines:
-
-A. _Superficial_ Impressionism--Monet.
-
-B. _Realistic_ Impressionism--Manet.
-
-C. _Substantial_ Impressionism--Cézanne.
-
-       *       *       *       *       *
-
-A. _Superficial_--the painting of light effects, the impressionism of
-Monet, culminated in the extreme refinements of the pointillists, the
-Neo-Impressionists, Seurat and Signac.
-
-In superficial Impressionism the last word seems to have been said for
-the time being. Any number of delightful pictures--light effects--are
-being painted, and will continue to be painted, but the early enthusiasm
-has largely subsided.
-
-Superficial Impressionism leads naturally to the painting of pure color
-effects--_color music_, _orphism_, _compositional_ painting. After the
-last word in the _observation_ of light effects _Post_-Impressionistic
-attempts to _create_ pure color effects, irrespective of natural--that
-is a logical reaction.
-
-B. _Realistic_ Impressionism penetrates a little deeper. While Monet and
-his followers, Signac and Seurat, dealt more and more with the play of
-light on the _surface_ of things, Manet and his followers painted closer
-to the _heart_ of things.
-
-While Monet was content to paint a hay stack twenty times in as many
-different lights, Manet preferred a touch of _life_ and _character_ in
-his pictures. While he was first and last a painter, he was not so
-absorbed in securing purely technical effects as to be wholly blind to
-the _human_ element, hence his wonderful portraits, his bullfights, his
-glimpses of city life--pictures _big_ in more senses than one.
-
-Still he and his followers were primarily interested in the _aspect_ of
-things, the _characteristics_ as distinguished from the fundamental
-_character_ of things. He penetrated far deeper than Monet, so much
-deeper the two had little in common, but he did not get so close to the
-heart that he forgot the skin; he was always a painter of _appearances_,
-but in a _big_ as distinguished from a _superficial_ way.
-
-The realistic Impressionism of Manet has by no means run its course.
-Some of the finest painting in the world has been done and is being done
-along this line. It is the line of Franz Hals and Velasquez; it is the
-line of men so different as Whistler and Sargent in their best
-portraits.
-
-The natural reaction from perfection in this line is higher accentuation
-of characteristics--in the extreme _caricature_.
-
-That is, given the last word in the painting of character by great men
-in a _solid_ way, the logical attempts of new men or lesser men will be
-the indication of character in a lighter and more superficial way. The
-penetrating _observation_ of the older men gives way to the keen and
-playful _fancies_ of the younger. The same sitter yields with the former
-a powerful portrait, with the latter a fascinating picture which may be
-quite as _revealing_ both as a likeness and as a characterization.
-
-C. _Substantial_ Impressionism is not so easy to define and
-differentiate. It is far from _superficial_ but has much in common with
-_realistic_.
-
-It is easiest to simply say it is the Impressionism of Cézanne and
-those who have read what has already been said about Cézanne will
-understand.
-
-Cézanne was not content to paint either the _surface_ or the
-_characteristics_ of things or people; he sought to go _deeper_, to get
-at the very _substance_ and to place on canvas their elemental
-qualities.
-
-As a natural result the longer he painted the _less_ interesting his
-pictures became _superficially_, but the _greater_ their interest
-_fundamentally_.
-
-While Monet became more and more a _popular_ painter, a painter for the
-dealer and the buyer, Cézanne became more and more a _painter’s
-painter_, doing things that only the technically skilled could rightly
-appreciate.
-
-Interested solely in the profoundest problems of his art and painting
-only for those who had a very great knowledge of art, he attracted
-comparatively few followers; the path he followed promised little in the
-way of immediate fame and rewards.
-
-Still during his last years he had his ardent admirers and after his
-death his simple, strong _constructive_, _elemental_ pictures began to
-be widely appreciated.
-
-They make no pretense to the superficial charm of color or composition
-that attracts the average observer, but they _fascinate_ every man who
-studies things long enough to even partially understand what the artist
-was so earnestly trying to do.
-
-_Substantial_ or Cézanne Impressionism led naturally to the
-Virile-Impressionism of today, a way of seeing and painting things that
-is a compound of the Impressionism of Manet with that of Cézanne.
-
-There is a great and glorious future for Virile-Impressionism. Some of
-the greatest portraits and pictures in the world will be painted with
-the penetrating vision of a Cézanne, modified by the clear, cool
-observation of a Manet.
-
-The logical reaction from carrying observation of nature to the extent
-Cézanne carried it is painting of the substance of things _creatively_,
-_theoretically_, as in _Cubism_.
-
-Cézanne carried the use of planes _imitatively_ so far that it was but a
-step to their use _arbitrarily and scientifically_.
-
-_Substantial_ Impressionism leads naturally to substantial
-Post-Impressionism; or in other words, the _substance_ of things
-painted impressionistically (more or less imitatively) leads
-logically to the painting of the _substance_ of things _creatively_ =
-_Post_-Impressionistically.
-
-[Illustration:
-
-     KROLL
-
-     Still Life
-]
-
-
-
-
-APPENDIX I
-
-EXHIBITIONS AT 291 FIFTH AVENUE
-
-
-During a number of years prior to 1913 Mr. Alfred Stieglitz gave
-exhibitions of extreme modern work in his Small Photo-Secession Gallery,
-291 Fifth Avenue, New York, and the International was the outcome, the
-logical culmination of these earlier efforts.
-
-Mr. Stieglitz prepared the following chronological narrative:
-
-In the end of November, 1906, “291” (“Photo-Secession Gallery,” “Little
-Gallery,” etc., etc.) was opened with an exhibition of pictorial
-photography. The exhibition represented the best work of Steichen, Frank
-Eugene, Kasebier, Clarence White, Stieglitz, Coburn, Brigman, Herbert G.
-French, and about thirty others, all Americans.
-
-This exhibition was followed up by a series of exhibitions--usually
-one-man--of the picked work which had been done in pictorial photography
-the world over.
-
-In 1907 the first exhibition not devoted to photography was that of Miss
-Pamela Coleman Smith. This exhibition created a sensation. At the time
-it aroused the ire of most of the New York critics.
-
-Following this there were shown Willie Geiger’s (Munich) best etchings
-and Ex Libris. This was the first show of his in America.
-
-But the real beginning, I suppose, of the so-called _Modern_ work shown
-at “291” was the exhibition of about sixty of Rodin’s choicest drawings.
-These were selected by Rodin and Steichen for the special exhibition.
-The exhibition aroused intense indignation in New York amongst the
-critics and amongst most painters (men like Chase, Alexander, and
-others of this type feeling that such things were not meant for the
-public).
-
-April, 1908, Matisse was introduced to the American public for the first
-time. This exhibition of Matisse’s represented the complete evolution of
-Matisse from his academic period up to date. It included etchings,
-drawings, water colors, lithographs, and oil paintings.
-
-January, 1909, the work of Marius De Zayas was introduced for the first
-time.
-
-March, 1909, John Marin and Alfred Maurer (the “new” Maurer) were
-introduced. The work of these Americans seemed to upset the equilibrium
-of the academicians even more than the “jokes” of Rodin and Matisse.
-
-May, 1909, Marsden Hartley was introduced to the public for the first
-time.
-
-December, 1909, Toulouse Lautrec Exhibition. A very choice collection of
-his lithographs. First Lautrec Exhibition in America.
-
-February, 1910, second Marin Exhibition.
-
-March, 1910, exhibition of the work of “Younger American Painters”:
-Arthur G. Dove, Arthur B. Carles, L. Fellows, Marsden Hartley, Putnam
-Brindley, John Marin, Alfred Maurer, Steichen, Max Weber. This was the
-first collective exhibition of Modern work by Americans.
-
-April, 1910, second Rodin Exhibition. The very latest drawings of Rodin
-were shown, together with eleven of his earliest ones. At the same time
-the best small bronze of the “Penseur” (loaned by Mrs. John W. Simpson)
-was exhibited.
-
-November, 1910, Exhibition of lithographs by Cézanne, Renoir, Manet, and
-Toulouse Lautrec. Together with these, drawings and paintings by Henri
-Rousseau, just deceased. This exhibition introduced Rousseau for the
-first time to America, as well as it introduced Cézanne.
-
-January, 1911, Exhibition by Max Weber, American.
-
-February, 1911, Marin Exhibition (third).
-
-March, 1911, a series of Cézanne water colors. The first one-man show of
-Cézanne’s in America. These water colors were most carefully selected
-and really represent a side of Cézanne which is underestimated by all
-those, even Cézanne lovers, who do not fully understand Cézanne’s
-importance.
-
-April, 1911, Picasso. Drawings, lithographs, water colors, etc. A series
-of eighty showing the complete evolution of Picasso. The first
-introduction of Picasso to America and the first exhibition anywhere of
-Picasso held in this sense.
-
-February, 1912, second Hartley exhibition.
-
-February, 1912, first Arthur G. Dove exhibition.
-
-March, 1912, sculptures and latest drawings by Matisse. First
-introduction to America of Matisse, the sculptor.
-
-April, 1912, Exhibition of Children’s Work, showing relationship of that
-to much of the spirit of so-called “Modern” work, first exhibition of
-its kind held in America.
-
-December, 1912, drawings and paintings by A. Walkowitz.
-
-January, 1913, fourth Marin Exhibition--the now famous New York
-skyscraper series were shown.
-
-March, 1913, Picabia’s New York work. The first one-man show of Picabia
-held in America.
-
-April, 1913, Exhibition of De Zaya’s abstract caricature. Possibly the
-most _modern_ expression of the human portrait.
-
-Incidentally, without having had official shows, the work of Eli
-Nadelmann (Paris) and Manolo, was introduced to America by examples of
-their work being shown.
-
-Outside of all these exhibitions, of course, must be added the
-exhibition of color-photography, first in America, in 1907, and numerous
-other exhibitions, of important photographic work.
-
-
-
-
-APPENDIX II
-
-TWO COMMENTS
-
-
-It is only fair to the press to say that here and there, in most
-unexpected places, not only articles but editorials appeared admonishing
-the public to be cautious about condemning the new art too impulsively.
-
-We have chosen two such expressions from places so different, as London,
-and Reno, Nevada.
-
-Apropos the Russian Ballet and its extraordinary music, the London
-“Times,” in a leading editorial, July 13, 1913, said:
-
-“We have entered into one of those periods of artistic revolution in
-which the public, audience, or spectators become partisans and express
-their opinions as if they were at a political meeting. The Russian
-Ballet, for instance, produced a conflict of opinion last Friday, which
-recalls the conflicts provoked by the plays of Victor Hugo in the
-thirties. Post-Impressionism now is what the Romantic movement was then.
-To one party it means the end of all beauty; to the other a new birth of
-it. People no longer clap or hiss because they think a particular
-performance is well or ill done. Even in England, where the arts are not
-commonly taken very seriously, they are beginning to clap or hiss on
-principle, and to feel that they are making history when they do so.
-Partisans on both sides are probably not very clear in their minds why
-they like Post-Impressionism or dislike it; but the word, vague and
-clumsy as it is, does imply to them a set of tendencies by which all the
-arts may be ruined or regenerated. It is not merely a fashion in
-painting, but, like Romanticism, a movement of the mind which is trying
-to express itself through all means of artistic expression.
-
-“Of this the new turn taken by the Russian Ballet is a striking proof;
-for no one can suppose that the artists concerned in that enterprise are
-haters of beauty because of their own incompetence to achieve it. They
-have every material inducement to continue delighting the world with
-Ballets like Carnival or Scheherazade; and, if they attempt a new kind
-of art, it must be because they are driven to it by some force in
-themselves too powerful to be withstood. Masters like M. Nijinsky do not
-try dangerous experiments on the public for the mere pleasure of trying
-them; and it is a little presumptuous to assume that they are suddenly
-afflicted by sheer perversity of taste. It is more probable that they
-are possessed by that ardour of discovery which is common both to great
-artists and to great men of science, indeed to all men whose interest in
-life is stronger than their desire for their own comfort.
-
-“Most people make the mistake of thinking that the development of an art
-consists altogether of what is called invention and not of discovery;
-and for that reason they often resent innovations as mere perversities.
-If a thing has been well done already they cannot see why it should not
-continue to be done. But the artist knows that he cannot invent again
-what has been once invented. He knows, too, that these seeming
-inventions are also discoveries of the possibilities of his art; and
-that when discovery has been carried very far in one direction it cannot
-be carried any further. The history of all arts proves this. After
-Michel Angelo no one could invent anything fresh in his manner, because
-he had discovered all that could be discovered about his method of art.
-Renaissance architecture prevailed in Europe because no new discoveries
-were possible in Gothic.
-
-“The Romantic movement changed English poetry when there was nothing
-more to be said in the manner of Pope. You may prefer the old art to the
-new, but even if you are right in preferring it, you are not therefore
-right in condemning those who practice the new art. For they have no
-alternative. Either they must be mere imitators of the great men of the
-past or they must make a new start; and the true artist can no more
-content himself with imitation than the true philosopher can content
-himself with repeating what other philosophers have said.
-
-“Behind all representation in the arts there is the impulse of
-expression; and that will make its discoveries wherever there is most to
-be discovered, turning naturally to those elements of the art which have
-lately been neglected. If we understand this we shall see that a new
-artistic movement, such as Post-Impressionism, is not to be judged
-merely by a few pictures or to be condemned because those pictures seem
-to us very unlike reality. Whatever may come of it, it is something that
-is happening in all the arts, because discovery is turning in a new
-direction. All the successes of the past are obstacles to new success of
-the same kind, and discovery naturally takes a line of least resistance
-away from them. For a long time, in every art, artists have been raising
-expectations which they found it difficult, if not impossible, to
-satisfy. In painting, with its effort at complete illusion, they have
-provoked comparisons with Velasquez. In music, with its elaborate forms,
-they must do as well as Beethoven if they are to succeed. The dance, as
-we are used to it, demands an easy grace in every movement, which M.
-Nijinsky himself cannot combine with novelties of expression. He has
-found that, if he is to be a discoverer in his art, he must teach his
-public not to expect this easy grace, this formal and accustomed beauty,
-from the start. And that is the purpose of Post-Impressionism in all
-the arts. It is determined not to arouse expectations which it cannot
-satisfy.
-
-“The public may begin by thinking it all crude and ugly and childish;
-and it will be the more delighted by any beauties which it discovers
-afterwards. Hitherto the arts have promised more than they could
-possibly perform. Now they shall promise nothing, and so perform at
-least more than they promise. It is natural, perhaps, that the public
-should resent this as a kind of discourtesy. The artist who makes no
-professions seems to them lacking in respect, and they are inclined to
-hoot him as an impudent charlatan. But there are very few artists who
-wish to be hooted, and the real charlatan usually flatters his public.
-Whatever may be said against Post-Impressionists in all the arts, they
-are not flatterers.”
-
-       *       *       *       *       *
-
-It is a far cry from London to Reno, and the differences between the two
-places are not measured by the miles between them.
-
-Leading editorial from the “Journal,” Reno, July 11, 1913:
-
-
-SIMPLE SOLOMON
-
-“When Solomon staked his reputation for wisdom as well as originality on
-the assertion that there is nothing new under the sun, he did not think
-some day the Cubist painter, the Futurist artist, and the color musician
-would rise in the twentieth century and make him ridiculous. There is
-something new under the sun even in these departures, and like
-everything original since the first sin, the innovations are now roundly
-condemned.
-
-“It is the fashion now to condemn the Cubist and the Futurist in art,
-even as not long ago it was the fashion to condemn the realist, the
-impressionist and the Post-Impressionist; but it is a peculiar tribute
-to the authority of an innovation that it requires such a general attack
-of condemnation. A trivial thing requires mere neglect; a war of
-condemnation implies some strong and virile thing to be subdued.
-
-“These new things have a substantial basis for existence; else they
-would not exist. Their novelty has caused some extravagant adherents to
-carry them to unreasonable excess. They have abused the discoveries, not
-used them. They will pass away but the new principles will survive.
-
-“The cubist takes his cue from the idea of perspective itself--carried
-to excess. No one can imagine anything but straight lines as the basis
-for ‘vanishing points.’ Curved lines, while apparent and obvious, are
-not the scientific representations of actualities. The things we see
-strike the eye on the basis of flat images and our imagination brings
-out shape and significance. It is but a simple reversal to present flat
-art and give the imagination equal play in reconstructing real images in
-the eye.
-
-“If we take a half-tone engraving and examine it with a magnifying glass
-we find it is a series of holes of uniform size but more or less dense
-on the surface according to the requirements of light, shade and line.
-Magnify a half-tone 100 times and we have a large grating of black and
-white circles or squares. That is cubist art. It requires a slight shift
-in the point of view, a little development and stimulation of the
-imagination--nothing more.
-
-“When Gulliver visited the Brobdingnagians and viewed the complexions of
-their women at close range, it almost made him sick--yet they were noted
-beauties. He looked too close. When they looked at him they observed no
-complexion--they looked too far. Yet each had a concrete complexion and
-the only trouble was the point of view and the shock of comparison.
-
-“The futurists have a very novel and, at this time, an outlandish art.
-One of them has a full page picture used as an advertisement of the
-peculiar sound of a horn. It is a picture of a sound that saws its way
-through other sounds. There is a straight, fan-like picture for a
-constant, augmenting note, rising in scale. It is gray. There is a black
-ellipse for a loud varying noise of fairly regular variation of note,
-and so on. The foreign noise of the horn is shown as utterly unlike in
-form, intensity, regularity or harmony, any other sound.
-
-“If one has a diagram one can understand the futurist art and, when one
-understands, he approves. The new arts are simply aids to comparison,
-discrimination and inspiration. They have all the delights of
-wine-tasting or salad-judging--and some salads are vile.
-
-“The color musician has developed only another exercise in
-discrimination. If we were to make mathematics of music we would find
-that there is an exact relation between the number of vibrations of
-notes an octave apart; a constant relation between the vibrations in the
-natural and the sharp; a direct ratio between the vibrations of the
-notes in a chord; a formula for harmony and another for discord. It is
-an interesting mathematical study, a science as well as an art, and it
-proves that our appreciation through the senses is based on natural
-mathematical sequences and on well understood ratios, seasoned for
-variety’s sake by divergences from type.
-
-“Now the color musician has taken the spectrum and made notes out of it
-like the notes on the gamut. He has a color-scale and can do as much on
-it for the delight of the eye as a musician can with the musical scale
-for the ear. He merely brings out an extra way of enjoying distinctions
-and of enjoying that most restful of enjoyable things--conventionality.
-The certainty and the satisfaction of the conventional is about the most
-assuring thing in all experience. There is no more steadying feeling in
-all the world than to know that two and two make four, and that c-a-t
-spells cat. The more ways by which we can be assured of the belief we
-hold by faith, that there is an uniform, unchanging, all-pervading rule
-in the world, arguing an individual, mastering central consciousness and
-direction, the happier we are.
-
-“The cubists and the futurists and the color musicians may be faddists,
-but they help to drive out old Solomon’s pessimism. They help us to
-understand by purely human experience how it is that there may be some
-things which even humans cannot understand--but which are.”
-
-
-
-
-BIBLIOGRAPHY
-
-
-
-
-ENGLISH
-
-     In attempting this bibliography of the modern movement in art, the
-     search in periodical literature in England, France, and Germany has
-     been carried back no farther than 1908.
-
-     IS ART A FAILURE? by Robert Fowler. Nineteenth Century, July, 1912.
-
-     ART, A NEW VENTURE IN. _Exhibition at the Omega Workshops._ Times,
-     July 9, 1913.
-
-     BAKST, LEON. _Art Exhibitions. A Great Designer._ Times, June 17,
-     1912. Morning Post, June 18, 1912.
-
-     BAKST, LEON. _Exhibition._ Athenaeum, July 6, 1912.
-
-     BERLIN SECESSION. For short notices on see “Studio”: LI, p. 241;
-     LI, p. 328; LII, p. 68; LII, p. 153; LII, p. 240; LIII, p. 324;
-     LIV, p. 84; LV, p. 59; LV, p. 249; LVI, p. 241.
-
-     CÉZANNE. _Article by Maurice Denis._ Burlington Magazine, XVI Part
-     I, p. 207; Part II, p. 275.
-
-     _Cézanne_. _Manet and the French Impressionists. Pissaro--Claude
-     Monet--Sisley--Rénoir--Berthe Morisot--Cézanne--Guillaume._
-     Translated by J. E. Crawford Flitch. Illustrated with 34 etchings,
-     4 wood engravings, and 32 reproductions in half-tone No. 9 by
-     Theodore Duret. J. B. Lippincott & Co., Philadelphia, 1910.
-
-     CÉZANNE. _Cézanne and Gauguin._ Athenaeum, Dec. 2, 1911.
-
-     CÉZANNE. _Cézanne and Gauguin._ London Times, Nov. 28, 1911.
-
-     COURBET. _Exhibition._ Times, March 8, 1911.
-
-     CUBISTS. _Cubism._ Albert Gleizes and Jean Metzinger. Translated
-     from the French, with illustrations. T. Fisher Unwin, 1912.
-
-     DRAMA AND ART, THE NEW SPIRIT IN. Huntley Carter. London, Frank
-     Palmer, 1912.
-
-     FUTURISTS. Athenaeum, March 9, 1912.
-
-     FUTURISTS. Spectator, March 16, 1912.
-
-     FUTURISTS. _The Initial Manifesto of Futurism._ F. T. Marinetti.
-     Printed in the Catalogue of Exhibition in the Sackville Gallery,
-     London, of works by the Italian Futurist painters, March, 1912.
-
-     FUTURISTS. _Severini (Gino)._ Introduction to catalogue of his
-     pictures on view at the Marlborough Galleries, Duke street, London,
-     1913.
-
-     GAUGUIN. _Cézanne and Gauguin._ London Times, Nov. 28, 1911.
-
-     HARRISON, FREDERIC. _Aischro Latreia--The Cult of the Foul._
-     Nineteenth Century, February, 1912.
-
-     HIND, C. LEWIS. _The Consolations of a Critic._ London, A. and C.
-     Black, 1911.
-
-     HOURTICG, LOUIS. _Art in France._ London, Heinemann, 1911.
-
-     HUNEKER, JAMES. _Promenades of an Impressionist._
-
-     IMPRESSIONISTS. _The Post Impressionists._ Article by Clutton-Brock
-     (A), Burlington Magazine, XVIII, p. 216.
-
-     INTERNATIONAL SOCIETY. _Exhibitions._ Times, April 8, 1911;
-     Spectator, April 15, 1911.
-
-     LONDON SALON. See Times July 8, 1911; July 30, 1912, _Effects of
-     Artistic Freedom_; July 7, 1913.
-
-     MACCOLL, D. S. _Ugliness, Beauty and Mr. Frederic Harrison._
-     Nineteenth Century, March, 1912.
-
-     MAILLOL. _The Sculpture of Maillol._ Roger Fry. Burlington
-     Magazine, XVII, p. 26.
-
-     MEIER-GRAEFE, ALFRED JULIUS. _Modern Art, Being a Contribution to a
-     New System of Aesthetics._ Translated from the German by Florence
-     Simmons and George W. Chrystal. 2 vols. London, 1908.
-
-     MUNICH NEUE VEREINIGUNG. Studio, LIII, p. 320.
-
-     NEW ENGLISH ART CLUB EXHIBITION. Spectator, Nov. 30, 1912.
-
-     POST IMPRESSIONISTS. _The Post Impressionists._ C. Lewis Hind.
-     London, Methuen & Co., 1911.
-
-     POST IMPRESSIONISTS. _Review of Mr. Hind’s Book._ Athenaeum, July
-     8, 1911.
-
-     POST IMPRESSIONISTS. _Notes on the Post Impressionist Painters at
-     the Grafton Galleries._ C. J. Holmes. 1910-1911.
-
-     POST IMPRESSIONISTS. _On Post Impressionism._ Sir William Richmond.
-     Times, Jan. 10, 1911.
-
-     POST IMPRESSIONISTS. _Pages on Art._ Charles Ricketts. Containing
-     article on _Post-Impressionism at the Grafton Gallery_. London,
-     Constable & Co., 1913.
-
-     POST IMPRESSIONISTS. _French Artists of Today._ London, Heinemann,
-     1912.
-
-     POST IMPRESSIONISTS. _From Impressionism to the Spectral Palette._
-     H. P. H. Friswell. Saturday Review, Feb. 23, 1901.
-
-     POST IMPRESSIONISTS. Foreword to catalogue of exhibition by Frank
-     Rutter. Doré Galleries, London.
-
-     POST IMPRESSIONISTS. Letter on _The Post Impressionists at the
-     Grafton Gallery_. A. Warren Dow. Spectator, Oct. 12, 1912.
-
-     POST IMPRESSIONISTS. Athenaeum, Jan. 7, 1911; December, 1911.
-
-     POST IMPRESSIONISTS. _A Year of Post-Impressionism._ D. S. MacColl.
-     Nineteenth Century, February, 1912; “The Spectral Palette,”
-     Saturday Review, Feb. 9, 1901.
-
-     POST IMPRESSIONISTS. _The Post Impressionist and Others._ Yoshio
-     Markino. Nineteenth Century, February, 1913.
-
-     REVOLUTION IN ART. Athenaeum, Feb. 4, 1911.
-
-     RODIN, AUGUSTE. _Art._ From the French of Paul Gsell. London,
-     Hodder & Stoughton.
-
-     SCULPTURE. _Gills, Eric._ Times, Jan. 27, 1911.
-
-     SCULPTURE. _Post Impressionist Sculptures._ Athenaeum, Jan. 28,
-     1911.
-
-     SCULPTURE. _The Sculpture of Maillol._ Roger Fry. Burlington
-     Magazine, XVII, p. 26.
-
-     VAN GOGH. _The Letters of a Post Impressionist, Being the Familiar
-     Correspondence of Vincent Van Gogh._ Translated from the German by
-     Anthony M. Ludovici. London, Constable & Co., 1912.
-
-     VAN GOGH. _Review of V. Van Gogh’s Letters._ Athenaeum, Dec. 21,
-     1912.
-
-     VAN GOGH. _Riefstahl_, R. Meyer. Part I, _Vincent Van Gogh_,
-     Burlington Magazine, XVIII, p. 91; Part II, _Van Gogh’s Style in
-     Relation to Nature_, Burlington Magazine, XVIII, p. 155.
-
-     VAN GOGH. _The Letters of Vincent Van Gogh._ F. Melian Stawell
-     (review) Burlington Magazine, XVIX, p. 152.
-
-
-
-
-FRENCH
-
-     APOLLINAIRE, GUILLAUME. _Meditations esthétiques. Les peintres
-     cubistes._ 1ère série: Pablo Picasso, Georges Braque, Jean
-     Metzinger, Albert Gleizes, Juan Gris, Mlle. Marie Laurencin,
-     Fernand Léger, Francis Picabia, Marcel Duchamp, Duchamp Villon.
-     Paris, Eug. Figuière, 1913. In-40, 84 p. et 46 planches,
-     reproductions.
-
-     BERNARD, EMILE. _Souvenirs sur P. Cézanne._ Paris, office central
-     de librairie, 5 rue Palatine, 1908. In-12.
-
-     BUZZI, PAOLO. _Aeroplani._ Canti alati di Paolo Buzzi. Col. IIe
-     Proclama futurista di F. T. Marinetti. Milano, edizione di
-     _Poesia_, 1909. In-16, 282 p.
-
-     DENIS, MAURICE. _Théories 1890-1910._ _Du symbolisme et de Gauguin
-     vers un nouvel ordre classique._ Paris, Bibliothèque de l’occident,
-     17 rue Eble, 1912. In-80, 272 p.
-
-     DUHEM, HENRI. _Impressions d’art contemporain._ Paris, Eug.
-     Figuière, 1913. In-120, 382 p.
-
-     GLEIZES, ALBERT ET METZINGER, JEAN. _Du cubisme._ Paris, Eug.
-     Figuière, 1912. In-40, 80, 44 p., et 30 pl., reproductions.
-
-     GUY, MICHEL. _Le dernier état de la peinture._ Paris, Union
-     française d’édition, Le Feu, 1911. In-16, plaquette.
-
-     LETALLE, ABEL. _Idées et figurations d’art._ Paris, E. Sansot,
-     1911. In-160.
-
-     MARINETTI, F. T. _Le futurisme._ Paris, E. Sansot, 1911. In-12, 240
-     p. La Iere édition italienne est de.
-
-     MARINETTI, F. T. _Coupées électriques._ Drama en trois actes avec
-     une préface sur le futurisme. Paris, E. Sansot, 1909. In-12, 194 p.
-
-     MARINETTI, F. T. _Le monoplan du pape, roman politique en vers
-     libres._ Paris, E. Sansot, 1913. In-16, 349 p.
-
-     _Les peintres futuristes italiens._ Exposition du Lundi 5, au Mardi
-     24 Février 1912. Paris, Bernheim, Jeune, 1912. Oct. In-16, 32 p., 8
-     fig. ou reproductions.
-
-     _Catalogues des peintres futuristes et sculpteurs_. Paris,
-     Bernheim-Jeune, 1912. In-16. Même opuscule que le précédent à peu
-     de chose près 3 éditions: en français, en anglais, en italien.
-
-     MELLERIO, ANDRÉ. _Le mouvement idéaliste en peinture._ Paris, H.
-     Floury, 1896. In-80, 75 p.
-
-     MELLERIO, ANDRÉ. _L’Exposition de 1900 et l’impressionnisme._
-     Paris, H. Floury, 1900. In-80, 48 p.
-
-     NOCQ, HENRY. _Tendances nouvelles. Enquête sur l’évolution des
-     industries d’art._ Paris, H. Floury, 1896. In-80, 204 p.
-
-     SALMON, ANDRÉ. _La jeune peinture française._ Paris, Société des
-     Trente. Albert Messein, 1910. In-80, 124 p.
-
-Lors paraître prochainement du même auteur:
-
-     SALMON, ANDRÉ. _La jeune sculpture française._ Paris, Société des
-     Trente. Albert Messein, 1912. In-80.
-
-     SIGNAC, PAUL. _D’Eugène Delacroix au néo-impressionnisme._ Paris,
-     Floury, 1911. In-80, 120 p. (nouvelle édition) La Iere édition en
-     1899.
-
-     UHDE, J. B. _Henri Rousseau_, (dit Rousseau le Douanier) Paris,
-     Eug. Figuière, 1913. In-40, avec reproductions.
-
-
-EN PRÉPARATION.
-
-     MORISSE, CHARLES. _Gauguin._ In-80. Chez l’éditeur H. Floury,
-     Boulevard des Capucines, Paris.
-
-A noter pour paraître prochainement sous la direction de Guillaume
-Apollinaire, à la librairie Eugène Figuière à Paris, 7 rue Corneille;
-Une volume sur Cézanne, sur Seurat, sur Dégas, sur Rénois, par des
-auteurs différents. Une volume également sur _Les peintres orphiques_
-par Guillaume Apollinaire lui-même.
-
-À noter aussi l’ouvrage suivant:
-
-     RÉNOIR. _Album de quarante reproductions dont 4 fac-similés en
-     couleur et 36 phototypes._ Préface d’Octave Mirebeau. Texte des
-     plus notoires écrivains de tous les pays. Paris, chez
-     Bernheim-Jeune, 28 boulevard de la Madeleine, 1913. In folio.
-
-
-ARTICLES.
-
-     ALEXANDRE, ARSÈNE. _Maurice Denis._ Signé: Arsène Alexandre. In-40,
-     6 pages, 5 reproductions. L’art et les artistes. Tome VIII,
-     Janvier, 1909.
-
-     APOLLINAIRE, GUILLAUME. _Henri Matisse._ Signé: Guillaume
-     Apollinaire. In-80, 5 pages, et 3 reproductions. La Phalange. No.
-     du 15 Décembre, 1907.
-
-     AUREL. _L’Ensiegnement d’Emile-Antoine Bourdelle._ Signé: Aurel.
-     In-80, 14 p. La Phalange. No. du 20 Mars, 1912.
-
-     BERTAUX, EMILE. _Notes sur le Gréco._ I. _Les Portraits_. II.
-     _L’Italienne_. III. _Le Byzantisme_. 3 articles dans de _revue de
-     l’art ancien et moderne_, Années: 1911, Juin; 1912, Décembre et
-     1913, Janvier. Nombreuses reproductions et planches hors texte.
-
-     BESSON, GEORGES. _Le grand palais aux bestiaux._ Signé: Georges
-     Besson. In-80, 5 pages. La Phalange. No. du 20 Décembre, 1912.
-
-     BRICAUT, JEAN. _Essai sur la couleur._ Signé: Jean Bricaut. In-80,
-     5 pages. La Phalange. No. du 20 Avril, 1913.
-
-     CORNU, PAUL. _Bernard Naudin, dessinateur et graveur._ Signé: Paul
-     Cornu. Les Cahiers du Centre. 40 Série, Mars, 1913.
-
-A noter dans cette même revue; La Phalange--Léon Werth puis Georges
-Besson rédigent le mois du peintre donnet à propos des différentes
-expositions à la galerie Bernheim-Jeune, à la Galerie Volard et autres,
-des aperçus et des considerations souvent fort intéressants sur le
-cubisme et le néo-impressionisme et sur de nombreux artistes tels que
-Cézanne, Gauguin, Van Gogh, Rénois, Cissaro, Seurat, etc.
-
-Dans de Mercure de France, Charles Morisse, puis Gustave Kahn, font le
-même sous la rubrique _Art et art moderne_.
-
-     COUSTURIER, LUCIE. _Georges Seurat._ (1889-1891.) Signé: Lucie
-     Cousturier. In-40, 16 pages, 15 reproductions. Art décoratif. Revue
-     de l’art ancien et de la vie artistique moderne. No. 174, 20 Juin,
-     1912.
-
-     COUSTURIER, LUCIE. _Pierre Bonnard._ Signé: Lucie Cousturier.
-     In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 186, 20 Décembre, 1912.
-
-     COUSTURIER, LUCIE. _Henri-Edmond Cross._ Signé: Lucie Cousturier.
-     In-40, 16 pages, 15 reproductions. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 189, Mars, 1913.
-
-     COUSTURIER, LUCIE. _Maurice Denis._ Signé: Lucie Cousturier. In-40,
-     16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et
-     de la vie artistique moderne. No. 191, Mai, 1913.
-
-     DENIS, MAURICE. _Maillol._ (Aristide.) Signé: Maurice Denis. In-40,
-     6 p., 5 reproductions. L’art et les artistes. Tome VIII, Janvier,
-     1909.
-
-     DEVERIN, EDOUARD. _Paul-Emile Colin._ Signé: Edouard Deverin.
-     In-40, 8 pages, 7 reproductions. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 190, Avril, 1913.
-
-     FAURE, ELIE. _Paul Cézanne._ Signé: Elie Faure. In-40, 16 pages, 17
-     reproductions dont 1 en couleur. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 157, Octobre, 1911.
-
-     FAURE, ELIE. _Francisco Iturino._ Signé: Elie Faure. In-40, 4 p., 3
-     reproductions. Art décoratif. Revue de l’art ancien et de la vie
-     artistique moderne. No. 178, 20 Août, 1912.
-
-     GODET, PIERRE. _Vincent Van Gogh._ Signé: Pierre Godet. In-40, 16
-     p., 14 reproductions dont une en couleur. Art décoratif. Revue de
-     l’art ancien et de la vie artistique moderne. No. 156, Septembre,
-     1911.
-
-     GODET, PIERRE. _Puvis de Chavannes et la peinture d’aujourd’hui._
-     Signé: Pierre Godet. In-40, 16 pages, 13 reproductions. Art
-     décoratif. Revue de l’art ancien et de la vie artistique moderne.
-     No. 164, Janvier, 1912.
-
-     GODET, PIERRE. _Un peintre suisse._ Cuno Amiet. Signé: Pierre
-     Godet. In-40, 10 pages, 11 reproductions. Art décoratif. Revue de
-     l’art ancien et de la vie artistique moderne. No. 171, 5 Mai, 1912.
-
-     GUY, MICHEL. _Paul Gauguin._ Signé: Michel Guy. In-40, 16 pages, 13
-     reproductions. Art décoratif. Revue de l’art ancien et de la vie
-     artistique moderne. No. 151, Avril, 1911.
-
-     GUY, MICHEL. _Les Fauves._ Signé: Michel Guy. In-89, 9 pages. La
-     Phalange. No. du 15, Septembre, 1907.
-
-     GUY, MICHEL, _van Gogh._ Signé: Michel Guy. In-80. La Phalange. No.
-     du 15, Février, 1908.
-
-     HENRI, FRANTZ. _La Collection Henri Rouart._ Signé: Henri Frantz.
-     In-40, 31 pages et 32 reproductions. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 185, 5 Décembre, 1912.
-     Contient de nombreux aperçus sur des œuvres des peintres
-     impressionistes tels que Cézanne, Rénoir, Monet, Degois, etc.
-
-     LAENEN, JEAN. _Jacob Smits._ Signé: Jean Laenen. In-40, 9 pages, 8
-     reproductions. Art décoratif. Revue de l’art ancien et de la vie
-     artistique moderne. No. 121, Octobre, 1908.
-
-     MARVAL, JACQUELINE, _Les danseurs de Flandrin._ Signé: Jacqueline
-     Marval. In-40, 12 pages, 12 reproductions. Art décoratif. Revue de
-     l’art ancien et de la vie artistique moderne. No. 190, Avril, 1913.
-
-     MAUCLAIN, CAMILLE. _Gaston Crunier._ Signé: Camille Mauclain.
-     In-40, 12 pages, 14 reproductions et 1 planche en couleur hors
-     texte. Art décoratif. Revue de l’art ancien et de la vie artistique
-     moderne. No. 139, Avril, 1910.
-
-     MEIER-GRAEFE, J. _Grêco peintre baroque._ Signé: J. Meier-Graefe.
-     Trav. de l’allemand par Pierre Godet. In-40, 36 pages, 35
-     reproductions. Art décoratif. Revue de l’art ancien et de la vie
-     artistique moderne. No. 182, 20 Octobre, 1912.
-
-     RITTER, WILLIAM. _Frank Brangwyn._ Signé: William Ritter. In-40, 14
-     p., 14 reproductions. L’art décoratif, revue de l’art ancien et de
-     la vie artistique moderne. No. 144, Septembre, 1910.
-
-     RIVIÈRE, JACQUES. _Coussin et la peinture contemporaine._ Signé:
-     Jacques Rivière. In-40, 16 pages, 14 reproductions. Art décoratif.
-     Revue de l’art ancien et de la vie artistique moderne. No. 167,
-     Mars, 1912.
-
-     SALMON, ANDRÉ. _Odilon Rédon._ Signé: André Salmon. In-40, 16
-     pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
-     la vie artistique moderne. No. 187, Janvier, 1913.
-
-     SALMON, ANDRÉ. _Marie Laurencin._ Signé: André Salmon. In-40, 6
-     pages, et 6 reproductions. Art décoratif. Revue de l’art ancien et
-     de la vie artistique moderne. Nos. 194-198, Août-Septembre, 1913.
-
-     _Tougendhold, Jacques._ _Borissoff Moussatoff._ Signé: Jacques
-     Tougendhold. In-40, 12 pages, 13 reproductions. Art décoratif.
-     Revue de l’art ancien et de la vie artistique moderne. No. 188,
-     Février, 1913.
-
-     _Vauxcelles, Louis._ _A propos des bois sculptes de Paul Gauguin._
-     In-160, 2 pages, 3 reproductions. Art décoratif. Revue de l’art
-     ancien et de la vie artistique moderne. No. 148, Janvier, 1911.
-
-     _Werth, Léon._ _Aristide Maillol._ Signé: Léon Werth. In-40, 16
-     pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
-     la vie artistique moderne. No. 188, Février, 1913.
-
-
-GERMAN
-
-     Acht Jahre Secession v. Ludwig Hevesi, Wien 1906. The
-     Post-Impressionist, by Lewis Hind, London (p. 412-417 Die
-     Nach-Impressionisten).
-
-     Aus der Correspondenz, Kunst u. Künstler, II. p. 264, 417, 462,
-     493. 1904.
-
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-     Ausstellung in Köln v. G. E. Lüthgen, Deutsche Kunst u. Dekoration,
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-     Biermann, Georg, Bernhard Hoetger, ein deutscher Bildauer der
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-     Kunstwelt. II. Jahrgang No. 6 März 1913.
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-     Der Blaue Reiter, herausgegeben von Kandinsky, München, 1912.
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-     Der Blaue Reiter von Hans Titeze, Kunst für Alle, XXVII. p.
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-     Der Moderne Impressionismus von Meier-Graefe. Die Kunst
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-     9. Potsdamerstr. 134 a.
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-     1. Der Blaue Reiter, Oskar, Kokoschka.
-
-     2. Die Futuristen: Boccioni, Carra, Russolo, Severini.
-
-     3. Französische Graphik, Pablo Picasso.
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-     4. Deutsche Expressionisten: Campemdonk, Bloch, Jawlensky,
-     Kandinsky, Marc, Münter.
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-     5. Französische Expressionisten: Braque, Derain, Othon, Friess,
-     Herbin Marie Laurencin, de Vlaminck.
-
-     6. Jungbelgische Künstler.
-
-     7. Kandinsky.
-
-     8. Die Pathetiker: Ludwig Meider, Jacob Steinhardt.
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-     9. Egon Adler, Van Gauguin, Arthur Segal.
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-     10. Die Neue Secession.
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-     11. Gabriele Münter.
-
-     12. Robert Delaunay, Ardengo Soffici.
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-     13. Alfred Reth.
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-     14. Franz Marc.
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-     15. Der Moderne Bund, Schweiz.
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-     16. Gino Severini.
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-Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag von Emil Utitz,
-Verlag v. Ferd. Enke, Stuttgart 1913.
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-Die Hauptströmungen des XIX Jahrhunderts von Julius Leisching.
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-Die Internationale Ausstellung des Sonderbundes v. A. Fortlage, Köln,
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-Die Jüngsten von Karl Scheffler, Kunst und Künstler, XI. S. 391-409.
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-Die neue Malerei von L. Coellen. Der Impressionismus von Gogh u.
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-Die Secession von R. Klein, Moderne Zeitfragen, Nr. 9 Herausgegeben von
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-Du Quesne, Persönliche Erinnerungen an Vincent Van Gogh, München, 1913;
-R. Piper & Co., 3d ed.; 24 plates.
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-Entwickelung des Impressionismus in Malerei u. Plastik v. Meier-Graefe,
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-(III. Band Abbildungen), Verlag Jul Hoffmann, Stuttgart.
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-Erinnerungen an--von Emile Bernard, Kunst u. Künstler, VI, p. 421-429,
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-Erster Deutscher Herbstsalon Berlin 1913, Der Sturm, Berlin W. 9,
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-Fischer, Otto, Das neue Bild, published by the New München Artists’
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-Friedrich, Hans, Hodler, die Schweiz und Deutschland, München; James
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-Futuristen und Genossen bei der Arbeit, Die Kunstwelt, II. 3. p.
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-Futuristen v. Rud. Klein, Berlin, Deutsche Kunst u. Dekoration, XXX. p.
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-illustrated.
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-with 8 autotypes; Berlin, Ed. Reiss’ Verlag, 1911; 8°.
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-Hildebrand, Hans, Adolph Stölzel als Zeichner, Stuttgart, Deutsche
-Verlagsanstalt, 1913; 8°.
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-Impressionismus. Ein Problem der Malerei i. d. Antike und Neuzeit von
-Werner Weisbach I., Berlin 1910, II. 1911.
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-Impressionismus v. Laforgue, Kunst u. Künstler, III. p. 501-506.
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-Impressionisten Gugs-Maud van Gogh, Pissarro-Cézanne, II, Aufl. München
-u. Leipzig 1907.
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-Impressionistische Weltanschauung v. Scheffler, K., Zukunft, XLV. p.
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-Jacob, Les oeuvres burlesques et mystiques de Frère Natorel mort au
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-Jacob, Saint Natorel, illustrated with water colors by Pablo Picasso,
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-Kampf, Im-um die Kunst, Reply to the “Protest by German Artists,”
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-Kandinsky über das Geistige in der Kunst, München 1912, Verlag Piper &
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-Kandinsky, Ueber das Geistige in der Kunst, insbesondere in der Malerei,
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-Katalog der Sonderausstellung v. V. van Gogh, Amsterdam, Städt. Museum
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-Kritik seiner Arbeiten, Pariser Herbstsalon. S. 47-48, Zeitschrift für
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-Kunst, Deutsche und französische, A symposium of German artists, gallery
-directors, collectors and authors; München, R. Piper & Co., 1913; 8^o.
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-Kunst und Künstler, V. p. 339-359, 1907.
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-Kunst und Künstler, VI. p. 355-376, 1908.
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-Kunstchr., Zeitschrift für bildende Kunst, XIV. p. 420. 1902-03.
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-Le Fauconnier, Die Auffassung unserer Zeit und das Gemälde, translated
-by Gertrude Osthaus in connection with the exposition at the Folkwang
-museum in Hagen, Westphalia, München, 1913; 8^o.
-
-Malerische Impressions und Koloristische Rythmus, Beobachtungen über
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-Düsseldorf, mit Abbildungen unter anderen von A. v. Jawlensky, Henri
-Matisse, W. Kandinsky.
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-Marinetti, F. P., Le Futurisme, Tours, 1911; E. Arrauset Cie.
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-Meier-Graefe, Paul Cézanne, München, 1910, R. Piper & Co.; 4th-6th ed.,
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-Neue Kunst, Katalog der II. Gesamtausstellung August-September, 1913.
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-Noa-Noa-Tagebuch, p. 78-81, p. 125-127, Kunst u. Künstler, VI. p.
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-Noa-Noa von P. Fechter-Aufenthalt in Tahiti, Kunst für Alle, 08. XXIII.
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-Notiz über Kandinsky, p. 434. Kunst für Alle XXVII.
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-Notizen eines Malers, Kunst u. Künstler, VII. p. 335-347, 1909.
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-Paris auf der Juryfreien Kunstchau in Berlin v. J. v. Bülow, Kunstchr.,
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-
-Paul Cézanne v. Julius Meier-Graefe München, 1910, Verlag R. Piper & Co.
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-Paul Gauguin, Gallerie Miethke, Katalog mit Biogr. von Rudolf Adalbert
-Meyer, März-April 1907.
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-Paul Gauguin, 1847-1903, par Jean de Rotonchamp, Paris chez. Ed. Druet.
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-Paul Gauguin, v. Dr. Meyer Riefstal, Paris, p. 109-116. Deutsche Kunst
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-1911.
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-Bongiovanni, 1913.
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-Raphael, Max, Von Monet zu Picasso; Grundzüge einer Aesthetik und
-Entwickelung der modernen Malerei, München, Delphin Verlag, 1913; 8^o.
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-Reiter, Der blaue, Ein Dokument des Expressionismus. Herausgeber:
-Kandinsky und Franz Marc, München, R. Piper & Co., 1912; with 34 plates.
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-Soffici, Ardenzo, Cubismo e oltre, Florence, Libreria della Voce, 1913.
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-Sydow, Eckart v., Cuno Amiet. Eine Einführung in ein nationales Werk. In
-“Kunstgeschichte des Auslandes,” issue 106, Strassburg, 1913; with 11
-plates; 4^o.
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-Ueber Impressionismus von J. Meier-Graefe, p. 145-162, Kunst für Alle,
-XXV. 1909 u. 10.
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-Utitz, Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag,
-Stuttgart, Enke, 1913; 8^o.
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-Van Gogh, Vinc., Briefe. Deutsch von N. Mauthner, Berlin, P. Cassirer,
-1911; 4th ed.; with 15 drawings; 8^o.
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-Vincent Van Gogh, München, 1910, R. Piper & Co.; 4th-6th ed., 1912.
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-Vincent Van Gogh u. Gauguin zum Klassizismus, Kunst u. Künstler, 09,
-VIII. p. 86-101.
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-Vincent Van Gogh von Julius Meier-Graefe, München 1910.
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-Vom Wert des Neo-Impressionismus von A. L. Plehn, Kunst für Alle, XIX.
-p. 514-522.
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-Von Eugen Delacroix zum Neo-Impressionismus. Einzige deutsche
-autorisierte Uebersetzung, Krefeld, 1903, Rheinischer Verlag G. A. Hohns
-Söhne.
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-Von Impressionismus zum Neo-Impressionismus. Autoris. Uebersetzung,
-Berlin, Verlag. K. Schnabel.
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-Von P. Gauguin, Kunst u. Künstler, VIII. p. 579-586.
-
-Von Paul Gauguin, Kunst u. Künstler, VIII. p. 579-586. 1910.
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-     1912-13, p. 626-37.
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-     138-39.
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-     Jacques, Der Sturm, 1903, No. 148-49.
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-     Avenarius, Von Van Gogh, Kunstwart, XXIV, 1910, I, p. 56-59.
-
-     Avenarius, Ferd., Futuristen, Kunstwart, XXV, 1912, III, p. 278-81.
-
-     Beckmann, Frz., Gedanken über zeitgemässe und unzeitgemässe Kunst.
-     A reply to Die neue Malerei, by Frz. Marc., Pan, II, 1, p. 499-502.
-
-     Bahne, Adolf, Der Maler Franz Marc, Pan, III, 1913, p. 616-18.
-
-     Bender, Ewald, Deutsche Kunst um 1913, Zeitschrift für bildende
-     Kunst, new series 24, 1912-13, p. 287,302, with 1 illustration.
-
-     Bender, Ewald, F. A. Weinzheimer, Zeitschrift f. bildende Kunst,
-     new series XXIV, 1912-13, p. 305-8, with illustrations.
-
-     Benkard, Ernst A., Ferdinand Hodler, Zur Hodlerausstellung im
-     Frankfurter Kunstverein, Zeitschrift f. bildende Kunst, new series
-     XXIII, 1911-12, p. 7-12, with illustrations.
-
-     Beringer, Jos. Aug., Deutsche Kunstnöte, Süddeutsche Monatshefte,
-     XI, 1913-14, p. 198-208.
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-     Bernard, Emile, Erinnerungen an Paul Cézanne, Kunst und Künstler,
-     vol. VI, 1908, p. 421, 475, 521, with illustration.
-
-     Biermann, Hans Georg, Bernhard Hoetger, Kunst f. Alle, XXVIII,
-     1912-13, p. 385-96, with illustrations.
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-     Breuer, Robert, Max Pechstein, Deutsche Kunst u. Dekoration, XXIX,
-     1911-12, p. 423-36, with illustrations.
-
-     Corinth, Lovis, Die neueste Malerei, Pan, II, 1910-11, p. 432-7.
-
-     Denis, Maurice, Von Gauguin und Van Gogh zum Klassizismus, Kunst u.
-     Künstler, Berlin, VIII, 1910, p. 86-101, with illustrations.
-
-     Denis, Maurice, Edmund Cross, Kunst u. Künstler, Berlin, IX,
-     1910-11, p. 294-6.
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-     Dennert, Die Kunst der Urmenschen und der Allermodernsten, Der
-     Türmer, XVI, 1913, p. 296-301.
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-     Dreyfus, Alb., Paul Cézanne, Zeitschrift f. bildende Kunst, new
-     series XXIV, 1912-13; p. 197-206, with illustr.
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-     Eisler, Max, Die persönlichen Erinnerungen N. B. Mendes da Costa’s
-     an seinen Lateinschüler Vincent Van Gogh, Kunst und Künstler, X,
-     1911-12, p. 98-104, with illustrations.
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-     Fechter, Paul, Die Fortbildungen des Impressionismus, Deutsche
-     Kunst u. Dekoration, XXIX, 1911-12; p. 299-304.
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-     Fortlage, Arnold, Die internationale Ausstellung des Sonderbundes,
-     Cicerone IV, 1912, p. 547-56, with illustrations; Kunst f. Alle,
-     XXVIII, 1912-13, p. 84-93, with illustrations.
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-     Fortlage, Arnold, Georg Minne, Kunst f. Alle, XXVIII, 1912-13; p.
-     347-53, with illustrations.
-
-     Friedeberger, Hans, Zeichnungen von Max Pechstein, with
-     illustrations, Cicerone, V, 1913, p. 289-91.
-
-     Friedrich, Hans, Eine Analyse des Futurismus, Janus (München), II,
-     1, 1912-13, p. 173-7. Die Hinrichtung Paul Cézanne’s durch Max
-     Beckmann, Janus, II, 1, 1912-13; p. 362-4.
-
-     Futuristen und Genossen bei der Arbeit, Kunstwelt, II, 1912-13;
-     vol. 1, p. 189-91.
-
-     Gauguin, Paul, Vincent Van Gogh, Kunst u. Künstler, Berlin, VIII,
-     1910; p. 579-86, with 6 illustrations.
-
-     Hausenstein, Wilh., Vom Kubismus, Der Sturm, IV, 1913; p. 170-71.
-     Albert Weisgerber, Zeit im Bilde, XI, 1913; p. 2641-7; with
-     illustrations. Von der neuen Kunst Zum Sommerschau von 1913 im
-     Kunstsalon Goltz in München, Zeit im Bild, XI, 1913; p. 2185-92;
-     with illustrations.
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-     Holl, J. C., Après l’impressionnisme, Physionomie de l’art actuel,
-     La leçon de l’impressionnisme, XX Siècle, Paris.
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-     Michel, Wilh., Das Weltanschauliche der neuen Malerei, Deutsche
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-     Kandinsky, Ueber Kunstverstehen, Der Sturm, 1912, No. 129;
-     illustrated.
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-     Kandinsky, Für., Protest, Der Sturm, 1913, Nos. 150-5.
-
-     Kandinsky, Malerei als reine Kunst, Der Sturm, 1913; Nos. 178-9.
-
-     Klein, Rud., Futuristen, Deutsche Kunst u. Dekoration, XXX, 1912;
-     p. 274-77.
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-     Kuhn, Alfr., Eduard Mundt, Zeit im Bild, XI, 1903; p. 2999-3003;
-     illustrated.
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-     Léger, Fern., Les origines de la peinture contemporaine et sa
-     valeur représentative, Der Sturm, IV, 1913; Nos. 172-73.
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-     Märten, Lu., Vincent Van Gogh, Die Grenzboten, 72, 1913, I, p.
-     237-43.
-
-     Manifest der Futuristen, Der Sturm, 1912, No. 103.
-
-     Marc, Franz, Die neue Malerei, Pan II, 1, 1911-12; p. 468-71.
-
-     Die konstruktiven Ideen der neuen Malerei, Pan, p. 527-31.
-
-     Anti-Beckmann, Pan, p. 555-6.
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-     Markus, S., Die Kunst der Zukunft, Kunst für Alle, XXVIII, 1912-13,
-     p. 541-8; illustrated.
-
-     Meyer-Riefstahl, Rud., Paul Gauguin, Deutsche Kunst und Dekoration,
-     XXVII, 1910-11; p. 109-16; illustrated.
-
-     Michel, Wilh., Albert Weisgerber, Deutsche Kunst und Dekoration,
-     XXIX, 1911-12; p. 295-96; illustrated.
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-     Osborn, Max, Bernhard Hoetger, V. Collective Exhibition of Modern
-     Art by Hans Goltz, Munich, 1913; with many illustrations.
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-     Pechstein, Max, Was ist mit dem Picasso?, Pan, II, i, 1912; p.
-     665-9.
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-     Rivière, Jacques, Gauguin, translated from the French by Jean
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-     Rote, M. K., Pablo Picasso, Kunst für Aile, XXVIII, 1912-13; p.
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-
-     Bernhard Hoetger, Der Cicerone, V. 1913; p. 197-203; illustrated.
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-     Bewegungen in der neuen Kunst und ihre Aussichten, Kunst für Alle,
-     XXVIII, 1912-13; p. 292-305; illustrated.
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-     Rovere, Jean, Paul Cézanne; Erinnerungen, Kunst und Künstler, X,
-     1911-12; p. 477-86; illustrated.
-
-     Salmon, André, La jeune peinture française, Paris, 1912.
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-     Sch., K. E., Kubisten und Nazarener, Kunstchronik, new series,
-     XXIV, 1912-13; p. 113-4.
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-     13-14; illustrated.
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-     Die junge und die jüngste Malerei. (Glossen zur
-     Sonderbund-Ausstellung in Köln.) Vincent Van Gogh; Cézanne; Der
-     blaue Reiter, Deutsche Monatshefte, Düsseldorf, XII, 1912; p.
-     284-317-355.
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-     Schmidt, Max, Finke, Igc., Weiss, Konr., Eine Ausstellung des
-     Sonderbundes (at Düsseldorf), Hochland, XIII, 1, 1910-11; p. 245
-     and 516-17.
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-     Schmidt, Paul Ferd., Ueber die Expressionisten, Deutsche
-     Monatshefte, XI, 1911; p. 427-9.
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-     Die internationale Ausstellung des Sonderbundes in Köln 1912,
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-     St. K., Die Zukünftler, Der Türmer, XIV, 1912, II; p. 422-4.
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-     210-18.
-
-     Walser, Rob., Zu der Arleserin von Van Gogh, Kunst und Künstler, X,
-     1911-12; p. 442-5.
-
-     Werth, Léon, Aristide Maissol, Kunst für Alle, XXVI, 1910-11; p.
-     276-82; illustrated.
-
-     Zukunft, Die, der deutschen Kunst. Eine Umfrage, Die Kunstwelt,
-     vol. 3 (1913), first issue; p. 19-33. Contains the answers given by
-     German artists and other well known personages to the following
-     questions put to them by the editor of the Kunstwelt:
-
-     1. How are you impressed by the creations of the latest schools of
-     art--the primitivists, the cubists, the futurists, the
-     expressionists?
-
-     2. Do you believe that in these directions or in one of them the
-     future of German art must be looked for?
-
-
-REPRODUCTIONS OF FUTURIST AND CUBIST PAINTERS--PORTFOLIOS:
-
-     Cézanne Mappe; München; R. Piper & Co., 1912; 15 reprod.
-
-     Ehrenstein, A., Tubutsch. 12 drawings by O. Kokoschka. Wien; Jokoda
-     & Siegel, 1911.
-
-     Engert, Seven Drawings; H. P. S. Bachmann, 1913; 8°.
-
-     Gauguin Mappe, München; Piper, 1913. 15 reproductions.
-
-     Genin, Robert, Figürliche Kompositionen; 20 original drawings on
-     stone. München, Delphin Verlag, 1912.
-
-     Hodlermappe, München; Piper, 1913.
-
-     Kandinsky Album, 1901-1913; 80 full page reproductions of paintings
-     by Kandinsky with text written by himself. Berlin, Verlag der
-     Sturm, 1914.
-
-     Kokoschka, Oskar, Dramen und Bilder. Leipzig, Kurt Wolff, 1913.
-
-     Kokoschka, Oskar, 20 drawings. Berlin, Verlag der Sturm, 1913.
-
-     Reinhardt, Sig., Simson; 43 pen and ink sketches. München, 1913.
-
-     Schwalbach, Karl, 10 original lithographic drawings. München,
-     Delphin Verlag, 1913.
-
-     Senna, 15 original lithographic drawings by the artists’
-     association Senna. München, Delphin Verlag, 1912.
-
-     Van Gogh Mappe, München; Piper, 1912.
-
-
-
-
-INDEX
-
-
-Academic attitude, 61
-
-Advertising, art of, 171-172
-
-Age and new experiments, 66
-
-Alexander and Sargent, 199;
-  Van Rees, 199;
-  post-Impressionistic, 199
-
-America and virile Impressionism, 191;
-  new movement in 48;
-  what is happening in, 191
-
-Americans, as dreamers, 192
-
-Anderson, 1
-
-Apollinaire, 67, 81
-
-Arrangements, 14
-
-Arteries, sclerosis of, 62
-
-Archipanko, 204;
-  his Family Life, 205
-
-Architecture, sky-scrapers, 199
-
-Art, archaic and primitive, 78;
-  attitude of observer and producer, 87;
-  attitude of observer, 127;
-  conflict between old and new, 156;
-  continuous, 110;
-  creative, 30;
-  creative work by certain Americans, 196-197;
-  criticism, professional, 9-10;
-  currents in, 33;
-  decorative, correspondence regarding cubist pictures, 50-52;
-  definition of, 87-88;
-  expression of inner self, 112;
-  extravagances in, 34;
-  evolution of new movement, 11;
-  gains from controversy, 58, 59;
-  in offices, 161;
-  is cubism art? 86-87;
-  its relation to life, 198-199;
-  jargon, 9-10; laws of, 106;
-  modern expression of inner self, 11;
-  modern pictures in newspaper office, 160;
-  movement from studio to nature and back again, 14, 15;
-  movements from perfections to imperfections, 9;
-  movements of recent years, 60;
-  movements in, 8;
-  new movement a spiritual offering, 115;
-  new movements in relation to origin of art, 111;
-  new movements profoundly interesting, 108;
-  objective, 90;
-  on the horse-block, 7;
-  part played by subject,
-159;
-  philosophy of movements in, 20;
-  private galleries graveyards of, 160;
-  revolution in, 3;
-  ridicule of great men by their own generations, 8;
-  sign of life is flux, 60;
-  subjective, 90;
-  thrives on controversy, 1;
-  ugliness in new pictures, 154;
-  works of observation and works of imagination, 14-15
-
-
-Barbizon school and later developments, 11-12;
-  imaginative, 30;
-  its method, 15
-
-Barnard, 203
-
-“Bathsheba,” record of sales, 6, 7
-
-Baum, 111
-
-Beautiful, our notions of the, 155-156
-  (see also Ugliness)
-
-Bechtejeff, 47, 111
-
-Bell, Mrs., 48
-
-Bellows, 1
-
-Berlin, new movement in, 47
-
-Bernard, 36, 43
-
-Blaue Reiters, organization of, 112
-
-Blue Riders, 55
-
-Boccioni, 179;
-  exhibition in Paris, 184-185
-
-Borghlum, 203
-
-Borgmeyer, 21
-
-Bossi, 111
-
-Bourget, Paul, style obsolete, 170
-
-Bracque, 47, 112
-
-Brancusi, 182, 204;
-  article on his sculpture, 183;
-  “Sleeping Muse,” 182-183
-
-Bloch, 115
-
-Books in French and German, 107
-
-Breton, protest against Cubist pictures, 51
-
-Brinley, 1
-
-Browning clubs, 108
-
-Browning, ridicule of, 60
-
-Burljuk, 47, 112
-
-
-Cardoza, 200
-
-Carter, 64
-
-Cézanne and Cubism, 43, 81;
-  and Gauguin, 42;
-  leaders of Post-Impressionism, 28;
-  a painter’s painter, 209;
-  and substance of things, 35;
-  a substantial Impressionist, 208-210;
-  and the Impressionists, 35;
-  career of, 36;
-  compared with Monet, 195;
-  method of work, 36-37;
-  scientific theories, 43
-
-Chabaud and Millet, 15
-
-Charmy, 200
-
-_Chicago Tribune_, article on London Exhibition, 55
-
-Chicago Symphony Orchestra, 9
-
-Chilton-Brock, 30, 31, 40
-
-Chinanpin, 147-149
-
-Chinese art, blue hair, 151;
-  esoragoto, 147
-
-Chinese painting, 30;
-  four warnings, 153;
-  perspective in, 78;
-  principles of, 147-149
-
-Cinematograph, secret of popularity, 170-171
-
-Civilization, material and spiritual, 144
-
-Clarke, 1
-
-Color, compositions of, 91;
-  effects in theater, 142-143;
-  harmonies, 12, 95, 146;
-  in offices, 162;
-  music, 140-146 (see Music);
-  notes of in still lifes, 145
-
-Colors used arbitrarily, 151-152;
-  used constructively, 37-38, 42;
-  used decoratively, 93, 144-5;
-  used imitatively, 93, 146
-
-Color waves, 143
-
-Columbian Exposition, 1, 3
-
-Compenetration of planes in Futurism, 185-186
-
-Compositionalists, 13
-
-Compositional painting, 124-128;
-  no radical departure, 137
-
-Conservative and radical tendencies in exhibitions, 57, 58
-
-Convictions, the courage of, 7-8
-
-Corot, ridiculed in France, 8
-
-Courbet and followers, 11-12, 17
-
-Cramer, 49
-
-Creative art, 30
-
-Critic, the ideal art critic, 134
-
-Criticism of great masters, 155-156;
-  rage against great painters, 11, 12;
-  two comments, 214-220;
-  violent, 61
-
-Cubism, and broad technic, 80;
-  and Futurism, 173-174;
-  and geometrical figures, 80-81;
-  a misleading term, 82;
-  and sincerity, 158;
-  and the substance of things, 98;
-  attitude of observer, 32;
-  derivation of name, 67;
-  development and exhibitions of, 67-68;
-  drawings by first year art students, 73;
-  effect on American art, 109;
-  explanation of by Picabia, 95-98;
-  explained by music, 106;
-  Gleizes and Metzinger’s book, 103;
-  is it art? 86-87;
-  its technical side, 72;
-  largely esoragoto, 158;
-  no object to help out picture, 159;
-  not a plea for, 65;
-  “Nude Descending the Stairs,” 164;
-  one form of prevailing reaction, 31;
-  significance of new movement, 66;
-  the different tendencies described, 68-70;
-  the elemental in, 78;
-  the theory of, 90;
-  transparency of objects, 180-182;
-  two extremes, 69;
-  what is it? 60;
-  when a puzzle, 69;
-  will pass away,67
-
-Cubists, American, 48;
-  and El Greco, 110;
-  and certain American painters, 60;
-  child-like faith of, 109;
-  esoragoto, 147;
-  free to express themselves in their own way, 103-107;
-  getting away from cubes and angles, 82-83;
-  impression of New York, 96-97;
-  in business or profession, 62;
-  more favorably considered, 55, 56;
-  mostly young men, 108-109;
-  named by Matisse, 22;
-  nothing strange in their theories, 63;
-  protest against pictures, 50;
-  quotation from Plato, 102;
-  see nothing in Futurism, 59;
-  too serious, 158;
-  understanding them, 83-85
-
-
-Dabo, 1
-
-Dasburg, 49
-
-Davidson, 1, 203
-
-Davies, 1, 201;
- a creative painter, 196
-
-Decoration and pictures, 159;
-  of offices, 162-163
-
-Delauney, 47
-
-Denissow, 47
-
-Derain, 28, 47, 112;
-  “Forest at Martigues,” 69
-
-DeZayas, 98
-
-Dove, 48
-
-Drawing, modern men are masters of, 130
-
-Dresden, new movement in, 47
-
-DuBois, 1
-
-Duchamp, “Chess Players,” 68, 71;
-  “King and Queen,” 70, 71;
-  “Nude Descending the Stairs,” 164
-
-Dufy, 47
-
-Durand-Ruel, 22, 23, 24
-
-Durer, elemental lines in human figure, 73-77
-
-Duret, 12, 21
-
-
-Emotions, painting of, 11, 92, 102;
-  sclerosis of, 62
-
-England, new movement in, 47-48
-
-Erbsloh, 111
-
-Esoragoto, 147-153;
-  all great paintings are, 150
-
-Etchells, 48
-
-Exhibitions at 291 Fifth Ave., 211-213;
-  by Impressionists, 21-26;
-  independent, 194;
-  Morgan, pictures in Metropolitan Museum, 198-199
-
-Extremists in art, 2-3
-
-
-Fauvism, what it means, 47
-
-Ferguson, 47
-
-Ferment of new ideas, 4
-
-Fiction, future development of, 171
-
-Fischer, 38, 72, 112
-
-Freedom to express one’s self, 103-107
-
-French, 204
-
-Friesz, 28, 47
-
-Fry, Roger, 48, 116;
-  article on Brancusi, 183
-
-Fry, S. E., 1
-
-Futurism, 164-189;
-  development of, 165;
-  exhibition of sculpture, 184-185;
-  first exhibition in London, 175;
-  manifestoes of, 165-180;
-  manifestoes not to be accepted too literally, 188-189;
-  pictures and theories extreme, 166;
-  sculpture, 182-186;
-  theory of, 165;
-  theory of literature, 167-172;
-  theory of sculpture, 185-186;
-  transparency of objects, 176-179, 180-182
-
-Futurists, and reaction, 32;
-  patriotism of, 189-196;
-  see nothing in Cubism, 59
-
-
-Gauguin, 37;
-  a dreamer, 42;
-  and Strindberg, 41-42;
-  career, 40-42
-
-Genin, 47
-
-Gill, 48
-
-Girieud, 47, 111
-
-Glackens, 1
-
-Gleizes and Metzinger’s book, 103
-
-Gleizes, “Man on the Balcony,” 70
-
-Gore, 48
-
-Grant, 48
-
-Graveyards of art, private galleries as, 160
-
-Great artist, quality of, 26, 27
-
-Greek painting, portraits, 113
-
-Greek sculpture, painted, 152
-
-Grieg, 106-107
-
-
-Haller, 112
-
-Hearn collection in Metropolitan Museum, 198-199
-
-Hegel, philosophy of art, 20
-
-Henri, 1;
-  a virile Impressionist, 193
-
-Hoetger, 112
-
-Hofer, 111
-
-Hokusai, terra cotta horse, 152
-
-Homer, a virile Impressionist, 192;
-  absorbed his subjects, 149;
-  his technic, 79;
-  work compared with recent pictures, 198
-
-
-Ideals, demand for, 31
-
-Ideas, accepting ready made, 64
-
-Imagination and observation in art, 14-15
-
-Impressionism (see Virile Impressionism);
-  American, 193;
-  and Monet, 34;
-  definition of term, 28;
-  different forms of, 195-196;
-  growth of, 19;
-  of Les Fauves, 33;
-  method of, 16;
-  realistic, and the great portrait painters, 208;
-  realistic leads to, 207-208;
-  substantial leads to, 208-210;
-  substantial, leads to Post-Impressionism, 210;
-  summing up of, 207;
-  superficial leads to, 207
-
-Impressions, reaction to, 62-63
-
-Impressionists, 11;
-  and Futurists, we all are at times, 62;
-  derivation of name, 21;
-  early exhibitions of, 21-26
-
-Impressionist pictures bought by Chicago woman, 27
-
-International Exhibition, 1, 3, 4, 26;
-  coincided with other upheavals in life, 65;
-  effect of on society, 7;
-  indignation of older men, 194;
-  no Futurist pictures, 164;
-  plenty of ugly pictures in, 157;
-  younger men curious, 194-195
-
-
-Jakulof, 47
-
-James, Henry, style obsolete, 168
-
-Japanese art esoragoto, 147;
-  painting bamboo forest, 150;
-  sumi, 150;
-  perspective in, 78;
-  principles of, 147-149
-
-Jargon in art and other departments of thought, 10
-
-Jawlensky, 47, 110, 111, 113
-
-Johnson, 49
-
-_Journal_, Reno, Nevada, editorial from, 217
-
-
-Kahler, 112
-
-Kanabe, 47
-
-Kandinsky, 111, 112;
-  and Turner, 29;
-  article in “Der Blaue Reiter,” 131-135;
-  estimate by other artists, 138, 139;
-  extreme in theories and work, 115;
-  his improvisations, 116;
-  his pictures in London exhibition, 116;
-  his writings, 107;
-  Improvisations, 124-128;
-  letters from, 124-128;
-  personal letter regarding his development, 135-137;
-  praised by a critic, 116-117;
-  spiritual values and necessities, 133-135;
-  qualifications and theories, 117-128
-
-Kanoldt, 111
-
-Kantsch, 47
-
-Koga, 111, 114
-
-Kramer, 1
-
-Kroll, a virile Impressionist, 195, 196
-
-Kuhn, 1
-
-Kuznezoff, 47
-
-
-Lempué, letter from, 50
-
-Larionoff, 47
-
-Laurencin, 47
-
-Laughing at what is strange, 63
-
-Laughter at the pictures, 7-8
-
-Laurvik, 86
-
-Lawson, 1
-
-Lee, 49
-
-Le Fauconnier, 111
-
-LeFitz Simons, 20
-
-Lehmbruck, 182
-
-Les Fauves, 33, 37
-
-Lewis, 47, 48
-
-Lewis, 48
-
-Lie, 1
-
-Life and rhythm, 8
-
-Life, romantic and realistic periods of, 18-19
-
-Light, painting of, 11
-
-Light, waves, 143
-
-Literature, objectionable books, 157
-
-Lloyd, George, 62
-
-London, Allied Artists’ Exhibition, 183;
-  first exhibition of Futurism, 175
-
-Luks, 1
-
-
-MacMonies, 204
-
-Manet, a realistic Impressionist, 207-210;
-  and followers, 11-12;
-  studio painter, 17
-
-Marc, 112, 115
-
-Marinetti, 165
-
-Marquet, 47
-
-Maschkoff, 47
-
-Materialism and idealism, 18-19
-
-Matisse, 28, 37;
-  career of, 43-47;
-  element of ugliness in, 157;
-  inevitable after Bouguereau, 157;
-  “Madras Rouge,” 113;
-  sculpture, 202;
-  theories of, 44-47
-
-McFee, 49
-
-McRae, 1
-
-Metropolitan Museum, 26
-
-Metzinger, 47
-
-Millet, a subject painter, 14;
-  and Chabaud, 15;
-  and others ridiculed by Paris, 8;
-  manner of working, 16
-
-Miller, Kenneth, a creative painter, 196
-
-Mogilewsky, 112
-
-Monet, a superficial Impressionist, 207-210;
-  and painting of light, 29;
-  and surface of things, 35
-
-Morgan Exhibition in Metropolitan Museum, 198-199
-
-Mourey, protest against Cubist pictures, 52
-
-Movements in art, 8, 19;
-  never devoid of force, 53;
-  new in music, drama, etc., 30-31
-
-Munich, atmosphere of compared with that of Paris, 111;
-  new movement in, 47;
-  Secessionists, 55;
-  the new art in, 110
-
-Münter, 111, 112, 114
-
-Müther, 16
-
-Music and painting, development of, 92-94
-
-Music, changes of appreciations in, 9;
-  Chinese, 128-129;
-  color organ, 140-146;
-  Greek, 128-129;
-  imitative, 106-107;
-  in color, 140-146;
-  of Schoenberg, 9;
-  Oriental, 128-129;
-  Russian Ballet, 9;
-  sound waves, 143;
-  understood in different ways by different hearers, 84-85;
-  used to explain, 106-107
-
-Myers, 1
-
-
-Nankivell, 1
-
-National Academy in New York conservative, 57
-
-Nature is living spirit, 134
-
-Neo-Cubists, 67
-
-Neo-Impressionists, 13;
-  logical outcome of Impressionism, 27
-
-New and strange, average man bewildered by, 153
-
-New ideas and work, 5
-
-Newspaper, pictures in editorial room of, 160
-
-New York, impressions by a Cubist, 96-97
-
-Nieder, 112
-
-Nocturnes, 14
-
-
-Objects flow through one another (see chapter on Cubism)
-
-Objective art, 90
-
-Observation and imagination in art, 14-15
-
-Offices, decoration of, 162;
-  pictures in, 161
-
-Official exhibitions and independent, value of, 57
-
-Old and new men, 4, 5
-
-Old masters and the new art, 110
-
-Old masters, works belong to public, 6
-
-Opera not understood, 83-84
-
-Orphists, 60;
-  theory of, 90-91
-
-Organ, for color music, 140-146
-
-
-Pach, 1
-
-Painters like inventors, 19-20
-
-Painting, a terrible problem, 2;
-  and music, development of, 92-94;
-  and sculpture compared, 187-188;
-  in France, 19th century, 12
-
-Paris compared with Munich, 111
-
-Peploe, 47
-
-Perfections of Impressionism to imperfections of Post-Impressionism, 9
-
-Perfection unattainable, 1
-
-Periods in work of artist, 20
-
-Photo-Secession Gallery, 1
-
-Picabia, calls Cubism a misnomer, 82;
-  comparison made by, 91-92;
-  “Dance at the Spring,” 68;
-  explanation of abstract painting, 95-97;
-  impressions of New York, 96-97
-
-Picasso, 47, 112;
-  changes in style, 67;
-  his development, 100-101;
-  his theory, 98-100;
-  “Woman and the Pot of Mustard,” 68;
-  “Woman with a Mandolin,” 123
-
-Pictures, easel, 144
-
-Planes, as used by Picasso, 101;
-  drawing in, 73-78;
-  illustrated in modelling an orange, 80
-
-Plato, quotation from, 102
-
-Pointillists, 28
-
-Porter, 1
-
-Portrait painting and cubism, 159;
-  and the modistes, 95;
-  the average, 159
-
-Post-Cubists, 67
-
-Post-Impressionism, 11;
-  aim of, 30;
-  and reaction, 30;
-  fundamentally different from Impressionism, 27, 28;
-  what it means, 11;
-  Exhibition in London, 55
-
-Prendergast, 1
-
-Prices, absurd for old masters, 6-7;
-  of famous Impressionist pictures, 22-26
-
-Private buyer, his opportunity, 6
-
-Progressive Political Convention, 4
-
-Progressive Political Party, 66
-
-Protest, a futile, 50
-
-Public instinctively feels, 158
-
-Public, normal attitude toward new pictures, 156
-
-Reaction in art, 2
-
-Realism and Courbet, 12
-
-Redon, 47
-
-Rembrandt, sale of “Bathsheba,” 6-7;
-  overpriced, 60
-
-Resilient, men who are, 62
-
-Revolutionary movements, interest in, 66
-
-Ridicule, of famous Impressionists, 22-26;
-  of the strange, 65;
-  which greeted great masters, 21
-
-Rimington, 140-146
-
-Rodin, 35, 182;
-  attitude towards sculpture, 203;
-  his Balzac purely Post-Impressionistic, 79;
-  his technic, 79
-
-Rohland, 49
-
-Romanticism, 12
-
-Royal Academy in London conservative, 57
-
-Rousseau, 37
-
-Rouault, 112
-
-Russia, new movement in, 47
-
-Russian Ballet, 9
-
-Ruskin, opinion of Wagner, 61
-
-Russolo, 179
-
-Rutter, 3, 28, 42
-
-
-Sacharoff, 111
-
-Salmon, 43
-
-Salon d’Automne, 54;
-  exhibition 1912, 50
-
-Salon des Refuses, 11
-
-Salon d’Independants, plan of, 56
-
-Salons grow conservative, 57
-
-Sargent, a virile Impressionist, 193;
-  and Alexander, 199;
-  and Whistler, 193;
-  his technic, 79;
-  tired of portrait painting, 102
-
-Sarjan, 47
-
-Schalowsky, 47
-
-Schereczowa, 47
-
-Schnabel, 111
-
-Schools, effect of, 137, 138
-
-Sculpture, 202-205; (see Futurism);
-  American, 203-204;
-  compared with painting, 187-188;
-  creative works, 204-205;
-  developments in, 202-203;
-  Futurist (see Futurism);
-  Greek, 203;
-  Matisse, 202;
-  observation and imagination in, 204;
-  painted, 152;
-  primitive element in, 206;
-  Rodin, 203;
-  spiritual element in, 205;
-  work of Brancusi and Archipanko, 204
-
-Secessionists, Munich, 55
-
-Segonzac, 200
-
-Seguin, 42
-
-Shaw, Bernard, a reactionary, 170
-
-Sky-scrapers, 199
-
-Sloan, 1
-
-Société des Artistes Francais, 53-54
-
-Société des Artistes Independents, 54
-
-Société Nationale des Beaux-Arts, 53-54
-
-Sound waves, 143
-
-Sousa Cardoza, 85
-
-St. Gaudens, 204
-
-Stieglitz, 1, 116;
-  his exhibitions, 211-213
-
-Still lifes, 94, 145
-
-Story-telling pictures, 14
-
-Strauss and other composers, 9
-
-Strindberg and Gauguin, 41-42
-
-Striving as an element of vitality, 89
-
-Studios, art and nature art, 14;
-  mostly ugly, 95
-
-Subjective art, 90
-
-Subjects in painting, 13-14
-
-Substance of things difficult to paint, 98
-
-Sudbinin, 112
-
-Symphonies, 14
-
-Synchronists, 60
-
-
-Taste, attitude of public normal, 156;
-  change in public taste, 55-56;
-  changes from decade to decade, 155-156
-
-Taylor, 1
-
-Theater, Cubists, Futurists, etc., in, 64;
-  color effects in, 142-143;
-  future development of play, 170-171
-
-Things, painting of, 11
-
-_Times_, London, editorial from, 214
-
-Times ripe for a change in art, 9
-
-Tolerance, a plea for, 65
-
-_Tribune_, Chicago, article on London Exhibition, 55
-
-Tucker, 1
-
-Turner and light effects, 28;
-  forerunner of Impressionism, 13;
-  his strange pictures, 29;
-  ridiculed in England, 8
-
-
-Ugliness, 154-163;
-  a matter of taste, 154-156;
-  and superb technic, 156;
-  a realism, 158;
-  a touchstone for taste, 157;
-  great masters thought ugly, 155-156;
-  in sculpture, 205-206;
-  Matisse, 157
-
-
-Van Dongen, 47, 112
-
-Van Gogh, 37;
-  letters of, 40
-
-Verhoeven, 47
-
-Virile Impressionism, 191-201;
-  glorious future for, 209-210;
-  material and practical, 192;
-  outcome of substantial Impressionism, 209-210
-
-Visual music, 117
-
-Vitality, a new art, 154
-
-Vlaminck, 47, 112, 200
-
-
-Wagner and Ruskin, 61;
-  Ruskin’s ridicule, 60
-
-Werefkin, 47, 111, 114
-
-Whistler, 4, 11;
-  as a Post-Impressionist, 18;
-  as an Impressionist, 18;
-  and Sargent and realistic Impressionism, 208;
-  compared with Sargent, 193;
-  forerunner of Post-Impressionism, 13;
-  his literal moods, 17;
-  master of technic, 14;
-  on level with Chinese masters, 103;
-  suit against Ruskin, 13
-
-Whitman, ridicule of, 60
-
-Wittenstein, 111
-
-
-Young, 1
-
-Youth, and new experiments, 66;
-  radicalisms of, 61
-
-
-Zak, 200
-
-Zorach, 49
-
-
-FOOTNOTES:
-
-[1] The names of the men who, in a spirit of disinterested devotion
-to art, organized this exhibition should not be forgotten. They were:
-Arthur B. Davies, J. Mowbray Clarke, Elmer L. McRae, Walt Kuhn, Karl
-Anderson, George Bellows, D. Putnam Brinley, Leon Dabo, Jo Davidson,
-Guy Pene DuBois, Sherry E. Fry, William J. Glackens, Robert Henri, E.
-A. Kramer, Ernest Lawson, Jonas Lie, George B. Luks, Jerome Myers,
-Frank A. Nankivell, Bruce Porter, Walter Pach, Maurice Prendergast,
-John Sloan, Henry Fitch Taylor, Allen Tucker, Mahonri Young.
-
-For detailed account of earlier exhibitions held by Mr. Alfred
-Stieglitz--the real pioneer--in the Photo-Secession Gallery, 291 Fifth
-Ave., New York, see Appendix.¹
-
-[2] “Revolution in Art,” by Frank Rutter, pp. 14, 15.
-
-[3] Five short pieces of the music by Arnold Schoenberg were played for
-the first time in Chicago, December 31, 1913, by the Chicago Symphony
-Orchestra.
-
-“Had Mr. Richard Swiveller been present at the performance of the new
-Stravinsky-Nijinsky ballet, ‘Le Sacre du Printemps,’ at Drury Lane
-on Friday night he would certainly have pronounced it ‘a staggerer.’
-Both the music of M. Stravinsky and the choreography of M. Nijinsky
-are more defiantly anarchical than anything we have ever had before,
-and the purport of it all was a dark mystery, even though Mr. Edwin
-Evans was deputed to throw light on it in a long explanatory prologue.
-As every one knows by this time, M. Nijinsky is the apostle of a sort
-of ‘post-impressionist’ or ‘Cubist’ revolution of the dance, in which
-mere gracefulness is ruthlessly sacrificed to significance and force of
-expression, and everything is stated in terms of symbolism, and in the
-new ballet he seems to have carried his theories into the most extreme
-practice.... M. Stravinsky seems as determined to make the hearer sit
-up as his colleague. Save that he condescends to regular rhythms, his
-music is the last word in emancipation from form and the cacophony of
-it is at times distressing.”--(London Sunday Times, July 13, 1913, from
-its article on the new Russian ballet, the sensation of the season.)
-
-[4] “Manet and the French Impressionists,” by Theodore Duret,
-Introduction.
-
-[5] Testimony of Whistler in suit of “Whistler v. Ruskin.”
-
-[6] How little the world cared for Millet when he lived is a matter of
-history. He painted his greatest pictures in a room without a fire, in
-straw shoes, and with a horse blanket on his shoulders, and often he
-and his wife went without food. “All his efforts to exhibit in Paris
-were in vain. Even in 1859, ‘Death and the Woodcutter’ was rejected by
-the Salon. The public laughed, being accustomed to peasants in comic
-opera, and, at best, his pictures were honored by a caricature in a
-humorous paper.” His pictures brought from fifty to sixty dollars.
-
-[7] “History of Modern Painting,” Richard Muther, Vol. II, pp. 487-8.
-
-[8] “The New Movement in Art from a Philosophical Standpoint,” by Theo.
-LeFitz Simons.
-
-[9] See “Manet and the French Impressionists,” by Duret, p. 112 _et
-seq._, and a readable article, “The Master Impressionists,” by C. L.
-Borgmeyer, in “Fine Arts Journal” for March, 1913.
-
-[10] April 25, 1874.
-
-[11] “Library Gazette,” May 14, 1842, p. 331.
-
-[12] “Athenaeum,” May 14, 1842, p. 433.
-
-[13] “Revolution in Art,” by Frank Rutter, p. 17, 18.
-
-[14] The interest expressed in much impressionist painting is only an
-interest of curiosity. The painter represents facts that he has only
-just noticed. He is like a clever journalist who makes an article
-out of his first observations of a new country. But the aim of the
-Post-Impressionist is to substitute the deeper and more lasting
-emotional interest for the interest of curiosity.
-
-Like the great Chinese artists, they have tried to know thoroughly
-what they paint before they begin to paint it, and out of the fulness
-of their knowledge to choose only what has an emotional interest for
-them. Their representations have the brevity and concentrated force of
-the poet’s descriptions. He does not go out into the country with a
-note-book and then versify all that he has observed. His descriptions
-are often empty of fact, just because he only tells us what is of
-emotional interest to himself and relevant to the subject of his poem;
-and they are justified, not by the information they convey, but by
-the emotion they communicate through the rhythm of sound and words.
-The Post-Impressionists try to represent as the poet describes. They
-try to give every picture an emotional subject-matter and to make all
-representation relevant to it.
-
-“The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,”
-January, 1911.
-
-[15] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington
-Magazine,” January, 1911.
-
-[16] In another book, “The New Competition,” the writer has attempted
-this in relation to business and economics.
-
-[17] “Souvenirs Sur Paul Cézanne,” by Emile Bernard, 1912.
-
-[18] “Das Neue Bild,” Otto Fischer, 11-12. Several of the half-tone
-reproductions which we use are from this work on Munich art.
-
-[19] “The Post-Impressionists,” by A. Chilton-Brock, “Burlington
-Magazine,” January, 1911.
-
-[20] “Revolution in Art,” by Frank Rutter, p. 27.
-
-[21] “Paul Gauguin,” by Michael Puy, “L’Art Décoratif,” April, 1911.
-
-[22] “Revolution in Art,” by Frank Rutter, 32-33. Now that the
-great Swedish dramatist, and pessimist, is becoming known to the
-English-speaking world, these words of Gauguin’s are singularly
-interesting--and just.
-
-[23] See “Paul Gauguin,” by Armand Seguin, “L’Occident,” March, April,
-and May, 1903.
-
-[24] “Souvenirs of Paul Cézanne,” by Emile Bernard, p. 36.
-
-[25] See “Laws of Japanese Painting,” Henry P. Bowie, by long odds the
-best book in English on the subject.
-
-[26] See “La Jeune Peinture Française,” pas. André Salmon, pp. 18, 19.
-
-[27] “La Jeune Peinture Française,” André Salmon, p. 19.
-
-[28] From an article and interview by C. T. MacChesney, printed in the
-“New York Times,” March 9, 1913.
-
-[29] See “Le Jeune Peinture Française,” André Salmon, 1912.
-
-[30] “Der Blaue Reiter,” p. 5.
-
-[31] See “Der Blaue Reiter,” pp. 17, 18.
-
-[32] “L’Art Décoratif,” Nov. 1912.
-
-[33] See “The New Spirit in Drama and Art,” by Huntley Carter.
-
-[34] This and the following chronological information are from “Les
-Peintres ‘Cubistes,’” by Guillaume Apollinare, 22 _et seq._
-
-[35] “Les Peintres ‘Cubistes,’” pp. 24-26.
-
-[36] “Das Neue Bild,” Otto Fischer, pp. 12-13.
-
-[37] See “The Mask,” Vol. VI, pp. 64-75.
-
-[38] “Les Peintres ‘Cubistes,’” Guillaume Apollinare, p. 15.
-
-[39] “Is It Art? Post-Impressionism, Cubism, Futurism,” by J. N.
-Laurvik. The sub-title is obviously confusing, since Post-Impressionism
-includes all the developments following Impressionism.
-
-[40] “Delight; the Soul of Art,” p. 9 et seq.
-
-[41] “Delight; the Soul of Art,” lecture V, “Delight in Labor.”
-
-[42] From “An Interview with Francois Picabia,” in the “New York
-Tribune.”
-
-[43] J. N. Laurvik, in “Boston Evening Transcript.”
-
-[44] “Cubism,” Gleizes and Metzinger (Eng. Edition).
-
-[45] “Das Neue Bild,” by Otto Fischer, pp. 22, 23.
-
-[46] “Das Neue Bild,” p. 34.
-
-[47] It was purchased by Mr. Alfred Stieglitz.
-
-[48] Roger Fry in “The Nation,” August 2, 1913.
-
-[49] Second edition, Munich, R. Piper & Co., 1912.
-
-[50] “Der Sturm,” Berlin.
-
-[51] See pages 87-88 for quotation from “Delight; the Soul of Art.”
-
-[52] It should be stated that the brilliant colors of the original are
-very inadequately shown in the reproduction for the reason the painting
-is so large it does not reproduce well so small.
-
-[53] “The History of Music,” Emil Nauman, Vol. 1, p. 7 _et seq._
-
-[54] See “Sensations of Tone,” Helmholtz, Eng., Edit., p. 258.
-
-[55] Helmholtz, p. 258.
-
-[56] Ibid., p. 265.
-
-[57] For a scientific investigation of Siamese and Japanese scales, see
-additions to English edition of Helmholtz, “Sensation of Tone,” p. 556.
-
-[58] “History of Music,” Nauman, Vol. I, p. 10.
-
-[59] Ibid., Vol. I, p. 12.
-
-[60] By Mr. A. W. Rimington, Professor of Fine Arts at Queen’s College,
-London. See his book, “Color Music.”
-
-[61] “On the Laws of Japanese Painting,” by Bowie, p. 55.
-
-[62] “On the Basis of Japanese Painting,” Bowie, pp. 77-79.
-
-[63] Signor Marinetti is the founder of the school; he is not a
-painter, but a writer, editor of “Poesia.” He is a young man and
-is followed by a small band of young enthusiastic writers, poets,
-musicians, painters, sculptors, whose innovations strike even the
-cubists as wild extravagances. In fact, Futurism and Cubism have
-very little in common except innovation; both are revolutionary but
-otherwise diametrically opposed in many of their aims and theories.
-
-[64] Before seeing any of the Futurist literature and influenced only
-by developments in the printing of newspapers and periodicals in
-America, the writer caused a book on an economic subject to be printed
-in such a manner that, so far as possible, each page displayed on
-its face its contents. The attempt was made to so break up the pages
-and so use italics and capitals that the task of the reader would
-be lightened. The attempt attracted the very favorable attention of
-reviewers, several remarking that “the arts of the advertiser had been
-used to display the ideas”--and that was true.
-
-[65] From an article by Ray Nyst, a Belgian critic in “La Belgique
-Artistique et Libraire.”
-
-[66] Writer in “The Times-Democrat,” New Orleans.
-
-
-
-
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-<div style='text-align:center; font-size:1.2em; font-weight:bold'>The Project Gutenberg eBook of Cubists and Post-impressionism, by Arthur Jerome Eddy</div>
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-This eBook is for the use of anyone anywhere in the United States and
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-country where you are located before using this eBook.
-</div>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Cubists and Post-impressionism</div>
-
-<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: Arthur Jerome Eddy</div>
-
-<div style='display:block; margin:1em 0'>Release Date: March 27, 2021 [eBook #64936]</div>
-
-<div style='display:block; margin:1em 0'>Language: English</div>
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-<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div>
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-<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Turgut Dincer, Chuck Greif and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive)</div>
-
-<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK CUBISTS AND POST-IMPRESSIONISM ***</div>
-<hr class="full" />
-
-<p class="figcenter">
-<a href="images/frontcover.jpg">
-<img src="images/frontcover.jpg"
-height="600" alt="[Image of
-the book's cover unavailable.]" /></a>
-</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary=""
-style="border: 2px black solid;margin:1em auto 1em auto;max-width:50%;
-padding:1%;">
-<tr><td>
-<p class="c"><a href="#CONTENTS">Contents.</a><br />
-<a href="#APPENDIX_I">Appendix I</a><br />
-<a href="#APPENDIX_II">Appendix II</a><br />
-<a href="#BIBLIOGRAPHY">Bibliography</a><br />
-<a href="#INDEX">Index</a>:
-<a href="#A">A</a>,
-<a href="#B">B</a>,
-<a href="#C">C</a>,
-<a href="#D">D</a>,
-<a href="#E">E</a>,
-<a href="#F">F</a>,
-<a href="#G">G</a>,
-<a href="#H">H</a>,
-<a href="#I-i">I</a>,
-<a href="#J">J</a>,
-<a href="#K">K</a>,
-<a href="#L">L</a>,
-<a href="#M">M</a>,
-<a href="#N">N</a>,
-<a href="#O">O</a>,
-<a href="#P">P</a>,
-<a href="#R">R</a>,
-<a href="#S">S</a>,
-<a href="#T">T</a>,
-<a href="#U">U</a>,
-<a href="#V-i">V</a>,
-<a href="#W">W</a>,
-<a href="#Y">Y</a>,
-<a href="#Z">Z</a></p>
-<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
-clicking on the image will bring up a larger version.)</span></p>
-<p class="c">Some minor typographical errors have been corrected.</p>
-
-<p class="c">(etext transcriber's note)</p></td></tr>
-</table>
-
-<p class="cbig">CUBISTS<br /> AND POST-IMPRESSIONISM</p>
-
-<div class="figcenter" id="front" style="width: 600px;">
-<a href="images/frontispiece.jpg">
-<img src="images/frontispiece.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GLEIZES</p>
-
-<p>Man on Balcony</p></div>
-</div>
-
-<h1>
-Cubists and<br />
-Post-Impressionism</h1>
-
-<p class="c">BY<br />
-<big>ARTHUR JEROME EDDY<br /></big>
-<br /><small>
-Author of “Delight, the Soul of Art,” “Recollections and Impressions<br />
-of James A. McNeill Whistler,” etc.<br />
-<br />
-With Twenty-three Reproductions in Color of<br />
-Cubist and Post-Impressionist Paintings,<br />
-and Forty-six Half-Tone<br />
-Illustrations</small><br />
-<br />
-<img src="images/colophon.png"
-width="100"
-alt=""
-/>
-<br />
-<br />
-CHICAGO<br />
-A. C. McCLURG &amp; CO.<br />
-1914<br />
-
-<br /><br /><br />Copyright<br />
-A. C. McClurg &amp; Co.<br />
-1914<br />
-Published March, 1914<br /><br /><small>
-W. F. HAL. PRINTING COMPANY, CHICAGO</small></p>
-
-<p>&nbsp;</p>
-
-<div class="poetry">
-<div class="poem">
-<i><big>TO THAT SPIRIT</big></i><br />
-<span style="margin-left: 2em;"><i>the beating of whose restless wings</i></span><br />
-<span style="margin-left: 2em;"><i>is heard in every land</i></span>
-</div></div>
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<table border="0" cellpadding="4" cellspacing="0" summary="">
-<tr><td class="rt">Chapter</td><td>&nbsp;</td>
-<td class="rt">Page</td></tr>
-<tr><td class="rt" valign="top"><a href="#I">I.</a></td><td><a href="#I">A Sensation</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#II">II.</a></td><td><a href="#II">Post-Impressionism</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#III">III.</a></td><td><a href="#III">Les Fauves</a></td><td class="rt" valign="bottom"><a href="#page_33">33</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#IV">IV.</a></td><td><a href="#IV">A Futile Protest</a></td><td class="rt" valign="bottom"><a href="#page_50">50</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#V">V.</a></td><td><a href="#V">What is Cubism?</a></td><td class="rt" valign="bottom"><a href="#page_60">60</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VI">VI.</a></td><td><a href="#VI">The Theory of Cubism</a></td><td class="rt" valign="bottom"><a href="#page_90">90</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VII">VII.</a></td><td><a href="#VII">The New Art in Munich</a></td><td class="rt" valign="bottom"><a href="#page_110">110</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#VIII">VIII.</a></td><td><a href="#VIII">Color Music</a></td><td class="rt" valign="bottom"><a href="#page_140">140</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#IX">IX.</a></td><td><a href="#IX">Esoragoto</a></td><td class="rt" valign="bottom"><a href="#page_147">147</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#X">X.</a></td><td><a href="#X">Ugliness</a></td><td class="rt" valign="bottom"><a href="#page_154">154</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XI">XI.</a></td><td><a href="#XI">Futurism</a></td><td class="rt" valign="bottom"><a href="#page_164">164</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XII">XII.</a></td><td><a href="#XII">Virile-Impressionism</a></td><td class="rt" valign="bottom"><a href="#page_191">191</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XIII">XIII.</a></td><td><a href="#XIII">Sculpture</a></td><td class="rt" valign="bottom"><a href="#page_202">202</a></td></tr>
-<tr><td class="rt" valign="top"><a href="#XIV">XIV.</a></td><td><a href="#XIV">In Conclusion</a></td><td class="rt" valign="bottom"><a href="#page_207">207</a></td></tr>
-<tr><td colspan="2" valign="top"><a href="#APPENDIX_I">Appendix I. Exhibitions at 291 Fifth Avenue</a></td><td class="rt" valign="bottom"><a href="#page_211">211</a></td></tr>
-<tr><td colspan="2" valign="top"><a href="#APPENDIX_II">Appendix II. Two Comments</a></td><td class="rt" valign="bottom"><a href="#page_214">214</a></td></tr>
-<tr><td colspan="2" valign="top"><a href="#BIBLIOGRAPHY">Bibliography</a></td><td class="rt" valign="bottom"><a href="#page_223">223</a></td></tr>
-<tr><td colspan="2" valign="top"><a href="#INDEX">Index</a></td><td class="rt" valign="bottom"><a href="#page_239">239</a></td></tr>
-</table>
-
-<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
-
-<table border="0" cellpadding="3" cellspacing="0" summary="">
-<tr><td>&nbsp;</td><td class="rt">PAGE</td></tr>
-
-<tr><td valign="top"><a href="#plt_001"><span class="smcap">Balla</span>, <i>Dog and person in movement</i></a></td>
-<td class="rt"><a href="#page_164">164</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_002"><span class="smcap">Bechtejeff</span>, <i>Fight of the Amazons</i></a></td>
-<td class="rt"><a href="#page_53">53</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_003"><span class="smcap">Bloch</span>, <i>Summer night</i></a></td>
-<td class="rt"><a href="#page_92">92</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_004"><i>The duel</i></a></td>
-<td class="rt"><a href="#page_93">93</a></td></tr>
-<tr><td valign="top"><a href="#plt_005"><span class="smcap">Boccioni</span>, <i>Head, houses, light</i></a></td>
-<td class="rt"><a href="#page_184">184</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_006"><i>Spiral expansion of muscles in action</i></a></td>
-<td class="rt"><a href="#page_204">204</a></td></tr>
-<tr><td valign="top"><a href="#plt_007"><span class="smcap">Brancusi</span>, <i>M’lle Poganey</i></a></td>
-<td class="rt"><a href="#page_202">202</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_008"><span class="smcap">Cardoza, Sousa</span>, <i>Marine</i></a></td>
-<td class="rt"><a href="#page_4">4</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_009"><i>Leap of the rabbit</i></a></td>
-<td class="rt"><a href="#page_84">84</a></td></tr>
-<tr><td class="pdd"><a href="#plt_010"><i>Stronghold</i></a></td>
-<td class="rt"><a href="#page_148">148</a></td></tr>
-<tr><td valign="top"><a href="#plt_011"><span class="smcap">Cézanne</span>, <i>Portrait of self</i></a></td>
-<td class="rt"><a href="#page_26">26</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_012"><i>Village street</i></a></td>
-<td class="rt"><a href="#page_27">27</a></td></tr>
-<tr><td class="pdd"><a href="#plt_013"><i>Still life</i></a></td>
-<td class="rt"><a href="#page_36">36</a></td></tr>
-<tr><td valign="top"><a href="#plt_014"><span class="smcap">Chabaud</span>, <i>The laborer</i></a></td>
-<td class="rt"><a href="#page_16">16</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_015"><i>Cemetery gates</i></a></td>
-<td class="rt"><a href="#page_108">108</a></td></tr>
-<tr><td valign="top"><a href="#plt_016"><span class="smcap">Charmy</span>, <i>Landscape</i></a></td>
-<td class="rt"><a href="#page_200">200</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_017"><span class="smcap">Derain</span>, <i>Forest at Martigues</i></a></td>
-<td class="rt"><a href="#page_154">154</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_018"><span class="smcap">Dove</span>, <i>Based on leaf forms and spaces</i></a></td>
-<td class="rt"><a href="#page_48">48</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_019"><span class="smcap">Duchamp</span>, <i>Chess players</i></a></td>
-<td class="rt"><a href="#page_64">64</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_020"><i>King and queen</i></a></td>
-<td class="rt"><a href="#page_72">72</a></td></tr>
-<tr><td valign="top"><a href="#plt_021"><span class="smcap">Erbsloh</span>, <i>Young woman</i></a></td>
-<td class="rt"><a href="#page_207">207</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_022"><span class="smcap">Gauguin</span>, <i>Portrait of self</i></a></td>
-<td class="rt"><a href="#page_128">128</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_023"><i>Farmyard</i></a></td>
-<td class="rt"><a href="#page_129">129</a></td></tr>
-<tr><td class="pdd"><a href="#plt_024"><i>Scene in Tahiti</i></a></td>
-<td class="rt"><a href="#page_132">132</a></td></tr>
-<tr><td valign="top"><a href="#plt_025"><span class="smcap">Girieud</span>, <i>Woman seated</i></a></td>
-<td class="rt"><a href="#page_141">141</a></td></tr>
-
-<tr><td valign="top"><a href="#front"><span class="smcap">
-Gleizes, <i>Man on balcony</i></a></td>
-<td class="rt"><a href="#front"><i>Frontispiece</i></a></td></tr>
-<tr><td class="pdd"><a href="#plt_070"><i>Original
-drawing for man on balcony</i></a></td>
-<td class="rt"><a href="#page_70">70</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_026"><span class="smcap">Gris</span>, <i>Still life</i></a></td>
-<td class="rt"><a href="#page_133">133</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_027"><span class="smcap">Herbin</span>, <i>Landscape</i></a></td>
-<td class="rt"><a href="#page_96">96</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_028"><i>Still life</i></a></td>
-<td class="rt"><a href="#page_186">186</a></td></tr>
-<tr><td valign="top"><a href="#plt_029"><span class="smcap">Jawlensky</span>, <i>Head of a girl</i></a></td>
-<td class="rt"><a href="#page_158">158</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_030"><span class="smcap">Kandinsky</span>, <i>Village street</i></a></td>
-<td class="rt"><a href="#page_20">20</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_031"><i>Landscape with two poplars</i></a></td>
-<td class="rt"><a href="#page_105">105</a></td></tr>
-<tr><td class="pdd"><a href="#plt_032"><i>Improvisation No. 29</i></a></td>
-<td class="rt"><a href="#page_116">116</a></td></tr>
-<tr><td class="pdd"><a href="#plt_033"><i>Improvisation No. 30</i></a></td>
-<td class="rt"><a href="#page_124">124</a>
-
-</td></tr>
-
-<tr><td valign="top"><a href="#plt_034"><span class="smcap">Klee</span>, <i>House by the brook</i></a></td>
-<td class="rt"><a href="#page_88">88</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_035"><span class="smcap">Kroll</span>, <i>Brooklyn Bridge</i></a></td>
-<td class="rt"><a href="#page_198">198</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_036"><i>Still life</i></a></td>
-<td class="rt"><a href="#page_210">210</a></td></tr>
-<tr><td valign="top"><a href="#plt_037"><span class="smcap">Leger</span>, <i>The chimneys</i></a></td>
-<td class="rt"><a href="#page_61">61</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_038"><span class="smcap">Lehmbruck</span>, <i>Kneeling woman</i></a></td>
-<td class="rt"><a href="#page_203">203</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_039"><span class="smcap">Marc</span>, <i>The steer</i></a></td>
-<td class="rt"><a href="#page_104">104</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_040"><span class="smcap">Matisse</span>, <i>The dance</i></a></td>
-<td class="rt"><a href="#page_44">44</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_041"><i>Woman in red madras</i></a></td>
-<td class="rt"><a href="#page_112">112</a></td></tr>
-<tr><td class="pdd"><a href="#plt_042"><i>Portrait heads</i></a></td>
-<td class="rt"><a href="#page_205">205</a></td></tr>
-<tr><td class="pdd"><a href="#plt_043"><i>Back of woman</i></a></td>
-<td class="rt"><a href="#page_206">206</a></td></tr>
-<tr><td valign="top"><a href="#plt_044"><span class="smcap">Metzinger</span>, <i>The taster</i></a></td>
-<td class="rt"><a href="#page_60">60</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_045"><span class="smcap">Münter</span>, <i>The boat ride</i></a></td>
-<td class="rt"><a href="#page_172">172</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_046"><i>The white wall</i></a></td>
-<td class="rt"><a href="#page_173">173</a></td></tr>
-<tr><td valign="top"><a href="#plt_047"><span class="smcap">Picabia</span>, <i>Dance at the spring</i></a></td>
-<td class="rt"><a href="#page_68">68</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_048"><span class="smcap">Picasso</span>, <i>Woman with mandolin</i></a></td>
-<td class="rt"><a href="#page_74">74</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_049"><i>The poet</i></a></td>
-<td class="rt"><a href="#page_75">75</a></td></tr>
-<tr><td class="pdd"><a href="#plt_050"><i>Drawing</i></a></td>
-<td class="rt"><a href="#page_100">100</a></td></tr>
-<tr><td class="pdd"><a href="#plt_051"><i>Old woman</i></a></td>
-<td class="rt"><a href="#page_140">140</a></td></tr>
-<tr><td valign="top"><a href="#plt_052"><span class="smcap">Rousseau</span>, <i>Portrait of self</i></a></td>
-<td class="rt"><a href="#page_12">12</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_053"><i>Landscape</i></a></td>
-<td class="rt"><a href="#page_13">13</a></td></tr>
-<tr><td valign="top"><a href="#plt_054"><span class="smcap">Russolo</span>, <i>Rebellion</i></a></td>
-<td class="rt"><a href="#page_178">178</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_055"><span class="smcap">Segonzac</span>, <i>Pasturage</i></a></td>
-<td class="rt"><a href="#page_182">182</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_056"><i>Forest</i></a></td>
-<td class="rt"><a href="#page_192">192</a></td></tr>
-<tr><td valign="top"><a href="#plt_057"><span class="smcap">Severini</span>, <i>The milliner</i></a></td>
-<td class="rt"><a href="#page_80">80</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_058"><span class="smcap">Van Gogh</span>, <i>Portrait of self</i></a></td>
-<td class="rt"><a href="#page_40">40</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_059"><i>Cafe</i></a></td>
-<td class="rt"><a href="#page_56">56</a></td></tr>
-<tr><td class="pdd"><a href="#plt_060"><i>Woman with frying pan</i></a></td>
-<td class="rt"><a href="#page_120">120</a></td></tr>
-<tr><td class="pdd"><a href="#plt_061"><i>Chair with pipe</i></a></td>
-<td class="rt"><a href="#page_121">121</a></td></tr>
-<tr><td valign="top"><a href="#plt_062"><span class="smcap">Van Rees</span>, <i>Still life</i></a></td>
-<td class="rt"><a href="#page_89">89</a></td></tr>
-
-<tr><td class="pdd"><a href="#plt_063"><i>Maternity</i></a></td>
-<td class="rt"><a href="#page_168">168</a></td></tr>
-<tr><td valign="top"><a href="#plt_064"><span class="smcap">Villon</span>, <i>Young girl</i></a></td>
-<td class="rt"><a href="#page_32">32</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_065"><span class="smcap">Vlaminck</span>, <i>Village</i></a></td>
-<td class="rt"><a href="#page_136">136</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_066"><span class="smcap">Werefkin</span>, <i>The country road</i></a></td>
-<td class="rt"><a href="#page_52">52</a></td></tr>
-
-<tr><td valign="top"><a href="#plt_067"><span class="smcap">Zak</span>, <i>The shepherd</i></a></td>
-<td class="rt"><a href="#page_8">8</a></td></tr>
-</table>
-
-<p class="cbig">CUBISTS AND POST-IMPRESSIONISM</p>
-
-<h2>ALAS! ALAS!!</h2>
-
-<p>“It is unlikely that any painters will ever again have to face the
-hostility which was manifested against the Impressionists. The
-repetition of such a phenomenon would be impossible. The case of the
-Impressionists, in which withering scorn yielded place to admiration,
-has put criticism on its guard. It will surely stand as a warning, and
-ought to prevent the recurrence of a similar outburst of indignation
-against the innovators and independents whom time may yet bring forth.”</p>
-
-<p class="r">
-&mdash;“Manet and the French Impressionists,”<br />
-<span style="margin-left: 0.5em;">by Theodore Duret, pp. 180, 181.</span><br />
-<span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
-
-<p class="cb">Cubists and Post-Impressionism</p>
-
-<h2><a name="I" id="I"></a>I<br /><br />
-A SENSATION</h2>
-
-<p class="nind"><span class="letra">S</span>INCE the exhibit at the Columbian Exposition (1893) nothing has
-happened in the world of American art so stimulating as the recent
-INTERNATIONAL EXHIBITION OF MODERN ART. New York and Chicago, spring of
-1913.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
-
-<p>“Stimulating” is the word, for while the recent exhibition may have
-lacked some of the good, solidly painted pictures found in the earlier,
-it contained so much that was fresh, new, original&mdash;eccentric, if you
-prefer&mdash;that it gave our art-world food for thought&mdash;and heated
-controversy.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Art thrives on controversy&mdash;like every human endeavor. The fiercer the
-controversy the <i>surer</i>, the <i>sounder</i>, the <i>saner</i> the outcome.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Perfection is unattainable. As man in his loftiest flight stretches
-forth his hand to seize a star he drops back to earth. The finer, the
-purer the development of any art the<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> more certain the reaction, the
-return to elemental conditions&mdash;to begin over again.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The young sculptor looks at the chaste perfection of Greek sculpture and
-says, “What is the use? I will do something different.” The young
-painter looks at the great painters of yesterday and exclaims, “What is
-the use? I cannot excel them in their way; I must do something in my own
-way.” It is the same in business; the young merchant studies the methods
-of the successful men in his line and says, “It is idle for me to copy
-their methods. I will do something different, something in my own way,”
-and he displays his goods differently, advertises differently, conducts
-his business differently, and <i>if successful</i> is hailed as a genius, if
-a failure he is regarded as a visionary or an eccentric&mdash;the result
-making all the difference in the world in the verdict of the public.</p>
-
-<div class="blockquot"><p>Painting today is a terrible problem to an absolutely sincere,
-honest, and yet ambitious mind.</p>
-
-<p>Fired to set forth something of his very own, to avoid plagiarism
-and give the world something it has never yet received, the artist,
-in whatever direction he advances, finds the horizon bounded by a
-great master whom he cannot hope to surpass. Well, indeed, may he
-ask what is the use of trying to do what Van Eyck, Botticelli,
-Vermeer, Rembrandt, Veronese, Michael Angelo, Velasquez&mdash;nay, even
-what Constable, Corot, Claude Monet, and Signac have done to
-perfection?</p>
-
-<p>In despair at surpassing the limits set by the great masters of
-progress he harks back, as the pre-Raphaelites did, to the painters
-before Raphael. Alas, Fra Lippi and Taddeo Gaddi are soon found to
-be too sophisticated. He goes back farther, to Giotto, to Orcagna,
-even to the Egyptians, and with the same result. At last he takes
-his courage in his hands and, throwing overboard the whole cargo of
-art history, ancient and modern, he seeks to forget that picture
-was ever painted, and with eyes freed from traditional vision he
-seeks to recreate the barbaric art of infancy.</p>
-
-<p>Call this man an extremist if you like, but do not lightly dub him
-insincere and charlatan. He is the counterpart in art of the<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span>
-extremist in politics, the man who has no patience with palliative
-measures, who demands the whole loaf and nothing but the loaf, who
-kicks savagely away the fragments of bread tendered him by the
-moderate and respectable. A dangerous man he may be, but he is no
-trifler; and, if he succeeds in his purpose, as extremists
-sometimes do, the whipped world at his feet hails him as reformer
-and benefactor of humanity.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Columbian Exposition gave American art a tremendous impetus forward,
-but of late it has been getting a little smug; the International
-Exhibition came and gave our complacency a severe jolt.</p>
-
-<p>The net result is that American art has received another impulse
-forward; it will do bigger and finer and saner things. It will not copy
-the eccentricities, the exaggerations, the morbid enthusiasms of the
-recent exhibition, because America as yet is not given to eccentricities
-and morbidness&mdash;though it may be to a youthful habit of exaggeration.
-America is essentially sane and healthful&mdash;say quite practical&mdash;in its
-outlook, hence it will absorb all that is good in the extreme modern
-movement and reject what is bad.</p>
-
-<p>Neither our students nor our painters will be carried off their feet but
-they will be helped onward. They will be helped in their technic, and
-they will see things from new angles, they will be more independent, in
-short they will be better and bigger painters.</p>
-
-<p>They will not be Cubists, Orphists, or Futurists, but they will absorb
-all there is of good in Cubism, Orphism, Futurism&mdash;and other “isms;” and
-bear in mind it is the <i>ist</i> who is always blazing a trail somewhere; he
-may lose himself in the dense undergrowth of his theories but he at
-least marks a path others have not trodden.<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span></p>
-
-<p>The recent exhibition was not an isolated movement. There are no
-<i>isolated</i> movements in life. The International Exhibition was just as
-inevitable as the Progressive political convention of 1912 in Chicago.</p>
-
-<p>The world is filled with ferment&mdash;ferment of new ideas, ferment of
-originality and individuality, of assertion of independence. This is
-true in religion, science, politics as well as in art. It is true in
-business. <i>New thought</i> is everywhere. The most radical suggestions are
-debated at the dinner table. In politics what would have been considered
-socialistic twenty years ago is accepted today as reasonable. To the
-conservative masses these new departures may seem like a wild
-overturning of all that is sacred, but there is no need for fear; all
-that <i>is really sound</i> will gain in the end.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Neither Cubism, Futurism nor any other “ism” troubles the really great
-painter; it is the little fellow who fumes and swears.</p>
-
-<p>The poise of the great man is not at all disturbed by the eccentric and
-the bizarre; on the contrary he looks with a curious eye to see if
-something of value may not be found.</p>
-
-<p>Whistler would not have painted Cubist pictures, but having known the
-man I can say that nothing there may be of good in Cubism would have
-gotten by the penetrating vision of that great painter.</p>
-
-<p>It is characteristic of the little man to ridicule or resent everything
-he does not understand; it is characteristic of the great man to be
-silent in the presence of what he does not understand.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Just now the older men are violently opposed to the newer; there is no
-attempt at understanding and there is abundant ridicule instead of
-sympathy.</p>
-
-<div class="figcenter" id="plt_008" style="width: 600px;">
-<a href="images/i_fp004.jpg">
-<img src="images/i_fp004.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SOUSA CARDOZA</p>
-
-<p>Marine</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_5" id="page_5">{5}</a></span></p>
-
-<p>This is inevitable and quite in accord with human nature, but it is a
-pity. The old and the new are not rivals; the new is simply a departure
-from the old, simply an attempt to do something different with line and
-color. The older men should watch the younger with keenest interest;
-they may feel sure the new is foredoomed to failure, but that is no
-cause for rejoicing; on the contrary the older man should always be
-sorry to see the soaring flights of youth come to grief.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Because a man buys a few Cubist pictures it must not be assumed he is a
-believer in Cubism.</p>
-
-<p>Because a man has a few books on socialism or anarchism in his library
-we do not assume he is a socialist, or an anarchist; on the contrary it
-is commonly assumed he is simply broadly and sanely interested in social
-and political theories. The radical may not convince me he is right, but
-he may show me I am wrong.</p>
-
-<p>The man who flies into a passion at pictures because they are not like
-the pictures he owns is on a par with the man who flies into a passion
-at books because they are not like the books he owns&mdash;the world is
-filled with such men, unreceptive, unresponsive; many intelligent in
-their narrow way, but bigoted.</p>
-
-<p>To most men a new idea is a greater shock than a cold plunge in winter.</p>
-
-<p>Personally I have no more interest in Cubism than in any other “ism,”
-but failure to react to new impressions is a sure sign of age. I would
-hate to be so old that a new picture or a new idea would frighten me.</p>
-
-<p>I would like to own Raphaels and Titians and Rembrandts and Velasquezes,
-but I can’t afford it. I say I would like to <i>own</i> them; no, I would
-not, for I have the conviction<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span> that no man has <i>the right</i> to
-appropriate to himself the work of the great masters. Their paintings
-belong to the world and should be in public places for the enjoyment and
-instruction of <i>all</i>.</p>
-
-<p>It is the high privilege of the private buyer to buy the works of <i>new
-men</i>, and by encouraging them disclose a Rembrandt, a Hals, a Millet, a
-Corot, a Manet, but when the public begins to want the pictures the
-private buyer, instead of bidding against the public, should step one
-side; his task is done, his opportunity has passed.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Most men buy pictures not because they want them, but because some one
-else wants them.</p>
-
-<p>The man who gives half a million for a Rembrandt does so not because he
-knows or cares anything about the picture, but solely because he is made
-to believe some one else wants it $450,000 worth.</p>
-
-<p>Read this:</p>
-
-<div class="blockquot"><p>The crowning event of the day was the sale of Rembrandt’s
-“Bathsheba.” The bidding started at 150,000 francs and within a
-couple of minutes a perfect whirlwind of bids had carried the price
-to 500,000 francs offered by a dealer, Mr. Trotti.</p>
-
-<p>Already the smaller fry among the bidders had been eliminated and
-the contest was circumscribed to a small group, Messrs. Duveen,
-Wildenstein, Tedesco, Muller and Trotti being the most ardent in
-the battle.</p>
-
-<p>“Six hundred thousand!” cried Mr. Duveen.</p>
-
-<p>“Six hundred and fifty thousand,” said Mr. Wildenstein.</p>
-
-<p>Mr. Duveen replied with a nod which meant the addition of another
-50,000. Then with bids of 10,000 and 25,000 the price mounted, the
-struggle developing into a duel between Mr. Wildenstein and Mr.
-Duveen. Eight hundred thousand francs was reached and left behind;
-900,000 francs in turn was passed.</p>
-
-<p>“Nine hundred and fifty thousand,” rapped out Mr. Duveen.</p>
-
-<p>“Nine hundred and sixty thousand,” responded Mr. Wildenstein.</p>
-
-<p>Then came “nine hundred and seventy thousand” and “nine hun<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span>dred
-and eighty thousand.” By this time the entire gathering was
-spellbound by the spectacle of the gladiatorial contest for the
-picture.</p>
-
-<p>“Nine hundred and ninety thousand,” said Mr. Wildenstein.</p>
-
-<p>There was an instant of silence.</p>
-
-<p>“A million!”</p>
-
-<p>Every eye turned from the speaker, Mr. Duveen, to gaze on Mr.
-Wildenstein expectantly. Then there was silence, signifying his
-withdrawal from the fight.</p>
-
-<p>A mighty hubbub arose. The Rembrandt had been knocked down to Mr.
-Duveen for a million francs, or, with the commission, 1,100,000
-francs. Never has such a price been given for a Rembrandt.</p></div>
-
-<p>This is not dealing in art, it is art on the horse-block.</p>
-
-<p>Here is the record of that one painting:</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary="">
-<tr><td>1734&mdash;Sold at Antwerp for</td><td class="rt">$109</td></tr>
-<tr><td>1791&mdash;Sold at Paris for</td><td class="rt">240</td></tr>
-<tr><td>1814&mdash;Sold at London for</td><td class="rt">525</td></tr>
-<tr><td>1830&mdash;Sold at London for</td><td class="rt">790</td></tr>
-<tr><td>1831&mdash;Sold at London for</td><td class="rt">792</td></tr>
-<tr><td>1832&mdash;Sold at London for</td><td class="rt">1,260</td></tr>
-<tr><td>1841&mdash;Sold at Paris for</td><td class="rt">1,576</td></tr>
-<tr><td>1913&mdash;Sold at Paris for</td><td class="rt">220,000</td></tr>
-</table>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>During the exhibition in New York and Chicago the pictures were the one
-topic of conversation; for the time being it was worth while to dine
-out; society became almost animated.</p>
-
-<p>I recall one delightful and irascible old gentleman, critic and painter,
-who had not had a fresh appreciation for twenty-five years. For him art
-ended with the Barbizon school. Whistler, Monet, Degas had no sure
-places.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>We all have the courage of <i>others</i>’ convictions.</p>
-
-<p>The new, however good, is always queer; the old, however bad, is never
-strange.</p>
-
-<p>Most people laugh at new pictures because they are<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> afraid if they don’t
-laugh at the pictures, other people will laugh at <i>them</i>.</p>
-
-<p>Now and then a man laughs at a queer picture because he can’t help it,
-<i>he</i> is a <i>joy</i>.</p>
-
-<p>Laughter is the honest emotion of the child, on the grown-up it is often
-a mark of ignorance.</p>
-
-<p>It is so easy to ridicule what one does not understand and <i>dares</i> not
-like.</p>
-
-<p>Laughter never stops to think&mdash;if it did there would be less laughter.</p>
-
-<p>If you <i>feel</i> like laughing at a picture, laugh by all means, it will do
-you good, but be sure you <i>really feel</i> like laughing, and to make sure
-ask yourself this question, “If that picture were the only one in the
-room and I were alone with it would it strike me as laughable?”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It always takes just about so many years. What happened with the
-Barbizon School happened with Impressionism; what happened with
-Impressionism, will happen with Post-Impressionism; what will happen
-with Post-Impressionism will surely happen with post-post-Impressionism,
-and so on. One movement follows another, as season follows season. Life
-is rhythm.</p>
-
-<p>Each generation thinks itself unique in its experiences.</p>
-
-<p>We go to an exhibition of cubist pictures and we think nothing like that
-ever happened before, hence we feel safe in denouncing them.</p>
-
-<p>We admit England was wrong when it ridiculed Turner, that France was
-wrong when it ridiculed Corot, that Paris was wrong when it derided
-Millet, Manet, Monet, Degas, and a host of other great men, but <i>we</i> are
-<i>not</i> wrong when <i>we</i> deride the new men. Why? Because we think they are
-newer and stranger than the men named.</p>
-
-<div class="figcenter" id="plt_067" style="width: 600px;">
-<a href="images/i_fp008.jpg">
-<img src="images/i_fp008.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>ZAK</p>
-
-<p>The Shepherd</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p>
-
-<p>We accept Wagner as a genius, but Strauss&mdash;oh, no, he is <i>too</i> strange,
-but there are stranger composers than Strauss already at work and we
-must travel fast to keep up with the procession.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
-
-<p>Be very sure the Cubists, the Futurists, and all the other queer “ists”
-would not make the impression they are making if there were not a good
-reason for it, if the times were not ripe for a change.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Broadly speaking we are changing from the <i>perfections</i> of Impressionism
-to the <i>imperfections</i> of Post-Impressionism; from the <i>achievements</i> of
-a school, a movement, that has done the best it could, to the
-<i>attempts</i>, the <i>experiments</i>, the <i>gropings</i>, of new men along new
-lines.</p>
-
-<p>It is the purpose of this book to describe some of the changes that are
-taking place and <i>try</i> to explain them in plain, every-day terms.</p>
-
-<p>The curse of art literature and professional art criticism is
-<i>art-jargon</i>.<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span></p>
-
-<p>Every department of human activity from sport to science, baseball to
-philosophy, speedily develops its own jargon and the tendency is for the
-jargon to become denser and denser and so more and more obscure its
-subject, until some man with horse-sense&mdash;like Huxley in science and
-William James in philosophy&mdash;restores the use of every-day English.</p>
-
-<p>Some jargon like that of the baseball reporter is intensely vivid and
-amusing, it is language in the making, but the jargon of the art critic
-is deadly, it is neither vivid nor interesting&mdash;it is simply hypnotic.
-It is only when the critic gets so angry he forgets his jargon that he
-becomes intelligible&mdash;and betrays himself.</p>
-
-<p>The reputation of many a preacher, many an orator, depends wholly upon
-his command of jargon, his ability to utter endless phrases which are
-either stock ideas, old as the hills, or which <i>sound</i> as if they meant
-something but on analysis prove quite barren.<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span></p>
-
-<h2><a name="II" id="II"></a>II<br /><br />
-POST-IMPRESSIONISM</h2>
-
-<p class="nind"><span class="letra">P</span>OST-Impressionism means exactly what the prefix means&mdash;the
-art-development <i>following</i> Impressionism. It does not mean a further,
-or a higher, or a more subtle form of Impressionism, but it means
-something radically different, it means a <i>reaction</i> from Impressionism.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The evolution of the new movement has been logical and inevitable.</p>
-
-<p>After the Barbizon school with its romantic representation of nature,
-there came inevitably the realistic painters, headed by Courbet, later
-by Manet&mdash;men who painted things not romantically but realistically,
-pitilessly, brutally. There was the same rage against these men as
-against the Cubists today. Both Whistler and Manet were in the Salon des
-Refuses of 1864.</p>
-
-<p>Along with the men who painted <i>things</i> as they saw them, came naturally
-men like Monet, Sisley, Pissarro, Seurat, Signac, who tried endless
-experiments in the effort to paint <i>light</i> as they saw it.</p>
-
-<p>So that the final twenty-five years of the last century were given up in
-France to attempts to paint <i>things</i> and <i>light</i> as they really are.</p>
-
-<p>After the painting of <i>things</i> and <i>light</i> one would say the art of
-painting had touched its limits, that there was nothing more to do. But,
-no, there is the painting of <i>neither</i> things nor light&mdash;the painting of
-<i>emotions</i>&mdash;the painting of pure line and color compositions for the
-sake of the pleasure such harmonies afford&mdash;<i>the expression of one’s
-inner self</i>.<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p>
-
-<p>It was while Manet was painting <i>things</i> as they are, and Monet was
-painting <i>light</i> as it is, that Whistler was painting both things and
-light but with an entirely different object in view, namely, the
-production of <i>color harmonies</i> superior to either thing-effects or
-light-effects.</p>
-
-<p>To the following résumé it is obvious another paragraph must be added to
-bring the record down to date.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>Painting in France in the nineteenth century followed a course
-parallel with that of the intellectual life of the country, it
-adapted itself to the various changes in modes of thought, it took
-upon itself a succession of forms corresponding to those which were
-evolved in literature.</p>
-
-<p>At the beginning of the century, under the Empire, painting was
-classical. It was primarily engaged in rendering scenes borrowed
-from the antique world of Greece and Rome, subjects derived from
-fable and mythology. Historical painting formed the essence of high
-art. It was based upon the nude, treated according to the classical
-model. Two masters&mdash;David and Ingress&mdash;were its loftiest
-expression. After them classical art was continued in an enfeebled
-condition by painters of only secondary importance.</p>
-
-<p>The new spirit of romanticism, however, which had arisen in
-literature, also made its appearance in painting. Delacroix was the
-master in whom it found its most complete expression. The tones of
-classical art, sober, restrained, and often cold, gave place in his
-work to warm and brilliant coloration. For the nicely balanced
-scenes of classical antiquity, he substituted compositions
-tumultuous with movement. Romanticism developed freedom of action
-and expressiveness of pose to their utmost limits.</p>
-
-<p>Painting was then conquered by realism, which had also invaded
-literature. Courbet was its great initiator. He painted the life he
-saw around him in a direct, robust manner. He also painted
-landscape with a truthfulness that was informed by a powerful
-emotion. At the same time, Rousseau and Corot had also brought
-landscape painting into close touch with nature. They had
-rediscovered its soul and its charm. Finally, crowning, as it were,
-the work of their predecessors, came Manet and the
-Impressionists.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p></div>
-
-<div class="figcenter" id="plt_052" style="width: 600px;">
-<a href="images/i_fp012.jpg">
-<img src="images/i_fp012.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>ROUSSEAU</p>
-
-<p>Portrait of Self</p></div>
-</div>
-
-<div class="figcenter" id="plt_053" style="width: 600px;">
-<a href="images/i_fp013.jpg">
-<img src="images/i_fp013.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>ROUSSEAU</p>
-
-<p>Landscape</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_13" id="page_13">{13}</a></span></p>
-
-<p>Turner was the forerunner of Impressionism, the father of attempts to
-paint brilliant <i>light</i> effects, Whistler was the forerunner of
-Post-Impressionism, the father of attempts to paint <i>line and color</i>
-compositions.</p>
-
-<p>Turner did not carry his theories to the scientific extremes of the
-Impressionists and Neo-Impressionists; Whistler did not carry his
-attempts to the abstract extremes of the Compositionalists and the
-Cubists; but in their work are found the seeds of all there is in
-Impressionism and Post-Impressionism.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“Do you say that this is a correct representation of Battersea Bridge?”</p>
-
-<p>“I did not intend it to be a ‘correct’ portrait of the bridge. It is
-only a moonlight scene, and the pier in the center of the bridge may or
-may not be like the piers at Battersea Bridge as you know them in broad
-daylight. As to what the picture represents, that depends upon who looks
-at it. To some persons it may represent all that is intended; to others
-it may represent nothing.”</p>
-
-<p>“The prevailing color is blue?”</p>
-
-<p>“Perhaps.”</p>
-
-<p>“Are those figures on the top of the bridge intended for people?”</p>
-
-<p>“They are just what you like.”</p>
-
-<p>“Is that a barge beneath?”</p>
-
-<p>“Yes. I am very much encouraged at your perceiving that. My whole scheme
-was only to bring about a certain harmony of color.”<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Most painters are so intent upon the <i>subjects</i> of their work they give
-little thought to color harmonies. Whistler was<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> the one great modern
-exception; his first thought was to produce <i>beautiful effects</i> in line
-and color, hence his titles, “Nocturnes,” “Symphonies,” “Arrangements,”
-and so on. He did not like to give his portraits the names of his
-sitters. Where other painters emphasize the “subjects” and the “stories”
-of their pictures he tried to suppress both and direct the attention of
-the beholder to the painting. He was the forerunner of recent attempts
-to do with line and color what the musician does with sound. He was the
-leader of the revolt against the “story-telling” picture.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Millet is a good illustration of the painter to whom “subject” was
-everything, and technic of quite secondary importance. I think it is
-generally conceded that as a painter, a master of technic, he did not
-rank very high, but he had a faculty for painting subjects, scenes from
-life, that grip. As a painter Whistler was incomparably superior to
-Millet, but just because he was a great master of technic and quite
-indifferent to the story-telling side of his pictures he did not become
-so popular.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There are many actions and reactions in art, many evolutions and
-involutions, but the great rhythmical sweep of the pendulum is from, let
-us say, <i>studio</i>-art to <i>nature</i>-art, and back from <i>nature</i>-art to
-<i>studio</i>-art.</p>
-
-<p>From works of <i>observation</i> to works of <i>imagination</i>, and back from the
-use of the <i>imagination</i> to the use of <i>observation</i>.<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p>
-
-<p>For a time men work feverishly in the seclusion of their closets
-painting, writing, modelling, composing beautiful things, pure products
-of their imaginations, then comes the reaction and they feel the need of
-renewing their vigor by touching heel to earth. They draw aside their
-curtains, throw open their doors and go out into the sunlight to breathe
-the fresh air and gain new inspirations from contact with nature.</p>
-
-<p>That is what happens in art once in so often.</p>
-
-<p>The Barbizon school was a studio school. It walked the streets and the
-fields; it looked at men and women at work and at play, but when it came
-to paint it did not paint outdoors with object and easel in close
-contact; it retired within its doors and transformed life and nature as
-great romantic story-tellers translate their impressions into
-fairy-tales and romances.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It seems a far cry from Millet to Chabaud but in some aspects of their
-attitude toward art they are nearly akin. Between the two there
-intervened Impressionism, that is all. Millet painted <i>labor</i>. And what
-is the painting by Chabaud, “The Laborer,” but a more elemental Millet?
-It lacks the romantic, the poetic qualities of Millet’s “Labor,” for
-instance, or his “Sower”&mdash;paintings famous in prints and reproductions,
-but it is none the less a vivid representation of labor.</p>
-
-<p>To the admirers of Millet it may seem sacrilegious to even mention
-Chabaud in comparison, but, confining our attention to the one painting
-reproduced herein, there is no question that in its elemental strength,
-its simplicity, it possesses a quality, a certain bald dramatic quality
-that Millet lacks, though Millet’s “Sower” may possess qualities you
-like more.<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span></p>
-
-<p>However it is with no intention to make a comparison between two men so
-very different, that I mention them, but rather for the purpose of
-pointing out that the attitude of both to their art is fundamentally the
-same&mdash;they use art to <i>express themselves</i> and not to imitate what they
-see.</p>
-
-<p>This is the way Millet worked. “He himself went about Barbizon like a
-peasant. And he might have been seen wandering over the woods and fields
-with an old, red cloak, wooden shoes, and a weather-beaten straw hat. He
-rose at sunrise, and wandered about the country as his parents had done.
-He guarded no flocks, drove no cows, and no yokes of oxen or horses; he
-carried neither mattock nor spade but rested on his stick; he was
-equipped with only the <i>faculty</i> of <i>observation</i> and <i>poetic intention</i>
-... he leant on the garden wall with his arms crossed on his breast, and
-looked into the setting sun as it threw a rosy veil over field and
-forest. He heard the chime of vesper bells, watched the people pray and
-then return home. And he returned also, and read the Bible by lamplight,
-while his wife sewed and the children slept. When all was quiet he
-closed the book and began <i>to dream</i>.... <i>On the morrow he painted.</i>”<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
-
-<p>This is the method of all the very great art the world has ever
-known&mdash;first <i>to see</i>; and then <i>to dream</i> and then <i>on the morrow to
-paint</i>.</p>
-
-<p>Impressionism cut out the <i>dreams</i>&mdash;it painted what it <i>saw</i>.</p>
-
-<p>There were never in the world peasants such as Millet painted, or woods
-such as Daubigny painted. People thought there were until the
-Impressionists came and turned on the light.</p>
-
-<p>Corot’s silvery glades have a closer relationship to nature. He felt the
-reaction that was in the air. He was almost an</p>
-
-<div class="figcenter" id="plt_014" style="width: 600px;">
-<a href="images/i_fp016.jpg">
-<img src="images/i_fp016.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CHABAUD</p>
-
-<p>The Laborer</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p>
-
-<p>Impressionist but not quite. One feels the <i>poetic</i>, the
-<i>imaginative</i>&mdash;that is, the <i>studio</i> quality in his work. He sought
-nature but not in the spirit displayed by the Impressionists.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The reaction began with Courbet and was given a powerful impetus by
-Manet who painted things not as he <i>imagined</i> them but as he <i>saw</i> them,
-and he did not try to see interesting people and things, he did not look
-for the <i>picturesque</i> but he painted anything he happened to see upon
-the theory that the value of a work of art depends not upon its subject
-but upon its technic; that the worth of a painting is to be found in the
-painting and not in the object that happens to be painted.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Manet painted very few pictures outdoors. In the literal sense he did
-not belong to the <i>plein air</i> school. Almost all his work was done
-indoors. But it was in no sense studio-art as we have used the term. He
-painted in his studio as directly as Monet painted outdoors. He painted
-a sitter with the same realism that Monet painted a haystack; and if he
-painted a bull fight from memory or from a sketch, he did it with the
-<i>intention</i> to reproduce the scene literally.</p>
-
-<p>Whistler had his literal moods, so to speak; his moments when with clear
-eye and vision unaffected by any conscious play of the imagination he
-would make marvellously faithful transcripts from life and nature,
-transcripts so faithful that Monet’s at their best pale in comparison. I
-recall three exquisite marines which were painted in a boat, the
-canvases propped against a seat.</p>
-
-<p>But for the most part he painted indoors and with the one end in
-view&mdash;the composition of line and color harmonies more beautiful than
-anything found in nature, just as the<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> musician seeks to compose
-harmonies more beautiful than any sounds found in nature.</p>
-
-<p>In the clearness of his vision and the faithfulness with which he
-painted the things and people with which he came in contact Whistler was
-an Impressionist&mdash;an Impressionist long before Monet, but in his search
-after color and line music, in his attempts to do things beyond and
-above nature, he was a <i>Post</i>-Impressionist.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>From a psychological point of view it is not difficult to see how these
-movements come about.</p>
-
-<p>Given exhibitions year after year filled with paintings of the
-imagination, with idealized peasants such as Millet’s, and idealized
-landscapes such as Rousseau’s, it is morally certain the younger
-painters will feel a restless longing to return to the realities of
-life, just as the reading or theater going public after being fed too
-long on fairy-tales and romances demand more realistic representations
-of life.</p>
-
-<p>Every man who reads much has his fairy-tale period and his romantic
-period followed by a strong taste for realism, which in turn is followed
-by a new and finer appreciation of purely imaginative literature.</p>
-
-<p>In his beliefs the normal man passes through a similar series of
-reactions from the acceptance of the marvellous in his childhood and
-youth to the sceptical rejection of the miraculous and the acceptance of
-only the literal and material in his buoyant manhood, thence to the
-profounder philosophy and mystical speculations of riper age.</p>
-
-<p>The old, old conflict between <i>materialism</i> and <i>idealism</i>, between
-<i>seeing-knowing</i> and <i>thinking-feeling</i>, between the cruder actualities
-of the senses and the finer actualities of the imagination!</p>
-
-<p>It is not that all men at a given time are idealists and at<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> another
-realists, any more than all painters in one decade are Impressionists,
-in another Post-Impressionists. Life does not move that way.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Between 1874 and 1900 Impressionism forged to the front and monopolized
-the attention of the art world, yet during that period there were
-painted more pictures of the Pre-Impressionist schools than ever before.
-The Impressionists made all the noise, the Pre-Impressionists did most
-of the work.</p>
-
-<p>The net result was a large amount of absorption by the older schools of
-the good things in Impressionism, and a noticeable improvement in
-painting generally.</p>
-
-<p>Just now the Post-Impressionists occupy the center of the stage and are
-making themselves so conspicuous the public is almost led to believe
-that both Impressionists and Pre-Impressionists no longer exist, that
-everything once considered good in art is being relegated to the
-storehouse.</p>
-
-<p>Again, as a matter of fact, with all the noise made by the
-Post-Impressionists, it is beyond question true that never before were
-so many Impressionist and Pre-Impressionist pictures painted as now.</p>
-
-<p>The stream of Pre-Impressionist and Impressionist pictures goes right on
-and in time history will repeat itself, the good in Post-Impressionism
-will be absorbed and the main current that supplies the great public
-with art will be <i>Pre</i>-impressionist + <i>Impressionist</i> +
-<i>Post</i>-impressionist, with as many more prefixes as the ingenuity of the
-artist can devise to describe his vagaries.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Painters are a good deal like inventors, each of whom thinks his
-invention sure to revolutionize the world, to find<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> in the end that his
-supposed invention is either not new or if new not valuable.</p>
-
-<p>Now and then a painter like an inventor does do something that is
-revolutionary, but these geniuses are not common, and with even them
-critical research invariably finds they have simply built upon the
-labors of others. An Edison, a Bell, a Marconi appears only when
-electrical science has reached a stage where the inventions rather than
-the men are inevitable. All this is statistically demonstrated in the
-records of patent offices.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>We talk of this and that “period” in the work of a painter, a poet, a
-sculptor. Often the changes in mood and technic are marked and the
-transitions sharply defined. For the most part they are the turning from
-the imagination to observation and <i>vice versa</i>.</p>
-
-<p>The brain is not unlike a factory; when filled to overflowing with raw
-material it must close its doors and work up its stock; when it has
-exhausted its store of impressions it must open its five senses to
-receive new.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>According to Hegel, the great German philosopher, there are three
-movements of the historical pendulum; for example, we have an age
-of materialism followed by an age whose sole interest is in
-psychical phenomena; this followed by an age which extracts the
-truth from both of these opposite hypotheses, the golden mean.
-Thus, in art, we have the classical spirit for the thesis, the
-modern art movement, its antithesis, and we may confidently expect
-and hope for an age which shall select the bold, fresh spirit of
-the modern movement and infuse it into the proportion of classical
-art, which shall be the great synthesis of the artistic future.
-Thus the extravagant and apparently insane movement of the Futurist
-and Cubist will be of the greatest value in reviving art, putting
-red blood into art again.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p></div>
-
-<div class="figcenter" id="plt_030" style="width: 600px;">
-<a href="images/i_fp020.jpg">
-<img src="images/i_fp020.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KANDINSKY</p>
-
-<p>Village Street</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p>
-
-<p>A man can understand what is going on about him only by a knowledge of
-what has happened in the past&mdash;the wider his knowledge of past events,
-the clearer his understanding of present.</p>
-
-<p>Space does not permit the printing in detail the ridicule that greeted
-Turner, Millet, Corot, Courbet, but it is important to open the eyes of
-the reader to the <i>fact</i> that men whose pictures are considered
-masterpieces today, and command fabulous sums, were met with the <i>same</i>
-scorn and derision that the new men of today meet.</p>
-
-<p>History repeats itself&mdash;we accept as fine what our fathers laughed at;
-our sons will accept as fine what we laugh at, and so on to the end of
-time.</p>
-
-<p>You readers and especially you museums, who are paying tens of thousands
-for pictures by Manet, Monet, Renoir and a host of other innovators,
-take to heart what follows.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In 1874 the Impressionists held their first exhibition in a room rented
-from a photographer, 35 Boulevard des Capucines, Paris. They called
-themselves, <i>Société anonyme, des Artistes, Peintres, Sculpteurs et
-Graveurs</i>.</p>
-
-<p>There were about thirty exhibitors in all; among them, Pissarro, Monet,
-Sisley, Renoir, Berthe Morisot, Cézanne, Guillaumin, who might be called
-the extremists; Degas, Bracquemond de Nittis, Brandon, Boudin, Cals,
-Gustave Collin, Labouche, Lépine, Rouart, and others were invited to
-take the edge off the novelties of the first named.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a></p>
-
-<p>Monet exhibited a picture named “<i>Impression; soleil levant</i>.” In
-derision Louis Leroy called an article on the exhibition in
-“Charivari”<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> “<i>Exposition des Impressionists</i>,<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>” and in spite of the
-protests of the painters themselves the name stuck&mdash;just as the name
-<i>Cubists</i>, derisively applied by Matisse, has stuck.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>This exhibition, which marked an epoch in French art, was a failure so
-far as immediate results went. The ridicule was such that the better
-known artists, ashamed of being caught in the company of the new men,
-“took good care not to run the risk a second time.”</p>
-
-<p>The pictures were subjected to all sorts of petty insults, “such as the
-placing of small coins upon the frames in derision, and jokes and
-jibes.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The next year the Impressionists held no exhibition, but under dire need
-had a sale at the Hotel Drouot.</p>
-
-<div class="blockquot"><p>Claude Monet, Sisley, Renoir, Berthe Morisot, Cals, Cézanne, Degas,
-Guillaumin, de Nittis, and Pissarro were represented. There were
-some seventy pictures. The pictures were disliked and for some
-unknown reason the artists were considered as hardened members of
-the community. They only received laughable prices. Even the
-attempt to carry out the auction-room trick of having friends bid
-up the prices was not carried out successfully and many of the
-pictures were bid in by the penniless friends in this way, and
-withdrawn. Including these mistakes and the real sales they
-realized not much more than $2,000. In this sale of 1875, Renoir’s
-“Avant le bain” brought $28; “La Source,” $22 (afterwards sold for
-$14,000); “Une vue du Pont neuf” brought all of $60; Claude Monet’s
-twenty pictures averaged from $40 to $60 each.</p></div>
-
-<p>The writer was offered “Avant le bain” in 1894 for $1,200; it has since
-sold for $25,000. In a recent letter from M. George Durand-Ruel he says:</p>
-
-<div class="blockquot"><p>All the fine works of the Masters of the Modern French School have
-advanced very much in value. The “Portrait of the Charpentier
-Family,” which is now in the Metropolitan Museum, was ordered from
-Renoir for three hundred francs; “La Source,” also by Renoir,<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> was
-sold in a sale in 1878 for 110 francs. It has been since bought by
-the Prince de Wagram for 75,000 francs, and would be worth today
-double the amount. The “Port de Boulogne,” by Manet, was bought
-from Manet by my father for 800 francs and sold to Faure, who later
-on sold it to Comte de Camondo for 70,000 francs. It would be worth
-today about 250,000 francs. “Le Déjeuner dans l’Atelier,” which my
-father bought from Manet and which we had on exhibition at 389
-Fifth Avenue in 1895, asking price at that time $7,000, was sold
-afterwards to M. Pellerin and bought two years ago for the Munich
-Museum for $60,000.</p></div>
-
-<p>Daubigny was one of the few men who appreciated Monet; he bought his
-pictures and urged others to buy.</p>
-
-<p>When he died in 1878 a sale of his effects was held. Duret says:</p>
-
-<div class="blockquot"><p>I knew the “Canal à Saardam,” which seemed to me one of the most
-beautiful things Monet had painted; I made up my mind to go to the
-auction and try to buy it. The sale took place but the picture was
-not put up. I supposed that the heirs had decided to keep it as a
-work they understood and appreciated. One Sunday, fifteen days
-later, happening by chance in L’Hôtel Drouot I went into a room
-filled with unfinished works, old and grimy canvases, and a mass of
-stuff&mdash;in a word, all the worthless debris of a studio&mdash;and there
-at one side the “Canal à Saardam” of Claude Monet.... I inquired
-and learned that the room contained the scourings of Daubigny’s
-studio, sent in for sale anonymously. It was there the heirs had
-sent the picture of Monet, excluding it from the regular sale
-because they thought it would bring discredit. It was knocked down
-to me at the auction for $16. In 1894, when my collection was sold,
-the picture was bought by M. Durand-Ruel for $1,100. In 1901 it was
-withdrawn from a sale at the price of $6,000.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The second exhibition was held in 1876 in the galleries of Durand-Ruel.
-In passing, tribute should be paid to this great dealer and remarkable
-man who backed his belief in the new men with all he possessed, to the
-jeopardizing of his business, and who, happily, still lives to enjoy the
-confirmation of his judgment.<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p>
-
-<p>Of this exhibition Albert Wolff, in “Figaro,” said:</p>
-
-<div class="blockquot"><p>The Rue Peletier is unfortunate. Following upon the burning of the
-Opera House, a new disaster has fallen upon the quarter. There has
-just been opened at Durand-Ruel’s an exhibition of what is said to
-be painting. The innocent passerby enters, and a cruel spectacle
-meets his terrified gaze. Here five or six lunatics, of whom one is
-a woman (Berthe Morisot) have chosen to exhibit their works. There
-are people who burst out into laughter in front of these objects.
-Personally I am saddened by them. These so-called artists style
-themselves Intransigeants, Impressionists. They take paint, brushes
-and canvases; they throw a few colors on to the canvas at random,
-and then they sign the lot. In the same way the inmates of a
-madhouse pick up the stones on the road and believe they have found
-diamonds.</p></div>
-
-<p>All of which recalls what Ruskin said of Whistler, and the following
-choice bits about Turner.</p>
-
-<p>They (referring to two of his famous pictures) “mean nothing. They are
-produced as if by throwing handfuls of white and blue and red at the
-canvas, letting what chanced to stick, stick, and then shadowing in some
-forms to make the appearance of a picture.”</p>
-
-<p>Another picture “only excites ridicule.” “No. 353 caps all for
-absurdity, without even any of the redeeming qualities of the rest.” ...
-“the whole thing is truly ludicrous.”<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p>
-
-<p>Again of Turner,</p>
-
-<div class="blockquot"><p>“This gentleman has on former occasions chosen to paint with cream,
-or chocolate, yolk of egg, or currant jelly&mdash;there he uses his
-whole array of kitchen-stuff.... We cannot fancy the state of eye
-which will permit anyone cognizant of art to treat these rhapsodies
-as Lord Byron treated “Christabel;” neither can we believe in any
-future revolution which shall bring the world round to the opinion
-of the worshipper, if worshippers such frenzies still possess.”<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p></div>
-
-<p>In 1877 the Impressionists held their third exhibition, again in
-Durand-Ruel’s galleries. This proved more audacious than the first.<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span></p>
-
-<p>“It gave rise to an extraordinary outburst of laughter, contempt,
-indignation, and disgust. It became a notable event in Parisian life. It
-was talked about in the cafés of the boulevards, in clubs, and in
-drawing rooms, as some remarkable phenomenon. Numbers of people went to
-see it. They were not attracted by any sort of artistic interest; they
-simply went in order to give themselves that unpleasant thrill which is
-produced by the sight of anything eccentric and extravagant. Hence there
-was much laughter and gesticulation on the part of the visitors. They
-went in a mood of hilarity; they began to laugh while still in the
-street; they laughed as they were going up the stairs; they were
-convulsed with laughter the first moment they cast their eyes upon the
-pictures.”</p>
-
-<p>A critic in “La Chronique” said:</p>
-
-<div class="blockquot"><p>They provoke laughter, and yet they are lamentable. They display
-the profoundest ignorance of drawing, of composition, and of color.
-When children amuse themselves with a box of colors and a piece of
-paper they do better.</p></div>
-
-<p>Cézanne was the one among them who both now and for a long time
-afterwards excited the most detestation. It is not too much to say that
-he was regarded almost as something monstrous and inhuman.</p>
-
-<p>After the close of the exhibition a sale was had at the Hotel Drouot.</p>
-
-<div class="blockquot"><p>“Forty-five canvases of Caillebotte, Pissarro, Sisley, and Renoir
-realized only $1,522&mdash;an average of less than $34 each. The sale
-took place in the presence of an amused and contemptuous public,
-who received the pictures, as they were put up at auction, with
-groans. They amused themselves with passing several of them round
-from hand to hand, turned upside down.”</p></div>
-
-<p>Sixteen Renoirs brought $400. The next year “le Pont de Chateau” sold
-for $8, “Jeune fille dans un Jardin” for $6, and “La Femme au Chat” for
-$16.<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span></p>
-
-<p>Sisley sold eleven for 1,387 francs, or $25 each. These prices meant
-disaster and the painter was in great distress. In 1878 he wrote
-Theodore Duret a pathetic letter asking if Duret could not find some
-friend who would have enough confidence in his, Sisley’s, future to pay
-$100 per month for six months and receive in return thirty pictures.</p>
-
-<div class="blockquot"><p>“At the expiration of six months, if he is not disposed to keep the
-thirty pictures, he can take the chances on a sale of twenty, get
-back the money he paid me, and have ten pictures left for nothing.”</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>During the New York Exhibition the Metropolitan Museum bought a Cézanne
-for something like $8,000. The price of a more important was $46,000. In
-the seventies in Paris there was a dealer in artists’ materials called
-Père Tanguy who had a little shop in rue de Navarin. In 1879 when
-Cézanne left Paris for the country he left his pictures for Père Tanguy
-to sell. Duret went there to buy some. He found them stacked against the
-wall, piled according to their dimensions, the small ones $8 each, the
-large ones $20.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>This is an old, old story&mdash;the story of nearly every great artist of
-whom we have any knowledge.</p>
-
-<p>The world seems to need perspective to appreciate a great man.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>We are prone to think the great men have just passed away; we do not
-realize that men just as great in one way or another are being born
-every day.</p>
-
-<p>The great man usually differs from the ordinary man only in his <i>one</i>
-greatness. On many sides he may be a very commonplace man, a petty man,
-but on his great side he is so far</p>
-
-<div class="figcenter" id="plt_011" style="width: 600px;">
-<a href="images/i_fp026.jpg">
-<img src="images/i_fp026.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CEZANNE</p>
-
-<p>Portrait of Self</p></div>
-</div>
-
-<div class="figcenter" id="plt_012" style="width: 600px;">
-<a href="images/i_fp027.jpg">
-<img src="images/i_fp027.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CÉZANNE</p>
-
-<p>Village Street</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p>
-
-<p class="nind">out of the ordinary that it is almost impossible to understand him close
-to. The fact that he is doing things in an <i>extra</i>-ordinary way causes
-us instinctively to distrust and condemn him.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>One of the early buyers of Impressionist pictures was a distinguished
-Chicago woman, and her collection today contains some of the finest
-Monets, Renoirs, and Degases in existence. When her friends heard she
-had bought some forty or fifty Monets they shook their heads in dismay
-at such folly. This was not many years ago, less than thirty, and now
-the pictures are in demand the world over and worth ten, fifteen, twenty
-times what they cost.</p>
-
-<p>The same ladies and gentlemen who shook their heads at the Monets in
-1890 shook their heads at the Cubists in 1913. If they live another
-quarter of a century they will once more shake their heads at the new
-art of that day&mdash;for such is life.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Neo-Impressionism was the logical outcome of Impressionism. It was
-simply the attempt to paint light in still more scientific fashion, by
-the use of the primary colors laid on in fine points in such a manner
-that at the proper distance the points fuse and produce the tone
-desired.</p>
-
-<p>The use of small dabs or points of color instead of brush strokes gained
-for the movement the name “<i>Pointillism</i>.”</p>
-
-<p>Neo-Impressionism was not a reaction from Impressionism but an attempt
-to advance still further the painting of light effects.</p>
-
-<p>Seurat and Signac simply attempted to out-Monet Monet. They were the
-last word in Impressionism. After them the
-reaction&mdash;<i>Post-Impressionism</i>, something fundamentally different from
-and opposed to the very theory of Impressionism.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span></p>
-
-<div class="blockquot"><p>It is, perhaps, a national characteristic of the French to be
-intense on all they undertake, and if there is one quality common
-to the generation of painters who followed the earlier
-impressionists it is intensity. This earnest passionateness has
-produced developments in two main directions, towards more intense
-luminosity and towards more intense simplification. The first is
-exemplified in the work of <i>the Pointillists</i>, who carried it to
-its logical conclusion, the division of tones, and built up their
-pictures with points or square touches of pure colour. Paul Signac,
-for example, is dazzling in his scientific presentment of the power
-of light. It is difficult to believe that luminosity can be carried
-further than in his radiant canvases whose force makes the most
-brilliant Turner appear pale and weak in comparison. Signac’s
-method, it may be noted in passing, is a square touch of pure
-colour as opposed to the circular spots of Seurat, the inventor of
-Pointillism, Theo van Rysselberg, and the late Henri-Esmond Cross.</p>
-
-<p>If Signac has reached the limit in intense luminosity, Henri
-Matisse, Otho Friesz, and André Derain, among others, stand for
-intense simplification. But it is still a little too early to deal
-with their astonishing works, and any one sincerely desirous of
-comprehending the aims of these revolutionary painters may be
-recommended to commence his course of initiation by a serious study
-of the works of Cézanne and Gauguin. These two deceased painters
-are to their younger comrades what Marx and Kropotkin are to the
-young social reformers of today.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p></div>
-
-<p>We are constantly led astray by words&mdash;at best they are imperfect
-instruments of thought.</p>
-
-<p>As has been often noted in the literature of painting, all art is
-<i>impressionistic</i> in the broad and fine sense of the term. Hence to
-divide painters into Impressionists and Non-Impressionists involves a
-contradiction.</p>
-
-<p>In painting his <i>purely imaginative</i> creations of light effects Turner
-was as much of an Impressionist as Monet in painting his <i>closely
-observed</i> light effects.</p>
-
-<p>In painting his <i>ideal</i> peasants Millet yielded as freely to his
-impressions as did Manet in painting his bull-fighters.</p>
-
-<p>From one point of view the difference is one of degree<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> rather than of
-kind, namely, the degree to which the painter lets his impressions <i>sink
-in</i> and become a part of him.</p>
-
-<p>Monet attempted to paint light <i>exactly as he saw it</i>, reducing the
-personal equation&mdash;that is, himself&mdash;to the lowest possible
-significance. Turner painted light as he saw <i>and imagined</i> it; he
-allowed his impressions to sink in, to become a part of him, then he
-<i>created</i> a picture. And his pictures vary greatly in the proportion of
-observation to imagination; in some he painted almost as direct and as
-coldly from nature as Monet, in others he barely used his observations
-as groundwork upon which to let his imagination run riot.</p>
-
-<p>It is not strange that so erratic, so eccentric a genius bewildered the
-public and the critics of his day, for in the painting of light he was a
-generation ahead of his time, and in the attempt to paint pure color
-harmonies he was two generations ahead.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Take, for instance, his “Sunrise, with a Sea Monster,” and “Sunrise,
-with Boat between Headlands,” in the Tate Gallery. If these pictures had
-been hung anonymously in the International Exhibition in New York they
-would have excited more laughter than any of the Cubists. They are
-simply color schemes compared with which an “Improvisation” by Kandinsky
-is a legible message.</p>
-
-<p>A Turner in the National or Tate Gallery is accepted as a masterpiece;
-the same picture hung anonymously with a lot of extreme
-Post-Impressionists in the Grafton Gallery would be the occasion of much
-hilarity.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>While all painting is more or less impressionistic, in the art
-literature of the day the term “Impressionists” is appropriated to the
-school of men who paint in the open direct from nature, and who attempt
-to record faithfully, many<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> almost mechanically, their visual
-impressions of objects and light-effects.</p>
-
-<p>Hence the term <i>Post</i>-Impressionism means not an accentuation or a
-further development of Impressionism such as <i>Neo</i>-Impressionism or
-“pointillism,” but a <i>reaction</i>.</p>
-
-<p>When Impressionism has had its day and done its best, then something
-different must come, and logically that something different is a return
-to the art that is the antithesis of Impressionism&mdash;the art of the
-<i>imagination</i>&mdash;a <i>creative</i> art.<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>For a generation the poetic, the imaginative work of the Barbizon
-School&mdash;to use this one school as typical of the painting of practically
-the entire western world in the sixties and seventies&mdash;held sway.</p>
-
-<p>Then came the return to nature, the Impressionists, and for a generation
-they held sway.</p>
-
-<p>Now, apparently, we are at the beginning of a new movement, a return to
-imaginative art, and the evidences of this return are seen not only in
-painting but in decoration, in<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> sculpture, in music, in drama, in
-literature, in fiction, in philosophy, in medicine, in business, in
-politics.</p>
-
-<p><i>There is a demand</i> for <i>ideals</i> as distinguished from <i>results</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>We have learned that the proper end of poetry is the expression of
-emotion, to which all reasoning and statement of fact should be
-subsidiary; but we have not learned that painting should have the
-same end, using representation only as a means to that end, and
-representing only those facts of reality which have emotional
-associations for the painter. In primitive pictures, it is true, we
-look for the expression of emotion rather than for illusion, and
-that is the reason why so many people get a real pleasure from
-primitive art. They judge it by the right standard, and ask of it
-what it offers to them. But from modern pictures they demand
-illusion&mdash;that is to say, the kind of representation they are used
-to; and when they do not get it they accuse the artist of
-incompetence.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In painting this reaction, this tendency&mdash;call it what you please&mdash;has
-taken many forms, one of which is <i>Cubism</i>.</p>
-
-<p>While this book devotes much space to Cubism, it is solely because in
-its extreme development it is, from a coldly critical point of view, the
-<i>most abstract</i> word yet uttered in painting, it is the farthest removed
-from impressionism, and therefore serves admirably to illustrate a
-discussion of the philosophy of <i>Post-Impressionism</i>.</p>
-
-<p>In a book like this, written as an off-hand comment upon what is now
-going on in the world of art&mdash;in the world generally, for that
-matter&mdash;it would be quite impracticable to follow the development of
-even the principal lines of human activity;<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> hence the works and
-theories of the Cubists have been chosen as typical of radical and
-revolutionary ideas and the attempt is made to find wherein these works
-and<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> ideas are not so radical and extravagant as they seem, but are, in
-fact, only an illustration of what is going on in the minds of men
-generally.</p>
-
-<p>If the painter who laughs at a Cubist painting and denounces it will
-only stop to think he will find one of two things true, he himself is
-either advancing in his art or he is not. If he is not, there is nothing
-further to be said, his attitude toward the Cubist painting is quite
-consistent; but if he is advancing, if his style, his technic, his point
-of view are changing, <i>however slightly</i>, from year to year, then he
-should be exceedingly cautious how he ridicules or condemns, for without
-knowing it he may be traveling the highroad, one of the interesting
-byways of which is Cubism.</p>
-
-<p>Most painters of sixty who are now Impressionists and who ridicule
-Cubists, if cross-questioned would be obliged to confess that
-thirty-four years ago they ridiculed the men in whose footsteps they
-have since followed and whom they now recognize as masters.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In the course of our discussion we shall have occasion to speak of the
-Futurists and other extremists, for they all are part of the one big
-reaction, they are all <i>Post-Impressionists</i>, and all have something to
-say worth hearing, but the Cubists serve our purpose best because their
-pictures, from an argumentative point of view, are more tangible, and
-their theories have been worked out in print in plain terms.</p>
-
-<div class="figcenter" id="plt_064" style="width: 600px;">
-<a href="images/i_fp032.jpg">
-<img src="images/i_fp032.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VILLON</p>
-
-<p>Young Girl</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_33" id="page_33">{33}</a></span></p>
-
-<h2><a name="III" id="III"></a>III<br /><br />
-LES FAUVES</h2>
-
-<p class="nind"><span class="letra">E</span>VERY development bears within the seeds of its dissolution and the
-germs of its succession.</p>
-
-<p>The seeds of the dissolution and the germs of the succession of
-Impressionism were <i>Les Fauves</i>&mdash;the Savages, the Wild Ones, as you
-please.</p>
-
-<p>The philosophical student of the history of art has no trouble in
-tracing at any time the following currents:</p>
-
-<p><i>A.</i> The main stream which includes <i>all</i> art developments from the
-profoundest and most permanent to the most fleeting and superficial,
-from the soberest to the most extravagant.</p>
-
-<p><i>B. B.</i> +. Within the main current lesser currents of such magnitude
-that they frequently seem to dominate&mdash;and often do obscure the
-direction of&mdash;the main current; as, for instance, Impressionism
-dominated the art of France and influenced the art of the entire western
-world in the final years of the last century. These lesser currents have
-their effect on the main current, though their ultimate effect is never
-so revolutionary as their enthusiasts believe; the good in them is
-absorbed, the meretricious rejected.</p>
-
-<p><i>C. C. C.</i> +. Surface manifestations of all kinds, often so violent they
-disguise not only the main current, but the important subsidiary
-currents, and lead men to believe for the moment that art is reversing
-itself, that all that has been done is being undone, that chaos is
-taking the place of order. These subsidiary movements are with us
-always, evident in<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> every exhibition; they are the experiments, the
-extravagances of each generation, of each decade, of each year. Some of
-them contain so much of truth they develop into <i>B.</i>&mdash;larger
-currents&mdash;“movements;” others are of such ephemeral importance they
-cause their sensations of the hour and pass away, leaving behind scarce
-distinguishable traces.</p>
-
-<p>It is these last movements which, because they are new and strange, so
-impress critics and public that observation loses its sense of
-proportion; the force of the main current (<i>A.</i>) is lost sight of, and
-the strength of subsidiary currents (<i>B. B.</i> +) is overlooked.</p>
-
-<p>The newest movements (<i>C. C. C.</i> +) are usually either too bitterly
-denounced or too widely praised, their true relationship is not
-perceived; all sense of perspective is lost in the immediate presence of
-the startling.</p>
-
-<p>There are no hard and fast lines dividing any of these currents and
-movements. When and where they begin no one can say; when and where they
-end no one can tell.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Impressionism is identified with Monet more than any other painter,
-because all his life long he has been the steadfast and consistent
-exponent of extreme theories regarding the painting of light effects.</p>
-
-<p>But Impressionism, even the painting of light effects, had its beginning
-long before Monet; with the beginning of painting itself, the germs were
-there.</p>
-
-<p>Likewise the germs of every other movement, however extravagant and
-superficial, could probably be found in the work of some man or men in
-another age and country.</p>
-
-<p>What happens is that a combination of favoring conditions at a given
-time concentrates human efforts and human attention upon a particular
-mode, technic, or theory and brings it to the fore.<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span></p>
-
-<p>The names of Turner, Manet, Whistler, have been cited as illustrations
-of geniuses so comprehensive they link several movements, several
-decades, together.</p>
-
-<p>To these should be added the name of Degas in painting and that of Rodin
-in sculpture.</p>
-
-<p>These men have done things far ahead of their own times, they have done
-things their own times not only did not understand, but ridiculed and
-decried. It was only a few years ago that Paris&mdash;yes, <i>Paris</i>&mdash;rejected
-Rodin’s Balzac, by many considered the greatest of his works.</p>
-
-<p>These men illustrate what we mean when we say that every period in art
-contains within itself the seeds of its dissolution and the germs of its
-succession. A movement may seem so dominating, so strong, so true, that
-people exclaim, “It is the final word, it will last forever,” but at the
-very moment somewhere, in obscurity, there will be men doing things that
-are diametrically opposed to the prevailing current, things that are
-destined to be the masterpieces of a new development.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Cézanne exhibited with the Impressionists in 1874 and was counted one of
-them; yet in a profound sense he was the first of the
-Post-Impressionists.</p>
-
-<p>While he was classed with the Impressionists he had little in common
-with them, practically nothing in common with Monet.</p>
-
-<p>All his life Monet has been busy with the <i>surface</i> of things; all his
-life Cézanne was busy with the <i>substance</i> of things.</p>
-
-<p>When Monet paints a landscape he paints the grass and the flowers and
-the trees one sees bathed in sunlight; when Cézanne painted a landscape
-it was an elemental presentment of nature herself.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p>
-
-<p>Cézanne was born in Aix in 1839 and died in the same place in 1905.</p>
-
-<p>Having inherited just sufficient to live very modestly, he devoted his
-entire life to trying to fathom the secrets of nature and paint her
-innermost truths.</p>
-
-<p>The fact that his pictures did not sell, that even his friends did not
-understand him, did not swerve him a hair’s breadth from the path he had
-chosen&mdash;to paint, to <i>learn how</i> to paint, <i>simpler</i> and <i>truer</i>
-interpretations.</p>
-
-<p>He lived so isolated from his neighbors that a visitor to Aix in 1904
-had great difficulty in finding his residence; was obliged, in fact, to
-resort to the list of voters at the town hall. In the eccentricities of
-his daily life he was not unlike Turner, but in his art he indulged no
-such brilliant fancies.</p>
-
-<p>He was a <i>consistent</i> painter. He never permitted his imagination to run
-away with him; he constantly checked his work by the closest and most
-penetrating observation of nature.</p>
-
-<p>His manner of work is described by a devoted follower:<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
-
-<div class="blockquot"><p>He was working on a canvas showing three decapitated heads on an
-Oriental carpet. He had worked a month every morning from six
-o’clock until half past ten. His daily routine was, rise very
-early, paint in his studio from six to ten-thirty, breakfast, and
-go out immediately into the surrounding country to study nature
-until five. On his return he had supper and went at once to bed. I
-have seen him so exhausted by his day’s work that he could neither
-talk nor listen.</p>
-
-<p>“What is lacking,” he said to me while contemplating the three
-heads, “is the <i>realisation</i>. Perhaps I shall get it, but I am old
-and it may be that I shall die without having reached the highest
-point: To realise! like the Venetians.”</p></div>
-
-<p>Not unlike the lament of Hokusai at seventy over his imperfections as a
-draftsman.</p>
-
-<div class="figcenter" id="plt_013" style="width: 600px;">
-<a href="images/i_fp036.jpg">
-<img src="images/i_fp036.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CÉZANNE</p>
-
-<p>Still Life</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p>
-
-<p>One’s first impression from even half-tone reproductions of his
-paintings is a feeling of <i>construction</i>. I have before me a
-still-life&mdash;the fruit, the bowl, the piece of stuff are not simply
-painted but <i>built up</i> as firmly and scientifically as a builder builds
-a house&mdash;the materiality as well as the beauty is there.</p>
-
-<p>It is just the same with his portraits, his figure pieces and his
-landscapes; one cannot escape the <i>sense of the substance</i>, the
-fundamental reality.</p>
-
-<p>And to attain it all he used the simplest and most direct technic, not a
-brush-stroke, not a line, not a spot of color wasted.</p>
-
-<p>It was these characteristics which made him a profound Impressionist, in
-the wider significance of the term, but also the first of the <i>Fauves</i>,
-the father of the revolt from Impressionism in its more superficial
-significance.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>With the name of Cézanne are associated the names of two men whose work
-shows his influence, VanGogh and Gauguin, and one whose work is wholly
-different, Henri Rousseau, the custom house employee who painted without
-instruction; later, but also conspicuously, Henri Matisse.</p>
-
-<p>These are the leaders of Fauvism.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>At the exhibition in New York one had the unusual opportunity of seeing
-in close contact many works of all four. It would be difficult to
-imagine paintings more different in inspiration and technic. They had
-but one thing in common&mdash;a pronounced reaction from, not to say revolt
-against, Impressionism, evidenced particularly in the use of color
-<i>constructively</i> and <i>decoratively</i> rather than imitatively.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
-
-<div class="blockquot"><p>Color force is a feature of the new inspiration.</p>
-
-<p>The painters of today have discovered anew the world’s coloring. We
-now recognize everywhere the power and vivaciousness, the
-thousandfold freshness, and the infinite changefulness of color. To
-us colors now talk directly; they are not drowned by covering
-tints, not hide-bound by a preconceived harmony. An instrument has
-thus been given, wherein innumerable melodies still slumber.</p>
-
-<p>Color is a means of representation not only of what is colored, but
-also of the thick and the thin; of the solid and the liquid; of the
-light and of the heavy; of the hard and of the soft; of the
-corporeal and of the spacious. Cézanne models with color; with
-tinted color surfaces he builds a landscape. The proper couching of
-colored planes can force upon us the impression of depth; colored
-transitions call forth the impression of ascent and of motion;
-spots scattered here and there give the impression of sprightly
-vivaciousness.</p>
-
-<p>Color is a means of expression talking directly to the soul. Deep
-mourning and soft glowing, warmth of heart and cold clarity,
-confused dumbness, flames of passion, sweet devotion&mdash;all
-conditions and all outbursts of the soul&mdash;what can communicate them
-to us more forcefully and more directly than a few colors with
-their effect exerted through the eye? As tones draw us with them
-without our will and without meeting resistance, so does color
-subjugate us: now it fills us with deepest sorrow, then again we
-are all glowing under its influence.</p>
-
-<p>Color is a means of composition. The force of sensuous designation,
-the expressive power of the soul, both must combine and make for an
-always new, always original, and always unique harmony. The law of
-color beauty has not as yet been fathomed by the intellect. It is
-being created by feeling and by subconscious experience.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“Cézanne, Gauguin, and VanGogh were men of very different minds; but
-they were alike in this, that they all attempted to subordinate
-representation to expression, and were all determined to express only
-their own emotional experience. Cézanne could not content himself with
-impressionist triumphs of representation. Above all, he revolted from
-the Impressionist insistence on the momentary aspect of reality. He was,
-so to speak, a kind of Plato among the<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> artists of his time, believing
-that in reality there is a permanent order, a design which reveals
-itself to the eye and mind of the artist, and which it is his business
-to expose in his work. But this design he was determined to discover in
-reality itself, not in the works of other artists. His task was
-enormously difficult because he would take nothing whatever at second
-hand. Nature must tell him all her own secrets; and he would not listen
-even to her when she told him commonplaces. He was not interested, so to
-speak, in her caprices, in her chance effects of beauty that anyone can
-see. He painted landscape as Titian or Rembrandt painted portraits;
-searching always for the permanent character of the place, for that
-which, independent of weather or time, distinguished it from other
-places. This permanent element he found in structure and mass, but, like
-Titian and Rembrandt, he would not abstract these from color. For him,
-as for these masters, structure and mass revealed themselves in color,
-and all these must be verified by incessant observation.... For him a
-hill is not a screen for the play of light; it is built up of earth and
-rock. Nor is a tree a mere rippling surface, but a living thing with the
-structure of its growth. Everywhere he looks for character; yet he
-subordinates the character of details to the character of the whole. And
-the character of the whole means for him its permanent character, which
-he expresses in a design not imposed upon it but discovered in it, as
-Michael Angelo discovered the statue in the block of marble.</p>
-
-<p>“If Cézanne, Gauguin, and VanGogh were charlatans, they were like no
-other charlatans that ever lived. If their aim was notoriety, it is
-strange that they should have spent solitary lives of penury and toil.
-If they were incompetents, they were curiously intent upon the most
-difficult problems of their art. The kind of simplification which they
-attempted<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> is not easy, nor, if accomplished, does it make a picture
-look better than it is. The better their pictures are, the more they
-look as if any one could have painted them; in fact, they look just as
-easy as the lyrical poems of Wordsworth or Blake.”<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p>
-
-<p>For a glimpse of VanGogh’s life and aspirations, see his letters
-published in English under the title, “Letters of a Post-Impressionist,”
-written mostly to his brother&mdash;simple, pathetic documents, showing the
-eager, earnest striving of a man who finally went insane and shot
-himself. Critics and opponents of his work have seized upon his madness
-as proof of lack of sanity in what he painted&mdash;perhaps, but then is
-dullness the only proof positive of sanity?</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Gauguin, half Breton, half Peruvian Creole, was a restless spirit.</p>
-
-<p>“More than once he circumnavigated the globe, and all his life he was at
-recurring intervals a victim to wander-thirst. In early manhood he
-returned to Paris and made an heroic attempt to settle down. He entered
-a bank, and got on there very well.</p>
-
-<p>“One day he saw in a dealer’s shop some paintings which brought back
-memories of the light and color he had seen in the tropics. He sought
-out the painters Pissarro and Guillaumin, and began painting at the age
-of thirty. Two years later, in 1880, he exhibited two landscapes in the
-manner of Pissarro.</p>
-
-<p>“Degas made the decisive impression on him, by his systematic division
-of large planes of color, and above all, by his strong drawing.”<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a></p>
-
-<div class="figcenter" id="plt_058" style="width: 600px;">
-<a href="images/i_fp040.jpg">
-<img src="images/i_fp040.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN GOGH</p>
-
-<p>Portrait of Self</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
-
-<p>“Gauguin was as singular in his way as VanGogh in his. He did not “go
-mad,” but he withdrew from civilized society, buried himself in Tahiti
-and painted the natives, firmly convinced that only amidst primitive
-conditions could be found the inspiration of pure art.</p>
-
-<p>“His combative disposition impelled him to fight against painters,
-critics, dealers, buyers, and against established institutions and
-conventions. One would say fate pursued him. In 1894 at Concarneau in a
-quarrel with some boatmen who had insulted him, his ankle was broken by
-a sabot kick, leaving a painful injury from which he suffered until his
-death (in 1903).”<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p>
-
-<p>Of his aims he said in a letter to a friend:</p>
-
-<div class="blockquot"><p>Physics, chemistry, and, above all, the study of nature, have
-produced an epoch of confusion in art, and it may be truly said
-that artists, robbed of all their savagery, have wandered into all
-kinds of paths in search of the productive element which they no
-longer possess. They now act only in disorderly groups, and are
-terrified as if lost when they find themselves alone. Solitude is
-not to be recommended to any one, for a man must have strength to
-bear it alone. All I have learnt from others has been an impediment
-to me. It is true that I know little, but what I do know is my own.</p>
-
-<p>Every human work is a revelation of the individual. Hence, there
-are two kinds of beauty; one comes from instinct, the other from
-labor. The union of the two&mdash;with the modification resulting
-therefrom&mdash;produces great and very complicated richness....
-Raphael’s great science does not for a moment prevent me from
-discovering the instinct of the beautiful in him as the essential
-quality.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In 1895 there was a sale of Gauguin’s works at the Hotel Drouot.
-Strindberg was asked to write a preface to the catalogue. In declining,
-he admitted his own “immense yearning to become a savage and create a
-new world,” but said of Gauguin’s world, “it is too sunny for me, the
-lover of<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> chiaroscuro. And in your Eden dwells an Eve, who is not my
-ideal&mdash;for indeed, I too, have a feminine ideal, or two.”</p>
-
-<p>Gauguin answered,</p>
-
-<div class="blockquot"><p>Your civilization is your disease, my barbarism is my restoration
-to health. The Eve of your civilized conception makes us nearly all
-misogynists. The old Eve, who shocked you in my studio, will
-perhaps seem less odious to you some day. I have perhaps been
-unable to do more than suggest my world, which seems unreal to you.
-It is a far cry from the sketch to the realisation of the dream.
-But even the suggestion of the happiness is like a foretaste of
-Nirvana&mdash;only the Eve I have painted can stand naked before us.
-Yours would always be shameless in the natural state, and, if
-beautiful, the source of pain and evil.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p></div>
-
-<p>He had a profound admiration for Cézanne, and was often charged with
-imitating him, and in some of his pictures there is a certain
-resemblance in construction, but two painters could scarce be less alike
-in the handling of color. Gauguin handled color for the pure joy of
-it.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> Cézanne used color as a mason uses bricks.</p>
-
-<p>Gauguin’s admiration for Cézanne was not reciprocated.</p>
-
-<p>“Gauguin likes your work immensely, and imitates you,” a friend once
-said to Cézanne.</p>
-
-<p>“Eh! he does not understand me,” was the angry response. “I never have
-and never will accept a lack of modelling or graduation; that is
-nonsense. Gauguin is not a painter; he produces simply Chinese figures.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Gauguin was a dreamer; Cézanne, in his way, was quite an exact thinker,
-for instance, he explained his ideas of form and color as follows:<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span></p>
-
-<div class="blockquot"><p>Everything in nature is modelled on the lines of the <i>sphere</i>, the
-<i>cone</i>, and the <i>cylinder</i>, and one must understand how to paint
-these simple figures, one can then paint anything. Design and color
-are not distinct; to precisely the extent that one paints, one
-draws; the more the color harmonizes, the clearer and purer the
-design. When the color is at its finest, the form also attains its
-perfection. Contrasts and harmonies of tones&mdash;that is the secret of
-drawing and modelling.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p></div>
-
-<p>In the suggestion of the lines of the <i>sphere</i>, the <i>cone</i>, and the
-<i>cylinder</i>, as the <i>elements</i> of all art, one recognizes the <i>alphabet
-of cubism</i>. But in reducing drawing to these elements Cézanne, without
-knowing it, simply repeated what Albert Durer printed in book form
-nearly four hundred years ago, and what the Chinese and Japanese had
-discovered centuries earlier.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p>
-
-<p>The fact that the work of four men so different, Cézanne, Henri
-Rousseau, VanGogh, Gauguin, began to be appreciated about the same time,
-shows how ripe the Paris art world was for the reaction from
-Impressionism&mdash;for a great movement in <i>creative</i> and <i>decorative</i> art.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Matisse taught drawing and for a time&mdash;from 1895 to 1899&mdash;painted along
-conventional lines. Influenced by Cézanne he then broke with the
-academic and sought new light effects, effects quite different from
-those of the Impressionists.</p>
-
-<p>He sought to break with all ancient laws, and his use of color became
-and still is largely his own.<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a></p>
-
-<p>While his coloring is always interesting and his drawing facile, there
-is at times something about his work that is not satisfying, an
-atmosphere of superficiality. He is described,<span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> however, by those who
-know him as a painter of almost bourgeois earnestness and sincerity,
-taking himself and his work most seriously.</p>
-
-<p>At the same time many of his canvasses give the impression of having
-been executed in a spirit of sheer audacity.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To be sure, there is a rhythm and swing to some of his moving figures
-that is delightful, delightful in the elemental simplicity of the
-drawing and the seemingly&mdash;but only seemingly&mdash;naive coloring.</p>
-
-<p>Yet even with these canvases there is often the feeling, “With so much
-skill, why did he not do better?”&mdash;a feeling of disappointment, of
-dissatisfaction.</p>
-
-<p>One is disposed to agree with the opinion that Matisse’s “true gifts are
-those of address, of <i>souplesse</i>, of quick assimilation, of limited but
-easily acquired knowledge&mdash;essentially feminine gifts.”[A]</p>
-
-<div class="blockquot"><p><i>“On a beaucoup vanté le goût d’Henri Matisse. Il n’est pas niable,
-mais d’une qualité secondaire. C’est le goût d’une modiste; son
-amour de la conleur vaut un amour du chiffon.”</i></p></div>
-
-<p>He lives in a simple country house in a suburb out of Paris. His studio
-is painted white, within and without, with immense windows.<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a></p>
-
-<div class="blockquot"><p>I found not a long-haired, slovenly-dressed, eccentric man, as I
-had imagined, but a fresh, healthy, robust, blonde gentleman, who
-looked even more German than French, and whose simple and
-unaffected cordiality put me directly at my ease.</p>
-
-<p>Concerning his early experiences, Matisse said: “I began at the
-Ecole des Beaux Arts. When I opened my studio, years after, for
-some time I painted just like any one else. But things didn’t go at
-all, and I was very unhappy. Then, little by little, I began to
-paint as I felt. One cannot do successful work which has much
-feeling unless one sees the subject very simply, and one must do
-this in order to express one’s self as clearly as possible.</p></div>
-
-<div class="figcenter" id="plt_040" style="width: 600px;">
-<a href="images/i_fp044.jpg">
-<img src="images/i_fp044.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MATISSE</p>
-
-<p>The Dance</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span></p>
-
-<div class="blockquot"><p>“I studied in the schools mornings, and I copied at the Louvre in
-the afternoons for ten years. I made copies for the Government, but
-when I introduced some of my own emotional impressions, or personal
-translations of the pictures, the Government did not care to buy;
-it only wanted a photographic copy.”</p>
-
-<p>Of his present methods he said: “I certainly do think of harmony
-and color, and of composition, too. Drawing is for me the art of
-being able to express myself with line. When an artist or student
-draws a nude figure with painstaking care, the result is drawing,
-and not emotion. A true artist cannot see color which is not
-harmonious. Otherwise it is a <i>moyen</i>, or recipe. An artist should
-express his feeling with the harmony or idea of color which he
-possesses naturally. He should not copy the walls, or objects on a
-table, but he should, above all, express a vision of color, the
-harmony of which corresponds to his feeling. And, above all, one
-must be honest with one’s self.</p>
-
-<p>“If one <i>feels no emotion</i>, one should not paint. When I came in
-here to work this morning I had no emotion, so I took a horseback
-ride. When I returned I felt like painting, and had all the emotion
-I wanted.</p>
-
-<p>“I never use pastels or water colors, and I only make studies from
-models, not to use in a picture&mdash;<i>mais pour me nourrir</i>&mdash;to
-strengthen my knowledge; and I never work from a previous sketch or
-study, but from memory. I now draw with feeling, and not
-anatomically. I know how to draw correctly, having studied form so
-long.</p>
-
-<p>“I always use a preliminary canvas the same size for a sketch as
-for a finished picture, and I always begin with color. With large
-canvases this is more fatiguing, but more logical. I may have the
-same sentiment I obtained in the first, but this lacks solidity,
-and a decorative sense. I never retouch a sketch; I take a new
-canvas the same size, as I may change the composition somewhat. But
-I always strive to give the same <i>feeling</i>, while carrying it on
-further. A picture should, for me, always be decorative. While
-working <i>I never try to think, only to feel</i>.</p>
-
-<p>“I have a class of sixty pupils and make them draw accurately, as a
-student always should do at the beginning. I do not encourage them
-to work as I do now.”</p>
-
-<p>When asked about a clay model of a nude woman with abnormal legs,
-he picked up a small Javanese statue with a head all out of
-proportion to the body and asked:</p>
-
-<p>“Is not that beautiful?”</p>
-
-<p>His interviewer answered, “I see no beauty where there is lack<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> of
-proportion. To my mind no sculpture has ever equaled that of the
-Greeks, unless it be Michael Angelo’s.”</p>
-
-<p>He replied: “But there you are, back to the classic, the formal. We
-of today are trying to express ourselves <i>today</i>&mdash;<i>now</i>&mdash;the
-<i>twentieth century</i>&mdash;and not to copy what the Greeks saw and felt
-in art over two thousand years ago. The Greek sculptors always
-followed a set, fixed form, and never showed any sentiment. The
-very early Greeks and the Primitives only worked from the basis of
-emotion, but this grew cold, and disappeared in the following
-centuries. It makes no difference what are the proportions, <i>if
-there is feeling</i>. And if the sculptor who modeled this makes me
-think only of a dwarf, then he has failed to express the beauty
-which should overpower all lack of proportion, and this is only
-done through or by means of his emotions.</p>
-
-<p>“My favorite masters are Goya, Durer, Rembrandt, Corot, and Manet.
-I often go to the Louvre, and there I study Chardin’s work more
-than any other; I go there to study his technic.”</p>
-
-<p>His palette was a large one, and so chaotic and disorderly were the
-vivid colors on it that a close resemblance could be traced to some
-of his pictures.</p>
-
-<p>“I never mix much; I use small brushes and never more than twelve
-colors. I use black to cool the blue.</p>
-
-<p>“I seldom paint portraits; and, if I do, only in a decorative
-manner. I can see them in no other way.”</p>
-
-<p>One’s ideas of the man and of his work are entirely opposed to each
-other: The latter abnormal to the last degree, and the man an
-ordinary, healthy individual, such as one meets by the dozen every
-day. On this point Matisse showed some emotion.</p>
-
-<p>“Oh, do tell the American people that I am a normal man; that I am
-a devoted husband and father; that I have three fine children; that
-I go to the theater, ride horseback, have a comfortable home, a
-fine garden that I love, flowers, etc., just like any man.”</p>
-
-<p>As if to bear out this description of himself, he took me to the
-salon in his perfectly normal house, to see a normal copy which he
-had made at the Louvre, and he bade me good-by and invited me to
-call again like a perfectly normal gentleman.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p></div>
-
-<p>Matisse differs from Cézanne, VanGogh, Gauguin, in the accentuation of
-<i>feeling</i> as distinguished from observation. While the three last named
-sought fresh inspiration from<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> close and ever closer contact with
-nature, he seeks his inspiration in his own emotions.</p>
-
-<p>It is this trait that makes him one of the leaders of
-Post-Impressionism, as well as a Fauve.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>From the foregoing it is clear that <i>Fauvism</i> does not mean a particular
-mode or technic, like Classicism, Romanticism, Realism, Impressionism,
-etc., etc. It means a <i>mood</i> rather than a <i>mode</i>. Every painter in
-revolt against prevailing taste and standards was and is a <i>Fauve</i>.</p>
-
-<p>Not all Post-Impressionists are Fauves, but many are so called, for
-instance, the following:<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p>
-
-<p>Odilon Redon, Othon Friez, Picasso (the founder of Cubism), Van Dongen,
-André Derain, Vlaminck, Marquet, George Braque, Raoul Dufy, Robert
-Delauney, M’lle Laurencin, Jean Metzinger, Pierre Girieud, Verhoeven.</p>
-
-<p>Of the above four are well known Cubists; Redon is a poetic personality
-quite apart; while the others exhibit marked individualities in their
-work.</p>
-
-<p>Les Fauves in Germany are “Die Wilden,” embracing the “Brücke” of
-Dresden, the “Neue Sezession” of Berlin, the “Neue Vereinigung” of
-Munich.<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p>
-
-<p>Those of Russia are Larionoff, P. Kuznezoff, Sarjan, Denissow, Kantsch,
-Schalowsky, Maschkoff, Frau Gontscharof, von Wisen, W. and D. Burljuk,
-Kanabe, Jakulof; and others who live in foreign countries, such as
-Schereczowa, Paris; Kandinsky Werefkina, Jawlensky, Bechteyeff, Genin in
-Munich.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p>
-
-<p>Among the best known English artists who might fairly be classed as
-“Fauves” are Ferguson, Peploe, Lewis, Wynd<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span>hover Lewis, Duncan Grant,
-Mrs. Bell, Frederic Etchells, Miss Etchells, Eric Gill, Spencer F. Gore,
-and a man who has done heroic service for the new movement, Roger Fry.</p>
-
-<p>There are, however, comparatively speaking, so few “Fauves” in England
-that the guns of the critics rust on the racks; while in America they
-are so scattered they have as yet attracted no attention by concerted
-action.</p>
-
-<p>Almost the only man in this country who has persistently painted in
-Cubist fashion for any length of time is Arthur Dove, one of whose
-pictures is reproduced.</p>
-
-<p>When asked how he came to paint as he does Dove said:</p>
-
-<div class="blockquot"><p>After having come to the conclusion that there were a few
-principles existent in all good art from the earliest examples we
-have, through the Masters to the present, I set about it to analyze
-these principles as they are found in works of art and in nature.</p>
-
-<p>One of these principles which seemed most evident was the choice of
-the simple motif. This same law held in nature, a few forms and a
-few colors sufficed for the creation of an object.</p>
-
-<p>Consequently I gave up my more disorderly methods (impressionism);
-in other words, I gave up trying to express an idea by stating
-innumerable little facts, the statement of facts having no more to
-do with the art of painting than statistics with literature.</p></div>
-
-<p>He then refers to “that perfect sense of order which exists in the early
-Chinese painting,” and goes on:</p>
-
-<div class="blockquot"><p>The first step was to choose from nature a motif in color, and with
-that motif to paint from nature, the form still being objective.</p>
-
-<p>The second step was to apply this same principle to form, the
-actual dependence upon the object (literal to representation)
-disappearing, and the means of expression becoming purely
-subjective.</p>
-
-<p>After working for sometime in this way, I no longer observed in the
-old way, and not only began to think <i>subjectively</i>, but also to
-remember certain sensations <i>purely through their form and color</i>,
-that is by certain shapes, planes, light, or character lines
-determined by the meeting of such planes.</p>
-
-<p>With the introduction of the line motif the expression grew more
-plastic, and the struggle with the means became less evident.</p></div>
-
-<div class="figcenter" id="plt_018" style="width: 600px;">
-<a href="images/i_fp048.jpg">
-<img src="images/i_fp048.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>DOVE</p>
-
-<p>Based on Leaf Forms and Spaces</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p>
-
-<p>Referring to the painting reproduced he said:</p>
-
-<div class="blockquot"><p>It is a choice of three colors, red, yellow, and green, and three
-forms selected from trees and the spaces between them that to me
-were expressive of the movement of the thing which I felt.</p>
-
-<p>As to going further and explaining what I felt, that would be quite
-as stupid as to play on an instrument before deaf persons. The deaf
-person is simply not sensitive to sound and cannot appreciate; and
-a person who is not sensitive to form and color as such would be
-quite as helpless.</p>
-
-<p>The majority of people seem to be in the position of deaf persons.
-They see others listening intently, and apparently enjoying
-something, and because they fail to hear, they at once draw the
-false conclusion that the trouble is with the instrument or the
-performers.</p></div>
-
-<p>In November last a group of young Americans held an exhibition of very
-modern work in The MacDowell Club in New York. The exhibitors were
-Oliver Chaffee, Konrad Cramer, Andrew Dasburg, Grace Johnson, Arthur
-Lee, Henry L. McFee, Paul Rohland, William Zorach.<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span></p>
-
-<h2><a name="IV" id="IV"></a>IV<br /><br />
-A FUTILE PROTEST</h2>
-
-<p class="nind"><span class="letra">T</span>HE Cubist pictures in the Salon d’Automne, 1912, was the occasion of
-the following letter from M. Lempué, painter and doyen du Conseil
-municipal de la Ville de Paris, addressed M. Bérard, Sous-Secrétaire
-d’Etat des Beaux-Arts.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
-
-<div class="blockquot"><p>If the voice of a municipal counsellor could reach you, I would beg
-you, would pray you to go and take a turn around the Autumn Salon.</p>
-
-<p>Go there, sir, and although you are a minister, I trust that you
-will come away as much disgusted as are many people whom I know,
-and I hope, also, that you will say to yourself in an undertone:
-“Have I indeed the right to loan a public building to a lot of
-malefactors who conduct themselves in the world of art as do the
-<i>apaches</i> in ordinary life?”</p>
-
-<p>You will ask yourself, Mr. Minister, in leaving the place, if
-nature and the human form have ever before suffered such outrages;
-you will admit with regret that in this Salon the most trivial
-uglinesses and vulgarities that can be imagined are there displayed
-and accumulated; and you will again ask yourself, Mr. Minister, if
-the dignity of the Government of which you form part is not
-injured, inasmuch as it appears to take under its protection such a
-scandal by sheltering horrors like these in a national building.</p>
-
-<p>The Government of the Republic, as it seems to me, ought to be more
-careful and more respectful of the artistic dignity of France.</p>
-
-<p>A year ago, and for another reason, I wrote to your predecessor,
-who, by the way, took no notice of my letter; but what is
-astonishing&mdash;does he not let everybody think that he is a
-meridional, whereas he was born nowhere else than at Montmartre?</p>
-
-<p>A friend whispers to me that you are from Orthez; we are,
-therefore, fellow-townsmen, for that is almost as if you came from
-Montrejeau; so then, “Dious bibant!” (Dieu vivant!) it will not be
-long before you will make known to the Belgian, Frantz Jourdain,
-who has very modestly set for himself the mission of reforming
-French art, and who, in order to thoroughly demonstrate his ability
-to do<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> so, has deposited&mdash;I will not say offal&mdash;but the store of
-“La Samaritaine” almost opposite the Louvre, which fact is a sure
-proof of the superiority of his monstrosity of a structure over the
-beautiful architecture of the Renaissance. Please, therefore, make
-known to this architect that in the future he may locate his
-reforms and his reformers where he pleases, but not again in a
-public building, and for so doing, all those who have taste and
-love for beautiful things will applaud you.</p>
-
-<p>Please accept, Mr. Minister, the assurance of my highest regards.</p>
-
-<p class="r">
-Lempué.<br />
-</p>
-</div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Committee of the Autumn Salon, in reply, made the following
-statement:</p>
-
-<div class="blockquot"><p>The committee of the Autumn Salon considers that the only reply
-which it can make to the especially severe attacks that have been
-made on it this year is to make announcement of the principle that
-directs it:</p>
-
-<p>“To admit all efforts of conscientious art, whatever they may be,
-however personal, and however strange they may seem to the ancient
-formulae.”</p>
-
-<p>The Autumn Salon is not and does not wish to be the conservator of
-a school with a fixed formula; it wishes, rather, to remain the
-ground of generous combat and of the emulation necessary in a
-country like ours, in order to bring out and fructify both artists
-and works of art.</p>
-
-<p>The Government, whose rôle is not to direct, but to encourage the
-artistic effort of the nation, can consider only in the most kindly
-way a Salon which has been the first to give reception to many
-artists now celebrated, which has given a place hitherto unknown to
-decorative art, and which, before all other expositions, has placed
-music and literature on a par with painting and sculpture.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Then the newspapers published the following item of news:</p>
-
-<div class="blockquot"><p>M. J. L. Breton, deputy from Cherbourg, proposes to put to the
-Assistant-Secretary of State for the Beaux Arts, in the course of
-the next discussion of his budget, a question regarding the
-“scandal” of the Autumn Salon, and to ask him not to allow the use
-of the<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> Grand Palais for such manifestations, which discredit
-French art in our national palaces.</p>
-
-<p>This is the question which was put to the consulting commission
-charged with giving its advice regarding the multiple concessions
-for the Grand Palais in 1913.</p>
-
-<p>M. Pascal, of the Institute, who presented the question, concluded
-unfavorably. After a long and lively discussion, the commission
-ranged itself by a large majority on the side of the proponent.</p>
-
-<p>Let us recall the protests that have been addressed to the Autumn
-Salon. They were the subject, a few weeks ago, of a letter from Mr.
-Lampué, dean of the municipal council, who protested against the
-invasion of <i>cubism</i> into the galleries of the palace of
-expositions.</p>
-
-<p>It is now up to M. Léon Bérard, Assistant-Secretary of State for
-the Beaux Arts, to take final action.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>On varnishing day, Mr. Gabriel Mourey wrote in the Journal:</p>
-
-<div class="blockquot"><p>“What a pity it is that there is no law permitting the taking of
-legal action against painters who cultivate hatred of beauty in the
-public mind. These painters are the advance-guard artists and the
-Cubists.” M. Mourey neglected to tell us if the legal action which
-he proposes to us would be civil or penal. In our opinion, it would
-be necessary to make a distinction: The rich painters might be
-condemned to pay a penalty, and, so that the Government might not
-be liable to lose its rights where there is nothing, the poor
-painters might be hung up high and short.</p>
-
-<p>Oh, tolerance! oh, progress! oh, the twentieth century!</p></div>
-
-<p>In connection with the controversy “L’Art Décoratif” quoted the
-following letter from Boucher to his pupil Fragonard: “My dear
-Fragonard: You are going to see in Italy the works of Raphael, Michael
-Angelo, and their imitators; I say to you in confidence and as a friend,
-<i>if you take these people seriously you are lost</i>.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Not the least interesting and amusing feature of the lively article from
-which the above extracts are taken is its own denunciation of the
-cubists <i>en bloc</i>.</p>
-
-<div class="figcenter" id="plt_066" style="width: 600px;">
-<a href="images/i_fp052.jpg">
-<img src="images/i_fp052.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>WEREFKIN</p>
-
-<p>The Country Road</p></div>
-</div>
-
-<div class="figcenter" id="plt_002" style="width: 600px;">
-<a href="images/i_fp053.jpg">
-<img src="images/i_fp053.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BECHTEJEFF</p>
-
-<p>Fight of the Amazons</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span></p>
-
-<p>It resolutely assails the more orthodox critics for what they say about
-all the moderns <i>it likes</i> and then it echoes their language in its own
-condemnation of a body of men who are striving earnestly in their way to
-do things.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0"><i>“Oh! tolerance, oh! progress!</i><br /></span>
-<span class="i1"><i>Oh! twentieth century!”</i><br /></span>
-</div></div>
-</div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>One has only to group the conflicting opinions of great painters and
-critics to see how much depends upon the point of view and the personal
-equation.</p>
-
-<p>To say certain pictures are worthless is a matter of individual taste
-and judgment; they may be worthless to me and not to you, just as
-clothes one man likes another would refuse to wear.</p>
-
-<p>But to say a school or a movement, irrespective of particular works, is
-a worthless movement involves not one’s taste but one’s philosophy of
-life; it involves the proposition that a movement in art that challenges
-the attention of the art-world <i>is so devoid of force of any kind</i> that
-it is unworthy attention&mdash;an obvious contradiction.</p>
-
-<p>Cubism has produced a lot of inane, uninteresting, and ugly pictures,
-pictures hopelessly bad in both line and color, but it has also produced
-pictures that are fine in line and color; but whether a particular
-picture is good or bad is of no importance whatsoever in comparison with
-the larger and more vital question:</p>
-
-<p><i>What is the relation of Cubism to the art of today and tomorrow?</i></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>When the <i>Société Nationale des Beaux-Arts</i> was founded in 1890 in a
-spirit of revolt against the old Salon <i>Société des<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> Artistes
-Français</i>&mdash;which dates its expositions from 1673&mdash;the schism was
-complete and the movement was denounced as revolutionary. The art world
-was divided into two bitterly hostile camps. The two Salons seemed
-absolutely irreconcilable.</p>
-
-<p>Now they exhibit side by side in practically the same building. The
-visitor can stand in the main gallery of the one and gaze into the
-galleries of the other. The only distinctions are separate catalogues
-and an extra charge of a franc or two if you wish to pass from the one
-to the other.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Passing from the old Salon to the newer, one still has&mdash;to a slight
-degree&mdash;the feeling of passing from older and more conservative pictures
-to a newer, lighter, and somewhat more modern collection. And there is a
-difference but it is so slight that casual visitors do not notice it. In
-fact nine out of ten who visit the two Salons would think they were in
-but one exhibition, selected and arranged by the same committee, were it
-not for the additional fee and the two catalogues.</p>
-
-<p>There is no reason today why the two Salons should not coalesce and make
-one exhibition.</p>
-
-<p>In less than twenty-five years the older has absorbed much of what was
-good in the revolutionary force of the younger, and so much of the
-revolutionary enthusiasm of the younger has subsided that the members of
-the new <i>Société</i> fight side by side with the members of the old
-<i>against the two more radical exhibitions</i>, the <i>Salon d’Automne</i>,
-organized in 1903, and the <i>Société des Artistes Independents</i>,
-organized in 1884.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In time the Salon d’Automne will become quite as conservative as the two
-older Salons and there will be no reason why it should not exhibit and
-coalesce with the older.<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span></p>
-
-<p>What is happening in Paris has happened in Munich. The Munich
-Secessionists, once denounced as aesthetic anarchists, have so far
-subsided that they exhibit with the academic painters, retaining a faint
-show of identity by having the word “Secessionist” over the doors of the
-few rooms they fill.</p>
-
-<p>The old Secession having subsided, the “Neue Sezession” has been
-organized by “Die Wilden” of Munich and that is now rampant; in ten or
-twenty years <i>it</i> will be absorbed in the main stream and a still
-<i>newer</i> secession challenge attention&mdash;and so on to the end of progress,
-for progress depends upon new and newer and ever newer departures.
-Already there is a division in the New Secession; the “Blue Riders” have
-withdrawn.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Months after the above was written the London correspondent of the
-“Chicago Tribune”&mdash;Nov. 2, 1913&mdash;wrote as follows about the
-post-impressionist exhibition in the Grafton Galleries:</p>
-
-<div class="blockquot"><p>Many of the pictures which would have provoked happy laughter three
-years ago now look quite ordinary. The public is inured to them as
-much as it is inured to Whistler or Degas, and in a little time
-some of them will be dealers’ pictures, just like the works of the
-Barbizon school.</p>
-
-<p>There is, for instance, nothing extraordinary about the “Interior
-of a Café,” by VanGogh, except its quiet excellence. It is all seen
-as justly and yea as newly as a character in one of Tolstoi’s
-novels. One feels that any one could have painted it who had had
-the luck to see it so.</p>
-
-<p>The “Boats at Anchor,” also by VanGogh, is merely a sound but not
-very interesting impressionist picture, and his flower piece is
-even academic in a delightful way. Cézanne’s “Boys Bathing” is one
-of those works on which the art of modern painters like M. Friesz
-is based.</p>
-
-<p>It looks like a representation of something seen instantaneously,
-and yet at the same time it is all designed like a work of Nicholas
-Poussin’s.<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span></p>
-
-<p>M. Matisse’s “Joaquina” is timidly skied, but it is not in the
-least infuriating, like his famous gentleman in pajamas. Indeed,
-his method here justifies itself at first sight, for by no other
-means, one feels, could he have expressed the vitality of his
-sitter so simply and intensely.</p>
-
-<p>M. Friesz’s “Garden at Coimbra” is one of the pictures that would
-have astonished us all three or four years ago, but which now looks
-only pleasant and simple. So are the works of M. Marquet and M.
-Doucet, and even M. Herbin no longer seems a bad joker. The “Polka”
-and “Waltz” of Mr. Severini, the futurist, are quite agreeable to
-the eye, if it refuses to allow itself to be puzzled by the mind;
-but, if futurist paintings can be academic, they are a little
-academic, or at least systematic. One feels that any one could be
-taught to do them pretty well in a studio.</p>
-
-<p>Among the water colors there are some pleasant works by M. Doucet
-and some remarkable experiments by M. Pechstein. The color prints
-of M. Manzana are more Chinese than Japanese in spirit, especially
-the print of horses; and the lithographs of M. Matisse may help
-some earnest beginners to see some merit in his painting. At any
-rate, any one who looks at them must see that he can draw.</p>
-
-<p>The exhibition contains a good deal of rubbish, but far less than
-most exhibitions of what is considered orthodox art.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Salon d’Independants tends to remain radical notwithstanding it was
-founded so long ago as 1884 because it has but one article in its creed,
-“<i>the suppression of juries of admission and permission to artists to
-exhibit freely their works to the judgment of the public</i>.”</p>
-
-<p>By paying five dollars any artist&mdash;real or supposed&mdash;is entitled to so
-much space and can fill that space with such pictures as he pleases,
-irrespective of their merit.</p>
-
-<p>As a result, each exhibition contains original, revolutionary and
-radical work mixed with an immense amount of painting and sculpture that
-is hopelessly bad and some positively objectionable.</p>
-
-<p>The continued vitality of the Independent Salon is due to the fact it
-has no officials or committees to control its exhibitions and check the
-appearance of radical work.</p>
-
-<div class="figcenter" id="plt_059" style="width: 600px;">
-<a href="images/i_fp056.jpg">
-<img src="images/i_fp056.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN GOGH</p>
-
-<p>Café</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_57" id="page_57">{57}</a></span></p>
-
-<p>The three other Salons grow conservative in the natural ageing of their
-management; they start with all the enthusiasm of youth but as both
-members and officers get older they tend to monopolize much of the
-available space for themselves and, naturally, they admit only those
-newcomers whose work does not detract or distract from their own. That
-is the history of the Royal Academy in London, of the National Academy
-in New York, and of every organization <i>the management of which has the
-right to hang their own and reject the works of others</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In the development of art <i>all</i> these exhibitions have their values.
-They are not unlike an army in a campaign, with its scouts, its
-skirmishers, its advance guard, and its more slowly moving main body&mdash;in
-the end it is the main body that does the most work.</p>
-
-<p>The <i>value</i> of every <i>new</i> movement lies in the possibility of its
-ultimately <i>contributing</i> something to the mass, <i>not</i> in the
-possibility of its <i>destroying</i> what has been done.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>One has but to recall that both Whistler and Manet&mdash;to mention no
-others&mdash;were obliged to exhibit in the Salon des Refuses of their day to
-realize that an <i>independent</i> salon has its place in the art world quite
-as important as an official; in fact, wherever there is an <i>official</i>
-exhibition there should be an <i>un</i>-official, or independent, as a
-natural complement, otherwise the opportunity of the public to see <i>for
-itself</i> is limited by official discretion.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>For instance, it is the rule of the National Academy in New York that
-every member and associate has <i>the right</i> to hang a picture
-irrespective of its merits. As the space is limited the chance for new
-men is small indeed.<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span></p>
-
-<p>Furthermore it is the older men who pass upon the works of the newer and
-naturally they feel an instinctive aversion to paintings that clash with
-or distract attention from their own, hence the more radical, the more
-novel, the more interesting the picture the less chance it has of being
-accepted. This is both a fault and a virtue in the Academy&mdash;the fault
-and the virtue of extreme conservatism.</p>
-
-<p>To correct the fault other exhibitions, held under freer conditions, are
-absolutely necessary not only to the progress of artists, young and old,
-but to stimulate interest in the public, to make the public feel that
-<i>it</i> is something more than a passive spectator with nothing to say, but
-on the contrary <i>its sympathetic cooperation</i> and <i>final verdict</i> of
-approval are desired.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Nothing is more deadly to the art of a country than a single annual
-official exhibition such, for instance, as that of the Royal Academy in
-London, or the old Salon as it was thirty years ago in Paris.</p>
-
-<p>The interest of the public is not aroused. The official selection is
-accepted as a matter of course. What is in the exhibitions is supposed
-to be good, what is not accepted is supposed to be bad.</p>
-
-<p>As a result, the really good pictures in such exhibitions are not
-appreciated at their true value, while the poor are bought simply
-because they are there.</p>
-
-<p>The truth is it requires the new salons, the independent exhibitions to
-give vitality to the old, to teach the public to appreciate the good in
-the old.</p>
-
-<p>Good art, like everything else good, springs from controversy, <i>from the
-assertion of the individual</i>, from the mighty struggle of every sincere
-and enthusiastic man to convince<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span> the world that <i>he</i> is right and that
-<i>his</i> works and ways are better than those of all other men.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>That is just what the new men are striving to do now&mdash;each is trying to
-convince the world <i>he</i> is right, that <i>his</i> methods, <i>his</i> departures,
-<i>his</i> theories are true.</p>
-
-<p>The Cubist does not admit much of value in the Futurist, while the
-latter see nothing at all in Cubism. In short the “isms” are more at war
-among themselves than with the older schools.</p>
-
-<p>Out of the seething conflict of forces good is sure to come; the amount
-of good depending directly upon the sharpness of the conflict.<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span></p>
-
-<h2><a name="V" id="V"></a>V<br /><br />
-WHAT IS CUBISM?</h2>
-
-<p class="nind"><span class="letra">W</span>HAT is “Cubism?”</p>
-
-<p>One more name added to the long roll of “movements” in art. Within the
-memory of living men we have had “Classicists,” “Romanticists,”
-“Idealists,” “Naturalists,” “Realists,” “Pre-Raphaelites,” and many
-more.</p>
-
-<p>Today we have the “Neo-Impressionists,” the “Pointilists,” the
-“Luminists,” the “Futurists,” the “Orphists,” the “Sensationalists,” the
-“Compositionalists,” the “Synchronists,” the “Cubists”&mdash;tomorrow?</p>
-
-<p>New and ever new departures, experiments, achievements.</p>
-
-<p>All of which goes to prove that art is living, for the sign of life is
-flux.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The other day I saw three well-known American painters standing before a
-cubist picture laughing; <i>painters of forty years ago</i> would have
-laughed quite as heartily <i>at the works of each of the three</i>.</p>
-
-<p>The innovation of today is the conventional of tomorrow.</p>
-
-<p>Because the names of Rembrandt and Hals are now household words in art
-we are quick to assume their pictures were always considered great. Not
-so.</p>
-
-<p>Just now it is a fad of millionaires to own Rembrandts; consequently he
-is over-appreciated and ridiculously overpriced.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The bare thought of the scorn that greeted Wagner’s operas, the poems of
-Browning, and Whitman, sends a cold</p>
-
-<div class="figcenter" id="plt_044" style="width: 600px;">
-<a href="images/i_fp060.jpg">
-<img src="images/i_fp060.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>METZINGER</p>
-
-<p>The Taster</p></div>
-</div>
-
-<div class="figcenter" id="plt_037" style="width: 600px;">
-<a href="images/i_fp061.jpg">
-<img src="images/i_fp061.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>LEGER</p>
-
-<p>The Chimneys</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_61" id="page_61">{61}</a></span></p>
-
-<p class="nind">chill down our backs, makes us pause in our headlong criticism lest we,
-too, pillory ourselves.</p>
-
-<p>Violent judgments are good fun, but they often come back to plague us.
-Of Wagner’s “Meistersinger” Ruskin said:</p>
-
-<div class="blockquot"><p>Of all the bête, clumsy, blundering, boggling, baboon-headed stuff
-I ever saw on a human stage that thing last night&mdash;as far as the
-story and acting went&mdash;and of all the affected, sapless, soul-less,
-beginningless, endless, topless, bottomless, topsiturviest,
-tuneless, scrannelpipiest, tongs and boniest doggerel of sounds I
-ever endured the deadliness of, that eternity of nothing was the
-deadliest as far as its sound went. I never was so relieved, so far
-as I can remember, in my life by the stopping of any sound, not
-excepting railroad whistles, as I was by the cessation of the
-cobbler’s bellowing; even the serenader’s caricatured twangle was a
-rest after. As for the great “Lied,” I never made out where it
-began or where it ended except by the fellow’s coming off the horse
-block.</p></div>
-
-<p>From which the inference is not unwarranted that Wagner did not please
-Ruskin!</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Opposed to all movements in art and life is the <i>academic</i> mind, fed on
-learning, steeped in tradition, hence conservative.</p>
-
-<p>The term is not here used in a reproachful sense; on the contrary, the
-philosopher lays stress upon the value of the academic in progress; it
-is the element that preserves; it is the mass upon which humanity rests;
-it is the old and stable; it is the past upon which the future is built;
-it is the essential groundwork of new thought and new effort.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The life of the individual passes from the enthusiasms, the radicalisms
-of youth to the serene and self-satisfied outlook of old age which
-instinctively opposes novelty and change&mdash;the academic attitude.</p>
-
-<p>Youth makes friends with every chance acquaintance, age shuns the
-strange.<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span></p>
-
-<p>We are all Impressionists and Futurists at some times in our lives, but
-we tend to petrify. Sclerosis of the <i>arteries</i> is bad, but nothing
-compared with sclerosis of the <i>emotions</i>. We not only tend to become
-petrified as we grow older, but even in our youth we have our petrified
-sides, our hard spots.</p>
-
-<p>However progressive we may be in certain directions we are sure to be
-stubbornly conservative in others.</p>
-
-<p>The man who laughs at a cubist picture may be a cubist&mdash;that is, an
-innovator&mdash;in his profession or business.</p>
-
-<p>The man who is a conservative in religion may be a radical in politics,
-and <i>vice versa</i>. As a matter of fact most of the followers of Lloyd
-George in England are the greatest sticklers for the inerrancy and the
-literal interpretation of the Scriptures, while most of the hide-bound
-conservatives are exceedingly tolerant toward “modernism” and “higher
-criticism” in the church.</p>
-
-<p>So it goes. The merchant or manufacturer, the doctor or lawyer who is up
-to date in business or profession, who is keenly receptive toward the
-latest and most revolutionary methods, inventions, discoveries, may
-be&mdash;usually is&mdash;a hopeless reactionary toward other lines of human
-endeavor, a hopeless conservative when it comes, for instance, to
-looking at pictures.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Now and then one meets a man so sympathetically observant and receptive
-that, like a good rubber ball, he is resilient at all points of contact.
-But for the most part we are like defective balls, resilient only in
-spots, and, like rubber, we become less and less resilient with age.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Happy the man or woman who retains until late in life the power to react
-to new impressions and to experience new emotions.<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span></p>
-
-<p>The trouble with most of us is that even when we do react to new
-impressions and experience new emotions we are afraid to admit it. If
-any one of us, while alone in a museum, happened to run across a strange
-painting or a strange piece of sculpture&mdash;say a Javanese or a cubist
-production&mdash;we would not burst out laughing any more than we would laugh
-at some of the archaic sculptures and primitive works that are found in
-every great collection. On the contrary, we would probably study it with
-good healthy curiosity. But when the crowd is about we are afraid to
-express our curiosity, we are afraid to be honestly and genuinely
-interested, so we take refuge in laughter, it is so much easier to mask
-our ignorance with ridicule than confess it by frankly asking for
-information.</p>
-
-<p>The man who does not understand a play or a book always condemns it.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It would not be difficult to pick out among one’s business acquaintances
-those who are conservative, that is, academic, and those who are
-inventive, speculative, venturesome, and so on to the “wild
-enthusiasts,” “crazy fellows,” who are always doing the unexpected;
-failing often but sometimes succeeding so brilliantly the world follows
-in their footsteps.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is nothing strange about the Cubists&mdash;except their pictures. Their
-pictures strike us as strange because we do not understand them, but if
-they were simply trying to do what thousands of inventors are trying to
-do the world over, namely, devise something new to meet the needs of
-mankind we would laugh at them no more than&mdash;and just as much as&mdash;the
-world laughed at the Wright brothers when they were working on the
-flying machine.<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
-
-<p>There are romanticists, realists, impressionists, futurists, cubists, in
-the theater.</p>
-
-<p>The romantic play is an old, but still delightful story. We have had
-realism on the stage so long it has become almost academic. Just now
-there is coming from the Scandinavian countries and from Germany and
-Russia a form of dramatic representation that is essentially Cubist,
-Futurist, and Orphist in its expression.<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p>
-
-<p>This ferment of new ideas is very disturbing to men who are afraid of
-change, who favor things as they are, who like to go to bed at the same
-hour and get up at the same hour, to do today what they did yesterday.
-But the new ideas will not down; they are constantly breaking out in
-unexpected places and while they may seem to be different ideas when
-expressed in music, painting, sculpture, poetry, architecture, from
-those expressed in science, religion, politics, social reform, and
-business generally, they are not; they are all fundamentally the same,
-namely, they are the ideas of a progress so rapid and radical it may be
-revolutionary and in a measure destructive.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In the very nature of things it is not given to many men to be receptive
-to new ideas in many lines, for that implies thinking for themselves in
-many lines. The more intense and advanced a man is in one line of
-thought, the more apt he is to accept ready made the ideas of others in
-other subjects. It is a saving of time for the radical scientist to
-accept his politics and religion ready made from those who devote their
-time to those matters&mdash;the scientist does not always do so, but often
-when he thinks he is asserting his independence by rejecting current
-beliefs he is doing so without any real ideas and convictions of his
-own.</p>
-
-<div class="figcenter" id="plt_019" style="width: 600px;">
-<a href="images/i_fp064.jpg">
-<img src="images/i_fp064.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>DUCHAMP</p>
-
-<p>Chess Players</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_65" id="page_65">{65}</a></span></p>
-
-<p>What has been said so far has been a plea for tolerance, for a sober
-suppression of hasty judgment in the presence of the strange.</p>
-
-<p>Few men seem able to control their resentments and risibilities in the
-presence of paintings that seem to contradict all the teachings and
-traditions of art; but because they do <i>seem</i> to stand in opposition to
-all we have been taught to believe, they are all the more worthy our
-most serious consideration. It is the man who challenges and denies who
-stirs other men to think <i>for themselves</i>. That is the chief value of
-the cubist paintings&mdash;they compel us to <i>think for ourselves</i>, to take a
-careful inventory of our stock of stereotyped notions; with the result
-that while we may not accept the theories of the Cubists, we cannot fail
-to readjust our own notions on a broader basis.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>I would be very sorry if any reader should take up this volume under the
-impression it is a plea for Cubism or any other “ism” in either art or
-life. If it is a plea for anything, it is for <i>tolerance and intelligent
-receptivity</i>, for an attitude of sympathetic appreciation toward
-<i>everything that is new and strange and revolutionary in life</i>. Not that
-we will necessarily end by accepting the new and the strange and the
-revolutionary, but we cannot get the good there may be in them unless
-our attitude is one of sympathetic as well as critical receptivity.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is something more than a mere coincidence that the upheaval in the
-art world has paralleled the upheaval in the political world. The
-exhibitions of extreme modern pictures were first held in England just
-when extreme radical theories were gaining the ascendency. The
-International Exhibition<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> in America followed hot in the footsteps of
-the split in the Republican party and the triumph of the Democratic
-along lines so progressive as to seem almost socialistic.</p>
-
-<p>The artists who organized the exhibition did not realize it, but they
-were animated by precisely the same motive that animated the organizers
-of the Progressive party&mdash;an irresistible desire for a change.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Youth gazes curiously at the experiment&mdash;painting, poem, play&mdash;from
-which age turns in anger.</p>
-
-<p>Cubist paintings interest the young; they irritate the old.</p>
-
-<p>Nothing keeps a man young so effectually as a vivid and sympathetic
-interest in <i>every</i> new and seemingly revolutionary movement.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>People who looked at the cubist paintings and laughed did so through
-ignorance; the sad part was that many frankly said they did not care to
-understand; not a few insisted the paintings were quite without meaning,
-utterly devoid of sense.</p>
-
-<p>In other words, the public, day after day and week after week, struggled
-and paid to see works that were <i>meaningless</i>!</p>
-
-<p>Painters, sculptors, critics, argued and fought over canvases <i>devoid of
-significance</i>! A paradox! For if <i>devoid of significance</i>, why should
-the world of artists, critics, writers, argue, swear, and fight over
-them?</p>
-
-<p>The question answers itself; the trouble is the works <i>do</i> possess a
-significance, a significance far beyond the merits of any particular
-one, far beyond the merits of cubism itself; they are significant of the
-spirit of change that is within and about us, the spirit of unrest, of
-the striving, of the searching for greater and more beautiful things.<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span></p>
-
-<p>Cubism will pass away, but the spirit of change will not pass away. One
-enthusiasm will follow another enthusiasm so long as men possess
-ambition.</p>
-
-<p>Already there are signs that Cubism is passing. Some of the men are
-calling themselves Neo-Cubists and Post-Cubists, and they are painting
-in very different manner.</p>
-
-<p>One has but to look at a series of Picasso’s work to see how often and
-radically he has changed his style in these ten years from drawing and
-painting with great facility and success in Impressionistic and
-Neo-Impressionistic manner to the most abstract Cubism; what he will be
-doing two years hence, no one can predict, save that, judging by the
-past, he will not be painting Cubist pictures.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The name “Cubism” was given to the new school “in derision, in the
-autumn of 1908, by Henri Matisse, who happened to see a picture of
-buildings the cubical representation of which struck him forcibly.”<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p>
-
-<p>That year Georges Braque exhibited a Cubist picture in the Salon des
-Independents.</p>
-
-<p>In 1910, Jean Metzinger exhibited a Cubist portrait in the Salle
-d’Automne, and a number of pictures were hung in the Salon des
-Independents.</p>
-
-<p>The first collection was gathered together in room 41 at the Salon des
-Independents in 1911. The same year the first exhibition outside of
-Paris was held in Brussels, and there the names “Cubism” and “Cubistes”
-were adopted.</p>
-
-<p>In 1911 the exposition of the Cubists in the Salle d’Automne caused
-considerable sensation. Gleizes, Metzinger, Leger, and, for the first
-time, Marcel Duchamp and his brother, the sculptor-architect,
-Duchamp-Villon, exhibited.<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span></p>
-
-<p>Other expositions were held in November, 1911, at the gallery d’Art
-Contemporaine rue Tronchet; in 1912, at the Salon des Independents,
-where Juan Gris first exhibited; in May of the same year, in Barcelona;
-in June, at Rouen, where Picabia joined the new school.</p>
-
-<p>The different tendencies of the movement are described as follows:<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a></p>
-
-<p>1. <i>Cubism scientifique</i> is the tendency toward pure cubism; it is the
-painting with elements borrowed not from the realities of vision, but
-the realities of knowledge. The geometrical lines, which so impressed
-all who first saw their scientific works, resulted from the attempt to
-paint the essential&mdash;rather than the visual&mdash;realities of things which
-were rendered on canvas with an abstract purity, and in which objective
-realities and story-telling qualities were eliminated.</p>
-
-<p>Most of Picasso’s geometrical representations and Duchamp’s “King and
-Queen” are good illustrations of <i>scientific</i> or <i>pure</i> Cubism.</p>
-
-<p>2. <i>Cubism physique</i> is painting compositions the elements of which are
-borrowed for the most part from realities of vision. Inasmuch as
-objective realities are more or less in evidence in these works, they
-are not pure Cubism.</p>
-
-<p>Picasso’s “Woman and the Pot of Mustard” is a very striking&mdash;and
-indifferent&mdash;example of <i>Cubism physique</i>, which simply means cubist
-paintings in which figures and objects are more or less apparent to the
-casual observer. In Marcel Duchamp’s “Chess Players” the figures are
-quite plain; in Picabia’s “Dance at the Spring” one figure is
-distinguishable at first glance, the second is not so easily discerned,
-while the spring is more obscure, though plain enough after a little
-study.</p>
-
-<p>It is under this head that some of the most interesting</p>
-
-<div class="figcenter" id="plt_047" style="width: 600px;">
-<a href="images/i_fp068.jpg">
-<img src="images/i_fp068.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PICABIA</p>
-
-<p>Dance at the Spring</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_69" id="page_69">{69}</a></span></p>
-
-<p class="nind">and also some of the most exasperating cubist pictures will be found. To
-the extent that figures and objects are blocked in in planes and masses
-in a big, elemental way, the result may be both impressive and
-beautiful&mdash;Derain’s “Forest at Martigues” is an example in point; but in
-so far as the picture is a <i>puzzle</i>, clear only in part, the result is
-exasperating; the observer, however sympathetic his attitude, is
-diverted from enjoying the <i>art</i> of the painter to the attempt to
-discover the hidden objects.</p>
-
-<p>To the foregoing two divisions are added two more, which are, in
-reality, but subdivisions or refinements of <i>Cubism Scientifique</i>.</p>
-
-<p>There are really but the two extremes&mdash;those who represent objects more
-or less cubically, i.e., in planes and masses of line and color; and
-those who compose harmonies of line and color that have no relation to
-figures or objects.</p>
-
-<p>In the paintings of the one, objects are more or less apparent; in those
-of the other no object is discernible, because none is represented or
-suggested.</p>
-
-<p>3. <i>Cubism Orphique</i> is created entirely by the artist; it takes nothing
-from visual, objective realities, but is derived wholly from the
-painter’s imagination; it is pure art.</p>
-
-<p>4. <i>Cubism instinctive</i> is described as the painting of compositions of
-color, not based upon objective realities, but suggested by the instinct
-and intentions of the artist. The artist who follows his instinct, his
-fancy of the moment, though he may paint beautiful compositions, lacks
-the clear comprehension of him who paints according to some well thought
-out, artistic creed.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is quite obvious that subdivisions three and four are based upon
-temperamental rather than logical or scientific distinctions.<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span></p>
-
-<p>To refer to some of the pictures reproduced:</p>
-
-<p>There is no mystery about the “Man on the Balcony.” He is quite in
-evidence; the background is a little puzzling, yet fairly obvious. The
-attention of the casual observer is not diverted from the mode and
-manner of painting&mdash;from the Cubism of the picture, so to speak.</p>
-
-<p>It is not a question of “Now I see it, now I don’t see it.” It is
-obviously the figure of a man leaning on something, apparently a
-railing, with a confused background. But so far as uncertainty regarding
-the background and accessories is concerned, that troubles no one, for
-uncertainty in detail is! characteristic of the backgrounds of many fine
-and famous portraits.</p>
-
-<p>The point is that the “Man on the Balcony” belongs to that class of
-Cubist pictures wherein the object is almost as well defined as in
-pictures with which the public is more familiar; whereas the “King and
-Queen” belongs to the extreme class wherein the objects have been
-reduced to symbols or abstractions.</p>
-
-<p>The one is the painting of objects in Cubist fashion; the other is the
-painting of ideas in Cubist fashion.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Of all the Cubist pictures exhibited, most people liked “The Man on the
-Balcony” best. Why?</p>
-
-<p>Because it looked like a good painting of a man in armour.</p>
-
-<p>“I like the ‘Man in Armour,’<span class="lftspc">”</span> was an expression frequently heard.</p>
-
-<p>All of which goes to show that appreciation is largely a matter of
-association rather than of knowledge and taste.</p>
-
-<p>Tell the people it is not a man in armour, and immediately they ask, in
-a tone of disgust, “Then what is he?” and the picture they liked a
-moment before becomes ridiculous in their eyes.</p>
-
-<div class="figcenter" id="plt_070" style="width: 600px;">
-<a href="images/i_fp070.jpg">
-<img src="images/i_fp070.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GLEIZES</p>
-
-<p>Original drawing for “Man on Balcony”</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_71" id="page_71">{71}</a></span></p>
-
-<p>The original design is an almost academic freehand drawing of a
-man&mdash;artist or workman&mdash;leaning against the railing of a balcony, with
-roofs of the city at his back. Barring the square treatment of hand and
-foot, there is little to suggest Cubism.</p>
-
-<p>The drawing is uninteresting, the painting is uninteresting. By blocking
-out details, emphasizing planes, and laying stress on masses, the artist
-made his painting incomparably more dignified and stronger than his
-design.</p>
-
-<p>If he had painted an academic picture, following the lines of his
-original sketch, the painting probably would have been quite
-commonplace.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The “Chess Players” gives one a singular impression of human absorption
-in a game; it is elemental and impersonal. Behind the two players are
-onlookers, equally intent. One player is resting his chin upon his hand,
-the other holds a piece apparently making a move. The artist has
-arbitrarily placed the men and board close to the eye of the player
-making the move.</p>
-
-<p>While most people might prefer lifelike portraits of two men playing
-chess, is it not true that this curious reduction of the players to
-elemental planes and masses gives a very vivid impression of intense
-absorption, and also a strange feeling of the elemental? A sculptor
-admired this picture greatly.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Two figures were the basis of the “King and the Queen,” the king at the
-right, and the queen at the left; but in the finished picture these two
-figures were reduced to planes, and appear as the two upright conical or
-cubical masses that are so evident, and a philosophical significance was
-attributed to the scheme, namely, a representation of the static and<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span>
-dynamic forms of life; the static being represented in the upright
-masses, the king and queen&mdash;dynastic, permanent&mdash;while the dynamic
-forces are represented in the stream of cubical forms that flow in
-different directions about the two more permanent masses.</p>
-
-<p>On its technical side, Cubism is simply a systematic use of planes.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>The power of lines is a manifestation of the new mode of
-representation.</p>
-
-<p>It is not a semblance of things, but a world of objects that the
-picture forces us to take in with a glance. The objects may not get
-lost. The outline is the demarcation and designation of the
-objects. By its outer essence their inner nature is expressed. The
-nature of objects is not fixed by a correct drawing, but by a
-forceful and emotional, intensive and pervasive outline. Not in
-their restfulness and with their details do the objects serve the
-picture, but by their relations to each other, which relations
-combined lead up to the climax.</p>
-
-<p>The long lines form the structure of the picture. They decide how
-the picture is to be constructed from its parts, and how the parts
-are to be interlocked in order to become a whole. The long lines
-define the measure and rhythm of the work. Lines are the vibrations
-of the soul; lines are reflections of the will, the rigidity of
-that which endures. Like currents of forces they flow against each
-other and unite into one. The smaller ones accompany them with
-playful gambols, like a multiple echo, the sounds of which melt
-away in the distance.</p>
-
-<p>The picture is not a nicely divided plane. It is like a world
-arising from chaos. Its essence is the law of order working itself
-out. The picture is an agglomeration of agitated members, an
-agglomeration of planes pulsating with blood, enlivened by breath.</p>
-
-<p>The planes may be stratified, parallel and similar to each other;
-they may rear and pile themselves against each other, or they may
-interlock like cogs. They may liquefy and melt away, or they may
-double up and form themselves into balls. They may, more quietly,
-rest within themselves, becoming effective through the contrast of
-their essence and yet maintaining themselves. Out of them
-originates the picture’s spaciousness, out of them the living force
-of the picture.</p>
-
-<p>The dynamics of the planes is a manifestation of the new style.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p></div>
-
-<div class="figcenter" id="plt_020" style="width: 600px;">
-<a href="images/i_fp072.jpg">
-<img src="images/i_fp072.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>DUCHAMP</p>
-
-<p>King and Queen</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_73" id="page_73">{73}</a></span></p>
-
-<p>Passing one morning among a number of first year students drawing from
-casts in the Chicago Art Institute, I was struck by the large number who
-were making what would pass for Cubist sketches; yet not one of these
-young students had seen a Cubist picture. All were simply following the
-regular course of instruction and drawing <i>in planes</i>.</p>
-
-<p>I remember one drawing of a statue by Michael Angelo. There was not a
-straight line in the statue; there was not a curved line in the drawing;
-the drawing was blocked out far more solidly and geometrically than, for
-instance, either the original design for “The Man on the Balcony” or the
-finished painting.</p>
-
-<p>In another room I ran across a teacher who was indicating by a few
-geometrical lines drawn from points the essential features of a statue
-the pupil was about to begin blocking in. The lines looked exactly like
-the geometrical lines in a drawing by Picasso.</p>
-
-<p>There is, therefore, nothing fundamentally new or strange in the technic
-of the Cubists; it is simply a return to the use of the elemental in
-drawing, of the very A, B, C of design. The new and the strange lie in
-the fact that the Cubists <i>stop</i> with planes and lines; they do not
-attempt to model the surfaces of the things they paint.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Not that the use of planes is all there is to the theory of Cubism, for
-the theory extends far beyond the painting of surfaces; it embraces the
-presentation of the very <i>substance</i> and nature of persons and objects
-by means of a <i>technic</i> in which planes are the vital feature.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Albert Dürer wrote a book on the proportions of the human figure; it was
-published in 1528, and translated into many languages.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
-
-<p>He reduced the human figure to certain elemental lines.<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a></p>
-
-<div class="figcenter" id="plt_0" style="width: 600px;">
-<a href="images/i_p074-a.jpg">
-<img src="images/i_p074-a.jpg" width="600" alt="[Image unavailable.]" /></a>
-</div>
-
-<p>Applying these principles to the hand, he gets this result:</p>
-
-<div class="figcenter" id="plt_0" style="width: 600px;">
-<a href="images/i_p074-b.jpg">
-<img src="images/i_p074-b.jpg" width="600" alt="[Image unavailable.]" /></a>
-</div>
-
-<p>It is interesting to compare this sectional diagram of the hand with the
-hand of “The Man on the Balcony.”</p>
-
-<p>Furthermore, one has but to consider the elemental lines at the top of
-the page with the words of Cézanne, quoted on page 43, and with the
-fundamental propositions of Chinese and Japanese art, to realize that in
-the last analysis the</p>
-
-<div class="figcenter" id="plt_048" style="width: 600px;">
-<a href="images/i_fp074.jpg">
-<img src="images/i_fp074.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PICASSO</p>
-
-<p>Woman with Mandolin</p>
-</div>
-</div>
-
-<div class="figcenter" id="plt_049" style="width: 600px;">
-<a href="images/i_fp075.jpg">
-<img src="images/i_fp075.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PICASSO</p>
-
-<p>The Poet</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_75" id="page_75">{75}</a></span></p>
-
-<p class="nind">minds of men in all ages and all countries follow very closely the same
-channels.</p>
-
-<p>There are but <i>two</i> lines, <i>curved</i> and <i>straight</i>, and with these two
-lines all outward semblances of things are constructed. So far as the
-unaided eye is concerned, every curved line may be entirely composed of
-small straight lines, the curved effect being due to a series of minute
-angles.</p>
-
-<p>The following are Durer’s diagrams showing how to obtain sections and
-modifications:</p>
-
-<div class="figcenter" id="plt_0" style="width: 600px;">
-<a href="images/i_p075.jpg">
-<img src="images/i_p075.jpg" width="600" alt="[Image unavailable.]" /></a>
-</div>
-
-<p>He applies these sections to the human figure as follows:<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span></p>
-
-<div class="figcenter" id="plt_0" style="width: 600px;">
-<a href="images/i_p076.jpg">
-<img src="images/i_p076.jpg" height="600" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_77" id="page_77">{77}</a></span></p>
-
-<div class="figcenter" id="plt_0" style="width: 600px;">
-<a href="images/i_p077.jpg">
-<img src="images/i_p077.jpg" height="600" alt="[Image unavailable.]" /></a>
-</div>
-
-<p><span class="pagenum"><a name="page_78" id="page_78">{78}</a></span></p>
-
-<p>So far as the use of planes and angles is concerned, these diagrams by
-Durer should serve to disarm criticism. That the human figure can be
-decomposed into straight lines and angles will be a revelation to most
-of those who laughed at the Cubist paintings, and only the authority of
-a great name would convince that any good could result from such an
-analysis.</p>
-
-<p>Suppose any one of the Durer diagrams had been framed and hung in the
-Cubist section; would it not have been treated with ridicule?</p>
-
-<p>The men who arranged the exhibition could have played with critics and
-artists&mdash;the men who claim to know&mdash;by including many things of
-recognized position in academic art and teachings, which would have
-seemed as absurd as the newest of the new pictures.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The very high aesthetic value of drawing and painting in planes, and
-with small regard to the so-called laws of perspective, is illustrated
-in the rare beauty of Chinese and Japanese paintings. From the point of
-view of their greatest painters, we carry perspective and imitation to
-extremes that destroy art.</p>
-
-<p>One value of the Cubist movement lies in arousing a sense of the
-strength possessed by the simple and elemental.</p>
-
-<p>In oriental art, in archaic art, in primitive Italian art, in not a
-little modern decorative work, we have long recognized the beauty of
-drawing in planes and of the use of color arbitrarily. The Cubists are
-showing us&mdash;perhaps too violently and imperfectly&mdash;that it is possible
-to paint pictures and portraits in planes and masses without imitation.
-That it is possible we know, for the orientals have done it for two
-thousand years; nevertheless, we stubbornly resist the attempt in
-western art.</p>
-
-<p>We acknowledge the singular beauty of the Italian primitives, yet we
-demand that portraits and paintings of today<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> shall be carefully
-modelled in the vain effort to accurately and mechanically copy nature.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In some of Sargent’s best portraits not only the lights and shadows but
-character and personality are indicated by brush-strokes as arbitrary in
-line and color as those of a Cubist&mdash;strokes that follow neither the
-lines nor the colors of the original, but which convey with tremendous
-power the <i>character</i>.</p>
-
-<p>Again, we all know how insipid are most of the portraits that are
-faithfully rounded and modelled to reproduce every curve of the sitters’
-features.</p>
-
-<p>The truth is there is more of Cubism in great painting than we dream,
-and the extravagances of the Cubists may serve to open our eyes to
-beauties we have always felt without quite understanding.</p>
-
-<p>Take, for instance, the strongest things by Winslow Homer; the strength
-lies in the big, elemental manner in which the artist rendered his
-impressions in lines and masses which departed widely from photographic
-reproductions of scenes and people.</p>
-
-<p>Rodin’s bronzes exhibit these same elemental qualities, qualities which
-are pushed to violent extremes in Cubist sculpture. But may it not be
-profoundly true that these very extremes, these very extravagances, by
-causing us to blink and rub our eyes, end in a finer understanding and
-appreciation of such work as Rodin’s?</p>
-
-<p>His Balzac is, in a profound sense, his most colossal work, and at the
-same time his most elemental. In its simplicity, in its use of planes
-and masses, it is&mdash;one might say, solely for purposes of
-illustration&mdash;Cubist, with none of the extravagances of Cubism. It is
-<i>purely</i> Post-Impressionistic.<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span></p>
-
-<p>Twenty or twenty-five years ago painters who used a broad technic, and
-especially those who used the palette knife to lay the pigment in flat
-sweeps, were looked upon as charlatans and sensationalists. Today their
-pictures are accepted in the most conservative exhibitions and the
-public passes with scarcely a comment.</p>
-
-<p>This broad technic is simply painting in planes&mdash;in a sense, simply
-modified Cubism.</p>
-
-<p>To illustrate:</p>
-
-<p>The surface of an orange may be so carefully painted or modelled in clay
-that the effect is a perfect sphere with no straight lines; or it may be
-painted or modelled in minute planes and no curved lines; or the use of
-planes may be carried so far the orange is represented by angles so
-sharp the shape is almost cubical&mdash;it is all a question of the <i>extent</i>
-to which the artist carries the use of <i>plane surfaces</i>. The <i>fewer</i> the
-planes used and the <i>larger</i> their size, the nearer the <i>substance</i> and
-more obvious the representation of <i>mass</i>.</p>
-
-<p>The <i>smaller</i> the planes and the <i>larger</i> their number, the nearer the
-<i>surface</i>&mdash;the more superficial the representation.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The division of planes can be carried&mdash;geometrically&mdash;to such an extent
-that the unaided eye can no longer distinguish the minute flat surfaces,
-and the effect is a perfect sphere.</p>
-
-<p>What is true concerning the painting or modelling of an orange is true
-of the painting or modelling of all objects.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“It has been charged that the new men are too much given to the
-geometrical. But geometrical figures are the essential elements of
-drawing. Geometry, the science which deals with extension, its measure
-and its relations, has ever been the basis of painting.</p>
-
-<div class="figcenter" id="plt_057" style="width: 600px;">
-<a href="images/i_fp080.jpg">
-<img src="images/i_fp080.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SEVERINI</p>
-
-<p>The Milliner</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_81" id="page_81">{81}</a></span></p>
-
-<p>“Up to the present time the three dimensions of Euclid have sufficed to
-express the problems that infinity gives rise to in the souls of great
-artists.</p>
-
-<p>“Geometry is to the plastic arts what grammar is to the art of the
-writer.</p>
-
-<p>“Today philosophers do not confine their speculations to the three
-dimensions of Euclid. Painters, by intention, so to speak, have cause
-naturally to preoccupy themselves with these new lines of extension
-which, in the language of modern studios, are classed under the term,
-<i>fourth</i> dimension.”<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Speaking of Cézanne, it is said:</p>
-
-<div class="blockquot"><p>To him a sphere was not always round, a cube always square, or an
-ellipse always elliptical. Thus the traditional oval of the
-conventional face disappeared in his portraits, the generally
-accepted round surfaces of a vase or bowl was represented as flat
-and dented in spots and the horizontal stability of the horizon was
-rendered elliptical whenever it so appeared to him.</p>
-
-<p>The general truthfulness of his observations may readily be tested
-by any one of normal vision who will carefully observe the actual
-appearance of the surfaces of a round sugar bowl, for example, when
-placed in the light of a window. It will be found that certain
-planes are as flat as the table, that others present the appearance
-of dents and hollows, and the more clearly this is perceived the
-more grotesque will the object appear as compared with the
-preconceived image of it established in our minds by the
-unconscious interaction of the sense of touch and sight.</p>
-
-<p>We know that, scientifically regarded, there is no such thing as a
-round surface, that what appears to be such is simply the closely
-adjusted juxtaposition of infinitesimal planes that are each
-perfectly flat. And the very fact that painters refer to the
-surface of a figure as <i>planes</i> is indicative of a partial
-recognition of this basic characteristic of structure.
-Nevertheless, both artists and laymen persist in speaking of the
-roundness of a torso, for example, when in reality, if we could
-disassociate the <i>sense</i> of roundness from the <i>appearance</i> of
-roundness as did Cézanne, we would find large surfaces of spheroids
-quite flat. Therein lies the real secret of the art of Cézanne who
-is the first of realists.</p></div>
-
-<p><span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p>
-
-<p>In a sense, “Cubism” is a misleading term, for, in the first place,
-“Cubist” pictures are not painted in cubes, but in all sorts of angles
-and curves; in the second place, the theory does not call for angles.</p>
-
-<p>The theory being the expression of emotion in line and color, there is
-no conceivable reason why cubes and angles should be used to the
-exclusion of curves, swirls, sweeps, dashes. On the contrary, of all
-forms, cubes and angles would seem to be the most inappropriate for
-emotional expression, since they are peculiarly suggestive of the
-geometrical and the matter-of-fact.</p>
-
-<p>“Curvism” or “Swirlism” would describe the movement just as well, save
-that for the time being angles are very much in evidence.</p>
-
-<p>Picabia says that “Cubism” is a misnomer for the movement. He says:</p>
-
-<div class="blockquot"><p>After impressionism, neo-impressionism, then cubism, which sought a
-geometric third dimension in painting, the expression of things
-seen in geometrical figures. But a purely subjective art cannot, of
-course, be bound by any form of expression the moment that
-expression becomes a convention, an established body of laws with
-accepted values. Therefore, he has cut loose from cubism, and is
-what, again for handy classification&mdash;an evil habit from which we
-cannot emancipate ourselves&mdash;may perhaps best be called
-“post-cubist,” with entirely unfettered, spontaneous, ever-varying
-means of expression in form and color waves, according to the
-commands, the needs, the inspiration of the impression, the mood
-received. Objective expression is strictly barred. He even ignores
-form as far as possible, seeking “color harmonies.” Harmony and
-equilibrium are his device.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>But the Cubists are rapidly getting away from the cubes and angles. It
-is quite possible that a year or two hence we shall see no more <i>purely</i>
-Cubist pictures.</p>
-
-<p>That does not mean the movement will come to an<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span> end&mdash;not at all. The
-movement toward abstract painting, toward the use of line and paint on
-canvas for mere pleasure of using them, and without copying objects in
-either life or nature, is in its infancy.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“But I don’t understand them!”</p>
-
-<p>Is it necessary to your enjoyment that you should?</p>
-
-<p>Do you understand what Caruso is singing?</p>
-
-<p>Do you understand that French song reproduced by the phonograph?</p>
-
-<p>Do you understand what the orchestra is playing?</p>
-
-<p>Do you understand the pattern in that Persian rug?</p>
-
-<p>How many people who rave over Japanese art have the remotest idea what
-this or that precious print or painting represents?</p>
-
-<p>Does an intricate design on a bit of Oriental pottery please you? And is
-your enjoyment lessened one whit by the fact it is all a mystery to you?</p>
-
-<p>Why will you accept as beautiful and buy at a high price a painting you
-do not understand because it is by a Chinese artist, and reject as ugly
-the painting by a French artist simply because you cannot see “what he
-is driving at”?</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Suppose a Cubist picture is a beautiful scheme of color; is it less
-beautiful <i>in color</i> because you do not understand the painter’s theory?
-His painting may be fine, his theory absurd.</p>
-
-<p>Would your enjoyment of Caruso be increased if he sang in English the
-ridiculous stuff he sings in Italian?</p>
-
-<p>Fortunate it is for most grand opera that we <i>do not understand</i>&mdash;we are
-not diverted from the music by the nonsense of the libretto.<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span></p>
-
-<p>The enjoyment of music is a curious thing.</p>
-
-<p>First of all, there are all kinds of music, from rag-time to Beethoven,
-and each kind has its following.</p>
-
-<p>Then the following of each kind breaks up into its rag-time and
-Beethoven divisions.</p>
-
-<p>That is to say, in an audience listening to rag-time there are always a
-few who enjoy the music in a Beethoven way&mdash;for what there is of real
-value in it.</p>
-
-<p>While in an audience listening to a Beethoven symphony there are always
-a goodly number, often a big majority, who enjoy it in a rag-time
-way&mdash;just the emotional reaction, without knowing a thing about the
-music.</p>
-
-<p>There are two entirely distinct enjoyments of the same composition&mdash;the
-purely intellectual and the purely emotional. There may be a mingling of
-the two, but as a rule what one gains the other loses.</p>
-
-<p>The man who follows the score, is familiar with the different
-interpretations of this and that leader, whose ear catches every failure
-by any part of the orchestra to respond, and so on, and so on&mdash;that man
-is constantly holding his emotional response subject to his intellectual
-appreciation. What is a fine performance to most of the audience may be
-a very indifferent performance to him.</p>
-
-<p>True, when the performance is so fine it carries him off his feet, then
-he gets an enjoyment&mdash;intellectual and emotional&mdash;far finer than the
-enjoyment experienced by others. In a sense, he is the one man worth
-playing for.</p>
-
-<p>But while it is a fine thing to both understand and enjoy, understanding
-is not essential to enjoyment in the purely emotional sense&mdash;to the
-enjoyment most people feel when listening to music.</p>
-
-<p>The voice of a street singer borne in upon the night air, even the sound
-of a hurdy-gurdy, pleases, though we do not</p>
-
-<div class="figcenter" id="plt_009" style="width: 600px;">
-<a href="images/i_fp084.jpg">
-<img src="images/i_fp084.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SOUSA CARDOZA</p>
-
-<p>Leap of the Rabbit</p>
-</div></div>
-
-<p><span class="pagenum"><a name="page_85" id="page_85">{85}</a></span></p>
-
-<p class="nind">know the song or the air. There is a species of pleasure in not knowing
-that is dissipated when we recall or are told.</p>
-
-<p>Many of our enjoyments are more than half dreamy. Is it not true that
-the dreamy element is essential to purely emotional enjoyment?</p>
-
-<p>I confess to a very ignorant enjoyment of music. If I am at a concert I
-do not like to be told what it is all about. I enjoy good music without
-knowing or caring why, and I like to hear it without being seated where
-I am more than half-hypnotized by the rhythmical movements of the
-orchestra, especially the fascinating bowing of the violins.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>What is true of the enjoyment of music should be true of the enjoyment
-of painting. But with painting, most people insist upon understanding.
-They will listen to Patti without knowing her language, but they will
-not look at a painting unless they know the painter’s language.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Why not accept at their face value all pictures that are beautiful in
-line and color, without bothering about their meaning? Perhaps they have
-no meaning beyond the vagrant fancy of the artist.</p>
-
-<p>Take the three pictures by Sousa Cardoza. Suppose they have no more
-significance than so many illustrations to a fairy tale; they are
-interesting in line and fascinating in color. If the “Stronghold” had
-been on a Delft platter, or the “Leap of the Rabbit” on a piece of
-Persian pottery, everyone would have lauded their beauty, and collectors
-would give ten or twenty times the modest prices of the canvases.</p>
-
-<p>When put to people in that matter-of-fact way the response is almost
-always favorable to the pictures.<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span></p>
-
-<p>In an interesting monograph entitled “Is It Art?”<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> the writer says:</p>
-
-<div class="blockquot"><p>It will be seen, therefore, that the efforts of these men to give a
-subjective rendering of actuality results in nothing better than a
-poorly realized form of objectivity which is as much the creation
-of the spectator as of the artist, inasmuch as the vaguely
-adumbrated forms in the picture simply serve as a hint to that
-reality of which it is a wilfully distorted symbol, and the
-discovery of the “mustard pot” would scarcely have been possible
-without the happy cooperation of the title with the spectator’s
-previous knowledge of the actual appearance of a mustard pot.</p>
-
-<p>Without the intervention of the title and the association of ideas
-called forth thereby through the memory of past experiences with
-actuality, these pictures would be totally meaningless even to the
-most recondite. They would inevitably be reduced to a personal
-system of shorthand, an individual code, as it were, comprehensible
-only to the originator.</p>
-
-<p>Regarded from that viewpoint, these enigmatic paintings and
-drawings may very possibly be altogether successful. At all events
-it is only fair to assume that these works express to the
-originator what he intended them to express. But it is quite
-obvious that they express something quite different to the
-spectator who has not been initiated into the meaning of this
-personal form of shorthand, and the appending of an objective title
-to what is intended as a subjective impression of the actual world
-hardly help him over the difficulty. On the contrary it takes him
-just that far away from the impression the artist desires to
-produce, plunging him deeper into that world of reality out of
-which he was to be extricated by this new art, and there is no
-doubt that in the minds of even the most intelligent spectator it
-only serves to reenforce his conception of reality upon which he is
-forced to fall back by the objective titles as well as the concrete
-representations of what is supposed to be a subjective mood.</p>
-
-<p>I think it may safely be said that in no case does this mood
-manifest itself to the persons to whom it is addressed, although by
-a process of auto-hypnotism, a certain few no doubt succeed in
-making themselves believe that they penetrate the real inwardness
-of these arbitrarily individual mental processes. Granted that
-these very discerning ones do respond to the real intention of
-these abstractions it cannot be denied that this work is the most
-circumscribed in its<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> appeal of anything so far produced in the
-name of art and, until its working premise is made clearer, its
-influence must be correspondingly limited. At present it appears to
-me to be a too purely personal equation to be intelligible to
-others than the artist himself and therefore, generally speaking,
-it can not be regarded as art, whatever else it may be. For that
-that communicates nothing expresses nothing and as the office of
-art is first and last expression this new form is as yet outside of
-the domain of art.</p></div>
-
-<p>But that makes the attitude of the <i>observer</i> the test whether a given
-product is or is not art, while the true test is the attitude of the
-<i>producer</i>.</p>
-
-<p>Whether a given work is or is not art is <i>determined</i> and <i>forever
-fixed</i> at the time of its production. If art to him who creates it, it
-is art to all humanity for all time; neither a man’s neighbors nor
-future generations can deprive it of its character.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Quite a good many years ago I made the attempt, in lecture and book
-form, to define art.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p>
-
-<div class="blockquot"><p>What is Art? The question is as old as man himself, for we have no
-records of men without some manifestation of the art impulse....</p>
-
-<p>Man is the <i>combination</i> of <i>thought</i> and <i>symbol</i>; thought
-striving to express itself, and symbol, the means whereby it
-achieves that end. The symbol may be sound, word, or song; or it
-may be line, form, or structure; it matters not. A cry is the
-language of the child; speech is the every-day utterance of the
-man; the heart of the singer bursts forth in song; the musician
-speaks in harmonies, the painter in line and color, the sculptor in
-form, the architect in structure, the poet in rhyme and rhythm&mdash;and
-each is silent save in his own way....</p>
-
-<p>Now what is the distinction between <i>thought</i> expression which <i>is
-art</i> and <i>thought</i> expression which is <i>not art</i>?</p>
-
-<p>In its broadest significance, and in its very essence, <i>art is
-delight in thought and symbol</i>.</p>
-
-<p>Mark the union&mdash;art is delight in <i>both</i> the thought <i>and</i> the<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span>
-symbol. Without the double delight&mdash;the combination of these two
-quite distinct delights, there can be no art.</p>
-
-<p>To the writer of prose there may come a beautiful fancy; he
-delights in it and hastens to record his thought. He may write the
-most flowing, the most perfect prose, but as he writes he is still
-occupied with his thought; his sole object is to find words which
-will but express it. The same fancy comes to the poet; he, too,
-delights in it, and seeks to record it; but when the poet touches
-pen to paper he is seized with a new and an entirely distinct
-delight, a delight <i>in his method of expressing</i> his thought; he
-may even permit his delight in his symbol, the flow, rhythm and
-ring of rhyme, to sweep him onward in forgetfulness of his first
-fancy&mdash;literature is filled with such examples.</p>
-
-<p>Now and then a writer of prose expresses himself so finely, writes
-so well, that we feel instinctively and immediately not only the
-delight in the thought, but also a certain amount of delight in the
-manner of expressing the thought, in the style, ... and to the
-extent of the <i>double</i> delight such prose is art, for art, as we
-shall see, is by no means confined to the five so-called fine arts.</p>
-
-<p>No hard and fast line can be drawn between that which is art and
-that which is not art, the one fades imperceptibly into the other.</p></div>
-
-<p>And farther on in the same little volume:<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p>
-
-<div class="blockquot"><p>The current notions of art are such and the current notions of
-labor are such that it may seem to most of you as though any
-attempt to discuss the two together could result only in a waste of
-words; yet time was when art and labor were so intimately united in
-the great domain of human effort that the one almost invariably
-implied more or less of the other; and the time will yet be when
-there will be no labor without at least some art, even as there is
-now and ever has been no art without at least some labor.</p>
-
-<p>Art lies not in the employment, but in the <i>manner</i> of the
-employment of the powers of nature for an end; not in the task, but
-in the <i>attitude</i> of the worker towards his task.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Whether a Cubist painting is or is not art does not depend upon the
-opinion of either critic or multitude; if it did it would be art to one
-man and not to another, art to one generation and not to another&mdash;an
-illogical conclusion.</p>
-
-<div class="figcenter" id="plt_034" style="width: 600px;">
-<a href="images/i_fp088.jpg">
-<img src="images/i_fp088.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KLEE</p>
-
-<p>House by the Brook</p></div>
-</div>
-
-<div class="figcenter" id="plt_062" style="width: 600px;">
-<a href="images/i_fp089.jpg">
-<img src="images/i_fp089.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN REES</p>
-
-<p>Still Life</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_89" id="page_89">{89}</a></span></p>
-
-<p>Most Cubist pictures are plainly the work of men who are profoundly
-moved by an idea and who are striving to express that idea in a highly
-original manner. It may be the manner they have chosen is so abstract,
-so scientifically theoretical, that it will in the end&mdash;if pursued&mdash;kill
-the imagination, stifle all delight, and so result in failure as <i>art
-expression</i>; but so long as the men take sincere delight in both what
-they are trying to say and their manner of utterance, it is impossible
-to deny the character of art to their works.</p>
-
-<p>In proportion to their originality and daring, there may be more of
-living and vital art in what they are doing than in the art of the
-academic painter who follows in the footsteps of others without any
-particular effort.</p>
-
-<p>In other words, it is quite conceivable there may be more of vital and
-living art in a movement doomed to failure than in a movement that has
-achieved success and become stagnant.</p>
-
-<p><i>The vitality lies in the element of earnest striving rather than in the
-direction the striving takes.</i><span class="pagenum"><a name="page_90" id="page_90">{90}</a></span></p>
-
-<h2><a name="VI" id="VI"></a>VI<br /><br />
-THE THEORY OF CUBISM</h2>
-
-<p class="nind"><span class="letra">T</span>HE art that is at hand is a highly <i>subjective</i> art as distinguished
-from the highly <i>objective</i> art of the Impressionist and Realist, but no
-man can say just what forms this new art will assume.</p>
-
-<p>Cubism is one attempt, Futurism is another, Compositional painting is
-another; there will be many more attempts before freedom of expression
-is attained.</p>
-
-<p>Cubism is interesting because it accentuates the value of planes and
-shows what can be done with elemental propositions in drawing. But the
-student or painter who turns to Cubism because he thinks it is to become
-a fad and will pay, runs the risk of making a great mistake; he would
-better stick to older methods.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Orphists have been mentioned; there were no Orphist pictures in the
-International Exhibition. The movement is based on the purely practical
-proposition that color in itself, and color alone without drawing, may
-be beautiful. So they just place lines and masses of color on a canvas
-and frame the canvas.</p>
-
-<p>It sounds absurd, yet the theory is the very foundation of wall
-decoration, of interior furnishing, of dressmaking&mdash;the mere
-juxtaposition of masses of color, with or without pattern.</p>
-
-<p>The Orphist “picture” may not be much of a picture in the accepted sense
-of the term, but it may afford pleasure as a color combination and may
-be of very real value to the<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span> decorator, the furnisher, the dressmaker,
-the scene-painter, the costumer.</p>
-
-<p>The theory is not new. So long as man has loved color he has used it
-irrespective of pattern.</p>
-
-<p>One part of the theory of the Cubists is as old as that of the Orphists.
-It is simply that the painter can do with line and color what the
-composer does with sound. In other words they demand the same freedom in
-the use of line and color that every great composer has in the use of
-sound.</p>
-
-<p>If, for instance, a great musician composes a pastoral symphony does he
-imitate the mooing of cows, the bleating of lambs, the rippling of
-brooks? Such attempts would be recognized as cheap in the extreme.</p>
-
-<p>“Very well,” the Cubist says, “if I paint a pastoral symphony why should
-I so much as suggest cows, sheep, landscape, brook? Why should people
-insist upon <i>seeing</i> in my painting what they cannot <i>hear</i> in Mozart’s
-or Beethoven’s music?”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The comparison which Picabia is fondest of making is that with absolute
-music. The rules of musical composition, he points out, are sufficiently
-hampering in themselves to the composer’s mood, or call it inspiration.
-Words, as of songs, still further confine his vision of melody, even
-though they give in the beginning the impression that evokes the mood.
-Songs without words, the expression of the impression made on him by a
-great poem without the necessity of following in musical form the
-literary form of the poet, leave him far freer, give his subjectivity
-far wider scope. Modern composers have rebelled against the old fetters;
-modern painters have begun to feel the same need of a freer, an absolute
-method of expression. Hence, “post-impressionism,” which refuses
-altogether to be bound by objectivity, by literal repro<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span>duction of the
-object seen, in connection with the mood, the after-impression, received
-and fixed on the canvas. A composer may be inspired by a walk in the
-country, says M. Picabia, and produce a production of the landscape
-scene, of its details of form and color? No; he expresses it in sound
-waves, he translates it into an expression of the impression, the mood.
-And as there are absolute sound waves, so there are absolute waves of
-color and form. Modern music has won its way; this modern painting, too,
-will find appreciation and understanding in the days to come.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Cubists have set themselves a hard task. It is a good deal easier to
-<i>sing</i> an <i>emotion</i> than <i>paint</i> one. It is a good deal easier to
-<i>paint</i> an <i>object</i> than <i>sing</i> one&mdash;therein lies the trouble.</p>
-
-<p>Yet in the beginning both music and painting were imitative. Music
-imitated natural sounds; drawing and painting imitated natural objects.</p>
-
-<p>But soon men began to sing for the pleasure of singing and play on
-instruments for the pleasure of playing, and the imitation of natural
-sounds was left far behind as primitive and elemental, and music tended
-to become more and more expressive of emotions, elemental emotions at
-first, finer and purer emotions later, until in the western world
-abstract purity was reached in Beethoven.</p>
-
-<p>Since Beethoven there has been a reaction to more imitative music, as in
-the operas of Wagner.</p>
-
-<p>While music departed farther and farther from imitation of natural
-sounds, drawing and painting progressed toward the more perfect
-representation of natural objects.</p>
-
-<p>Or rather painting developed along two distinct lines&mdash;one the more
-perfect representation of objects <i>for the sake of the representation</i>;
-the other compositions of line and color&mdash;not</p>
-
-<div class="figcenter" id="plt_003" style="width: 600px;">
-<a href="images/i_fp092.jpg">
-<img src="images/i_fp092.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BLOCH</p>
-
-<p>Summer Night</p></div>
-</div>
-
-<div class="figcenter" id="plt_004" style="width: 600px;">
-<a href="images/i_fp093.jpg">
-<img src="images/i_fp093.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BLOCH</p>
-
-<p>The Duel</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p>
-
-<p class="nind">imitative&mdash;for the sake of the pleasure afforded <i>by the pattern and the
-color scheme</i>.</p>
-
-<p>This second development parallels that of music&mdash;compositions of line
-and color, like compositions of sound for the pleasure they give, and
-not for the associations they arouse.</p>
-
-<p>Strange as it may sound, it is nevertheless true, that four-fifths of
-the pleasure we get in our daily lives out of line and color is not from
-the <i>imitative</i> development, the <i>picture</i> side, but from the
-<i>non-imitative</i>, the <i>abstract</i> side.</p>
-
-<p>Our clothes, our homes, our public buildings, our cities, our landscapes
-are made beautiful by the use of line and color in patterns and
-masses&mdash;in harmonious composition. It is only here and there that we
-come in contact with either line or color used imitatively.</p>
-
-<p>We all know how distressingly tiresome a wall-paper becomes if it is
-made up of imitative scenes&mdash;that is, a series of pictures, and the
-better the pictures the sooner we tire of the paper.</p>
-
-<p>While a paper that contains no imitative spots, or in which the
-imitative features are so subdued and conventionalized we <i>feel</i> them
-rather than <i>see</i> them, may be restful and pleasing; and a wall that is
-a monotone if bordered by wainscoting and frieze in monotones, may wear
-the best of all.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>But while the great, the practical use of line and color followed
-parallel lines with sound and got farther and farther away from
-imitative features, <i>the art</i> of painting, as it is commonly called,
-developed in just the opposite direction, it became more and more
-imitative, until of late years it would seem that the last word has been
-said in the reproduction of natural objects and natural light and color
-effects.</p>
-
-<p>Of course the <i>last</i> word has not been said, and never will be said so
-long as <i>individuals</i> are born, but <i>so much</i> has been<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> said that it is
-not surprising there is a reaction, nor is it surprising that one phase
-of this reaction should be an attempt to use line and color as the
-decorator and the dressmaker and a thousand others use them, to express
-and kindle pleasurable emotions.</p>
-
-<p>In short it is not surprising that the painter of pictures should awaken
-to the realization of the fact that others use and have used, from the
-beginning, line and color to make delightful compositions that have no
-relation to natural objects, as the musician uses sound to make
-delightful compositions that have no relation to natural noises.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>As a rule women have a finer instinct for the use and arrangement of
-color than painters. Few wives of painters would trust their husbands to
-decorate their dinner tables.</p>
-
-<p>Look at the gruesome and ugly “still lifes” done by painters of renown.
-I saw one the other day of some fish on a platter by an American painter
-famous for such things. If his wife had found that platter of dead and
-clammy fish in her drawing room she would have exclaimed, “For goodness
-sake, how did that get in here? Take it back to the kitchen.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Look at the naive and absurd compositions of flowers and fruit that
-painters put together to paint; no woman of taste would permit them on
-her tea table.</p>
-
-<p>I know a charming woman whose dinner tables are a dream of beauty,
-veritable compositions in which flowers and fruits and lights and every
-detail are far more thoughtfully considered than are the details in most
-pictures. In short, without knowing it she creates a work of art each
-time she entertains. Imagine what her table would be if left to an
-artist or a committee of artists&mdash;or her husband!<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span></p>
-
-<p>Most painters’ studios are either devoid of all color arrangement or
-positively ugly.</p>
-
-<p>So far as <i>color</i> goes many a portrait owes its success more to the
-<i>modiste</i> than the artist.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>From the painting of color harmonies and line harmonies it is but a step
-to insist that line and color composition may be used like sound
-compositions to express one’s moods and emotions.</p>
-
-<p>That is what these modern men are trying to do.</p>
-
-<p>You may not think it is possible for them to succeed but why should you
-ridicule the attempt?</p>
-
-<p>The attempt is an ambitious one, it is an attempt to extend the sphere
-of painting, and it may lead to new and beautiful things. Should we not
-watch it with interest and sympathy even if you think it foredoomed to
-failure?</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>Watch a painter preparing to paint a picture of still life. He
-takes a vase of flowers and places it on a table; beside it he
-poses, perhaps a brass bowl and some other objects, having regard
-throughout for light and, above all, for proportion and color. That
-is when he is <i>really painting</i> his picture, when he is really
-<i>composing</i>, receiving his impression, creating his subjective
-mood. The objective part of his work is done; all that remains now
-is to give expression to that impression, that mood. Instead of
-thus allowing his inspiration to gain its full value and
-significance, he sits down and reproduces it with a varying degree
-of literalness. He becomes nothing more or less than a copyist, a
-photographer of his own work. He kills within himself its
-subjective values, or, at best, seeks to give them expression
-filtered by objectivity. Or, again, consider the case of the
-portrait painter. He studies sitters from every point of view,
-gathering impressions. Then he begins to experiment with poses,
-draperies, light effects, seeking to heighten the impression
-already received from the sitter himself. At last he is content
-with pose, draperies, background, lights&mdash;his picture is there. But
-why, then, go to the trouble of painting it, of copying it? If the
-work he has done, finished in all its details, is to benefit him,
-he must proceed<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> from it and beyond it. His real work then is to
-communicate to others the mood awakened in him.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In another interview Picabia said:</p>
-
-<div class="blockquot"><p>You of New York should be quick to understand me and my fellow
-painters. Your New York is the cubist, the futurist city. It
-expresses in its architecture, its life, its spirit, the modern
-thought. You have passed through all the old schools, and are
-futurists in word and deed and thought. You have been affected by
-all these schools just as we have been affected by our older
-schools.</p>
-
-<p>Because of your extreme modernity therefore, you should quickly
-understand the studies which I have made since my arrival in New
-York. They express the spirit of New York as I feel it, and the
-crowded streets of your city as I feel them, their surging, their
-unrest, their commercialism, and their atmospheric charm.</p>
-
-<p>You see no form? No substance? Is it that I go out into your city
-and see nothing? I see much, much more, perhaps, than you who are
-used to it see. I see your stupendous skyscrapers, your mammoth
-buildings and marvellous subways, a thousand evidences of your
-great wealth on all sides. The tens of thousands of workers and
-toilers, your alert and shrewd-looking shop girls, all hurrying
-somewhere. I see your theater crowds at night gleaming, fluttering,
-smilingly happy, smartly gowned. There you have the spirit of
-modernity again.</p>
-
-<p>But I do not paint these things which my eye sees. I paint that
-which my brain, my soul, sees. I walk from the Battery to Central
-Park. I mingle with your workers, and your Fifth Avenue mondaines.
-My brain gets the impression of each movement; there is the driving
-hurry of the former, their breathless haste to reach the place of
-their work in the morning and their equal haste to reach their
-homes at night. There is the languid grace of the latter, emanating
-a subtle perfume, a more subtle sensuousness.</p>
-
-<p>I hear every language in the world spoken, the staccato of the New
-Yorker, the soft cadences of the Latin people, the heavy rumble of
-the Teuton, and the ensemble remains in my soul as the ensemble of
-some great opera.</p>
-
-<p>At night from your harbor I look at your mammoth buildings. I see
-your city as a city of aerial lights and shadows; the streets are
-your shadows. Your harbor in the daylight shows the shipping</p></div>
-
-<div class="figcenter" id="plt_027" style="width: 600px;">
-<a href="images/i_fp096.jpg">
-<img src="images/i_fp096.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>HERBIN</p>
-
-<p>Landscape</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_97" id="page_97">{97}</a></span></p>
-
-<div class="blockquot"><p class="nind">of a world, the flags of all countries add their color to that
-given by your sky, your waters, and your painted craft of every
-size.</p>
-
-<p>I absorb these impressions. I am in no hurry to put them on canvas.
-I let them remain in my brain, and then when the spirit of creation
-is at flood-tide, I improvise my pictures as a musician improvises
-music. The harmonies of my studies grow and take form under my
-brush, as the musician’s harmonies grow under his fingers. His
-music is from his brain and his soul just as my studies are from my
-brain and soul. Is this not clear to you?</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>You say all this cannot be done.</p>
-
-<p>That is precisely the question, and one thing certain, it cannot and
-will not be done, unless some one <i>tries</i> to do it.</p>
-
-<p>It is just as legitimate to attempt to express one’s emotions by the use
-of line and color as by the use of sound as in music, or by the use of
-motion as in pantomime.</p>
-
-<p>One man says, “I will paint the portrait of a beautiful woman.”</p>
-
-<p>A second says, “I will not paint her portrait, but I will put on canvas
-a composition of colors so joyous it will express my admiration for
-her.”</p>
-
-<p>A third says, “I will compose a sonata or a symphony or a ‘song without
-words’ to express my love for her.”</p>
-
-<p>The public accepts without question the work of the first and third&mdash;the
-portrait painter and the musician&mdash;but rejects the work of the
-second&mdash;the painter of harmonies. Why? Because he does not copy the
-features and the dress of the woman.</p>
-
-<p>Picabia again says:</p>
-
-<div class="blockquot"><p>Art, art, what is art? Is it copying faithfully a person’s face? A
-landscape? No, that is machinery. Painting Nature as she is, is not
-art, it is mechanical genius. The old masters turned out by hand
-the most perfect models, the most faithful copies of what they saw.
-That all their paintings are not alike is due to the fact that no
-two men see the same things the same way. Those old masters were,
-and their modern followers are, faithful depicters of the actual,<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span>
-but I do not call that art today, because we have outgrown it. It
-is old, and only the new should live. Creating a picture without
-models is art.</p>
-
-<p>They were successful, those old masters; they filled a place in our
-life that cannot be filled otherwise, but we have outgrown them. It
-is a most excellent thing to keep their paintings in the art
-museums as curiosities for us and for those who will come after us.
-Their paintings are to us what the alphabet is to the child.</p>
-
-<p>We moderns, if so you think of us, express the spirit of the modern
-time, the twentieth century. And we express it on canvas the way
-the great composers express it in their music.</p></div>
-
-<p>There is plenty of clear expression and fine enthusiasm in those three
-paragraphs.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is, however, another side to Cubism and one not so easy to
-understand.</p>
-
-<p>Painting color harmonies for the sake of their emotional effect is easy
-of comprehension. But when the Cubist sets out to convey the impression,
-not of the surfaces, but of the very substance of things, he is
-attempting something very different from what has heretofore been
-considered within the sphere of painting. Possibly he is attempting
-something painting cannot do.</p>
-
-<p>The theory is so abstract and so scientific it comes near paralyzing the
-art. It is <i>too coldly logical</i> and unemotional to produce great art,
-for great art is and must be fundamentally <i>emotional</i>.</p>
-
-<p>Of Picasso, the founder and leading exponent of Cubism, a sympathetic
-writer says:</p>
-
-<div class="blockquot"><p>His whole tendency is a negation of the main tenets of the gospel
-of Cézanne whose conception of form he rejects, together with
-Monet’s conception of light and color. To him both are
-non-existent. Instead he endeavors “to produce with his work an
-impression, not with the subject, but the manner in which he
-expresses it,” to quote his confrère, Marius De Zayas, who studied
-the raison d’être of this work, together with Picasso. Describing
-his process of aesthetic<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> deduction further, M. De Zayas tells us
-that “he (Picasso) receives a direct impression from external
-nature; he analyzes, develops, and translates it, and afterwards
-executes it in his own particular style, with the intention that
-the picture should be the pictorial equivalent of the emotion
-produced by nature. In presenting his work he wants the spectator
-to look for the emotion or idea generated from the spectacle and
-not the spectacle itself.</p>
-
-<p>“From this to the psychology of form there is but one step, and the
-artist has given it resolutely and deliberately. Instead of the
-physical manifestation he seeks in form the psychic one, and on
-account of his peculiar temperament, his psychical manifestation
-inspires him with geometrical sensations. When he paints he does
-not limit himself to taking from an object only those planes which
-the eye perceives, but deals with all those which, according to
-him, constitute the individuality of form; and with his peculiar
-fantasy he develops and transforms them.</p>
-
-<p>“And this suggests to him new impressions, which he manifests with
-new forms, because from the idea of the representation of a being,
-a new being is born, perhaps different from the first one, and this
-becomes the represented being. Each one of his paintings is the
-coefficient of the impressions that form has performed in his
-spirit, and in these paintings the public must see the realization
-of an artistic ideal, and must judge them by the abstract sensation
-they produce, without trying to look for the factors that entered
-into the composition of the final result.</p>
-
-<p>“As it is not his purpose to perpetuate on canvas an aspect of the
-external world, by which to produce an artistic impression, but to
-represent with the brush the impression he has directly received
-from nature, synthesized by his fantasy, he does not put on the
-canvas the remembrance of a past sensation, but describes a present
-sensation.... In his paintings perspective does not exist; in them
-there are nothing but harmonies suggested by form, and registers
-which succeed themselves, to compose a general harmony which fills
-the rectangle that constitutes the picture.</p>
-
-<p>“Following the same philosophical system in dealing with light, as
-the one he follows in regard to form, to him color does not exist,
-but only the effects of light. This produces in matter certain
-vibrations, which produce in the individual certain impressions.
-From this it results that Picasso’s paintings present to us the
-evolution by which light and form have operated in developing
-themselves in his brain to produce the idea, and his composition is
-nothing but the synthetic expression of his emotion.”</p>
-
-<p>Thus it will be seen that he tries to represent in essence what<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span>
-seems to exist only in substance. And, inasmuch as his psychical
-impressions inspire in him geometrical sensations, certain of these
-exhibits are in the nature of geometrical abstractions that have
-little or nothing in common with anything hitherto produced in art.
-Its whole tendency would appear to be away from art into the realm
-of metaphysics.</p>
-
-<p>Here is a design, a pattern of triangles, ellipses and semi-circles
-that at first glance appears to be little more than the incoherent
-passage of a compass across the paper in the hands of some
-absent-minded engineer. After a little attentive study, however,
-these enigmatic lines resolve themselves into the semblance of a
-human figure and one begins to discover a clearly defined intention
-behind this apparent chaos of ideated sensations. There is evident
-a method in his madness which, after all, may only be truth turned
-inside out. And this is what should make one pause and investigate
-the matter further.</p>
-
-<p>The fact that one may get nothing out of it as yet in the way of
-tangible or even vaguely experienced emotions is beside the point.
-The interest in this whole matter rests on the fact that here is
-revealed a new form of aesthetic expression as yet only tentative
-and groping perhaps, but reaching out in new directions. And it
-must not be forgotten that the pioneer is usually misunderstood; he
-is so far in advance of current ideas as to be out of touch with
-his fellow men who might appropriately be called follow-men, they
-lag so far behind the progress of new ideas. Cézanne and
-Picasso&mdash;they mark the parting of the ways: a fulfilment and a
-promise. Quo Vadis?<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p></div>
-
-<p>Not many years ago Picasso was painting under the influence of the
-pointillists. Almost every year he changed his style, until he developed
-the pure, the geometrical Cubism of the drawing shown herein. He had a
-period of painting very uninteresting blue portraits, one of which was
-shown at the exhibition.</p>
-
-<p>His “Woman with the Mustard Pot” belongs with his sculpture, which is
-interesting but, to most people, ugly.</p>
-
-<p>He has such phenomenal powers of absorption and his technical facility
-is such that he does anything he pleases</p>
-
-<div class="figcenter" id="plt_050" style="width: 600px;">
-<a href="images/i_fp100.jpg">
-<img src="images/i_fp100.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PICASSO</p>
-
-<p>Drawing</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_101" id="page_101">{101}</a></span></p>
-
-<p class="nind">with ease, and what he does today is no sure indication of what he will
-attempt tomorrow.</p>
-
-<p>For the moment he seems absorbed in the <i>music of planes</i>, so to speak.
-Take, for instance, a still life wherein there seem to be a pipe, a
-wall, a musical instrument, a glass, something like a stairway, street
-signs, etc. These may or may not have been the objects the painter had
-before him, but whether they are or not it is quite clear that he was
-not content with dealing with superficial planes, that is, with the
-visible lines and surfaces of the objects, but he <i>lets the planes
-project and intersect</i> very much as if the objects were
-semi-transparent.</p>
-
-<p>To state the matter in other words&mdash;by using only the essential lines of
-an object and treating the object as otherwise more or less transparent,
-one readily understands why the essential lines of all objects in <i>the
-rear show through</i>, and the result is a confused mass of planes with
-here and there more conspicuous surface indications such as the pipe,
-the signs, the glass, etc.</p>
-
-<p>In much of Picasso’s later work he suppresses all such surface
-indications, until only a few absolutely elemental lines remain.</p>
-
-<p>The result is a picture so scientific, so abstract, it appeals to but
-few and excites no emotion in anyone because it was not the result of
-emotion in the artist.</p>
-
-<p>In short, Picasso and a few followers have reached a degree of
-abstraction in the suppression of the real and the particular that their
-pictures represent about the same degree of emotion as the demonstration
-of a difficult geometrical proposition.</p>
-
-<p>Beyond the few lines they use there is the bare canvas; they have
-reached the limit and they must turn in their tracks. The reaction is
-bound to come, and come quickly.<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span></p>
-
-<p>Meanwhile the Cubists, who have been painting along emotional, as
-distinguished from the coldly scientific lines, are still turning out
-pictures that possess a charm in line and color irrespective of their
-theoretical significance and much may still be done in this direction.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Cubists are fond of quoting the following from Plato:</p>
-
-<div class="blockquot"><p>Socrates: What I am saying is not, indeed, directly obvious. I must
-therefore try to make it clear. For I will endeavor to speak of the
-beauty of figures, not as the majority of persons understand them
-such as those of animals, and some paintings to the life; but as
-reason says, I allude to something straight and round, and the
-figures formed from them by the turner’s lathe, both superficial
-and solid and those by the plumb-line and the angle-rule, if you
-understand me. For these, I say, are not beautiful for a particular
-purpose, as other things are; but are by nature ever beautiful by
-themselves, and possess certain peculiar pleasures, not at all
-similar to those from scratching; and colors possessing this
-character are beautiful and have similar pleasures.&mdash;From
-“Philebus.”</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Every really great painter must have moments when, as he thinks of the
-days and years spent painting <i>things</i>&mdash;just things for people to look
-at and see&mdash;he asks himself, “Is it worth while to spend all one’s life
-painting things one <i>sees</i>? Is it not possible to paint the things one
-<i>feels</i>?”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Sargent is tired of portrait painting&mdash;why? Because he longs to do
-something else. But what he is doing is simply another form of portrait
-painting&mdash;and not so big. He has simply turned from men and women to
-chairs and tables&mdash;so to speak; that is, from portraits of people to
-pictures of things&mdash;all the same art. So far as any one knows he has not
-tried to make compositions of line and color that would be beautiful in
-themselves. In short, great painter as he is, he seems to lack the
-ambition or the inspiration to try to do<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> what Whistler for more than
-forty years was trying to do&mdash;lift painting from the rut of reality to a
-plane more nearly on a level with that occupied by the greatest masters
-of China and Japan.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The following paragraphs from a little book on Cubism by two well known
-Cubist painters throw some light on the subject:</p>
-
-<div class="blockquot"><p>We should be the first to blame those who, to hide their
-incapacity, should attempt to fabricate puzzles. Systematic
-obscurity betrays itself by its persistence. Instead of a veil
-which the mind gradually draws aside as it adventures toward
-progressive wealth, it is merely a curtain hiding a void.</p>
-
-<p>It is not surprising that people ignorant of painting should not
-spontaneously share our assurance; but nothing is more absurd than
-that they should be irritated thereby. Must the painter, to please
-them, turn back in his work, restore things to the commonplace
-appearance from which it is his mission to deliver them?</p>
-
-<p>From the fact that the object is truly transubstantiated, so that
-the most accustomed eye has some difficulty in discovering it, a
-great charm results. The picture which only surrenders itself
-slowly seems always to wait until we interrogate it, as though it
-reserved an infinity of replies to an infinity of questions.<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p></div>
-
-<p>By way of comment on this paragraph:</p>
-
-<p>Why should we deny to painting one of the greatest charms of
-poetry&mdash;<i>elusiveness</i>?</p>
-
-<p>Great poetry is <i>rarely</i> superficially plain to the casual reader.</p>
-
-<p>Great music is <i>never</i> superficially plain to the casual hearer.</p>
-
-<p>But the attitude of the public is that great painting shall always be
-superficially plain to the casual observer.</p>
-
-<p>A painter may paint things every one understands at a glance, but is it
-not his <i>right</i>, if he wishes, to paint things no one understands but
-himself?<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span></p>
-
-<p>In other words, what right have <i>we</i> to say to the poet, “If you don’t
-write things we understand you are no poet,” or to the painter, “If you
-don’t paint things we understand you are no painter?”</p>
-
-<p>The only difference between poet and painter is that one uses a <i>pen</i>,
-the other a <i>brush</i> to express <i>himself</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>Without employing any allegorical or symbolical literary artifice,
-merely by inflections of lines and colors, a painter can show, <i>in
-the same picture</i>, a Chinese city, a French town, together with
-mountains, oceans, fauna, and flora, and nations with their
-histories and their desires&mdash;all that separates them in external
-reality. Distance or time, concrete fact, or pure conception,
-nothing refuses to be uttered in the language of the painter, as in
-that of the poet, the musician, or the scientist.</p></div>
-
-<p>Here is a most significant statement of a <i>truth</i> and an assertion of
-<i>freedom</i>.</p>
-
-<p>We all know how the poet in a dozen lines may give us glimpses of the
-universe; he may leap from flower to star, from city to city, nation to
-nation, age to age; nothing confines him, he knows no restraint.</p>
-
-<p>In one short poem he may give us glimpses of the four quarters of the
-globe&mdash;of Athens, London, Chicago, Pekin. His imagination knows no
-bounds, his art is unlimited.</p>
-
-<p>For the first time in the history of painting painters are
-systematically claiming the same independence, the same right to
-<i>express themselves freely</i> in each canvas, to paint in the one picture
-<i>if they see fit</i> glimpses of different countries, cities, scenes,
-different times as well as places; to use them and suggest them as
-freely as the poet does to <i>express a mood</i>&mdash;and why not?</p>
-
-<p>But the painter must be sure of his mood, and be doubly sure that what
-he is trying to say <i>requires</i> a wealth of illustration, otherwise his
-painting will be but a fantastic jumble,</p>
-
-<div class="figcenter" id="plt_039" style="width: 600px;">
-<a href="images/i_fp104.jpg">
-<img src="images/i_fp104.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MARC</p>
-
-<p>The Steer</p></div>
-</div>
-
-<div class="figcenter" id="plt_031" style="width: 600px;">
-<a href="images/i_fp105.jpg">
-<img src="images/i_fp105.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KANDINSKY</p>
-
-<p>Landscape With Two Poplars</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_105" id="page_105">{105}</a></span></p>
-
-<p class="nind">just as many poems lose themselves in not a <i>wealth</i> but a <i>confused
-mass</i> of irrelevant illustrations.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The <i>assertion</i> of freedom is one thing, the <i>exercise</i> of it is quite
-another.</p>
-
-<p>The point is that, fundamentally, there is no reason why a painter
-should not show in one canvas things and events unrelated in either
-space or time, leaving the observer to work out the more or less hidden
-meaning of it all.</p>
-
-<p>There is no reason why he should be tied down to the realistic painting
-of an apple or an apple tree if he prefers to paint some flight of the
-imagination into which apple and apple tree enter together with strange
-glimpses of temples and pyramids, playing children and armed battalions,
-weeping women and fighting men.</p>
-
-<p>Read the foregoing lines once more. Eight objects are mentioned&mdash;apple,
-apple tree, temples, pyramids, children, battalions, weeping women,
-fighting men&mdash;by no possibility could these strangely diverse objects be
-found grouped together in actual life, yet it is safe to say that <i>as
-you read them</i> no feeling of utter incongruity was experienced. On the
-contrary your imagination unconsciously created a picture, vague and
-indistinct because fleeting, which combined them all, possibly a
-strange, poetic scene with orchards and playing children, temples and
-pyramids in the distance, with armed battalions, weeping women and
-fighting men passing by in clouds or fanciful shapes.</p>
-
-<p>Thousands of such pictures are painted every year and they are mostly
-rather poor works of the imagination.</p>
-
-<p>There is, however, no reason why the same freedom, the same arbitrary
-indifference to actualities, should not be exercised in the painting of
-good pictures.</p>
-
-<p>No reason why, for instance, painters should not <i>experi<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span>ment freely
-with all the so-called laws of art</i>, and that is what the Cubists and
-others of the moderns are doing.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>That the ultimate aim of painting is to touch the crowd we have
-admitted; but painting must not address the crowd in the language
-of the crowd; it must employ its own language, in order to move,
-dominate, and direct the crowd, not in order to be understood. It
-is so with religions and philosophies. The artist who concedes
-nothing, who does not explain himself and relates nothing,
-accumulates an internal strength whose radiance shines on every
-hand.</p>
-
-<p>It is in consummating ourselves within ourselves that we shall
-purify humanity; it is by increasing our own riches that we shall
-enrich others; it is by kindling the heart of the star for our own
-pleasure that we shall exalt the universe.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To explain Cubism, or any attempt in art to suppress the objective, one
-must fall back on music.</p>
-
-<p>Grieg calls a certain composition “In the Hall of the Mountain King.”
-Not for a moment did he attempt realistically to suggest a hall, a
-mountain, a king or any object; to have done so would have been folly.
-And if that particular composition were played for the first time before
-a body of keen musicians, no title mentioned, and not a word said about
-its being a part of the Peer Gynt suite, no two would agree as to what
-the composer had in mind, though many might have very interesting
-impressions regarding the <i>mood of the composer in writing it</i>.</p>
-
-<p>But once understand it is part of the Peer Gynt suite and once told it
-is “In the Hall of the Mountain King,” the weird and fascinating music
-explains itself, it is recognized as a wonderfully successful attempt to
-realize an impressive scene by a combination of sounds.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The veriest tyro in music feels the cheapness of imitative music, the
-imitation of the nightingale, the ripple of notes<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> to imitate a rippling
-brook, the beating of a drum to imitate thunder, the tremolo of violins
-to represent fright, etc., etc.</p>
-
-<p>From such bald attempts at realism to the abstract beauty of a symphony
-by Beethoven is a vast interval.</p>
-
-<p>The severely logical composer will not name his symphony for fear of
-suggesting ideas that will interfere with the pure enjoyment of his
-abstract conception. There have been painters&mdash;like Whistler&mdash;who
-preferred to call their works “Harmonies” or “Arrangements” or “Studies”
-rather than subject their canvases to a clamoring horde of suggestions
-by choosing names that must inevitably divert the observer.</p>
-
-<p>However at times a name helps, it at least puts us on the right track,
-it enables us to measure the piece of music or the picture by the
-artist’s intention. If it is utterly impossible for the best and most
-sympathetic minds after long study to find any suggestion of the title
-in the work, it means either the artist has been unsuccessful in
-conveying his idea in sound or in line and color, or&mdash;what often
-happens&mdash;he has carelessly and arbitrarily chosen a title after his work
-was finished, a title that imperfectly fits his original impulse.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is most disappointing to hear a man go into raptures over what he
-cannot explain.</p>
-
-<p>The greatest enemies of the moderns are their friends. But there have
-been published a number of books in German and French that are well
-worth reading if approached with an open mind.</p>
-
-<p>If read with preconceived notions and prejudices the result will be very
-irritating. Several artists, notably Kandinsky, have taken the utmost
-pains to explain in print what they believe and what they are trying to
-do.</p>
-
-<p>But it is often quite as difficult to understand some of<span class="pagenum"><a name="page_108" id="page_108">{108}</a></span> the things the
-painters write about their work as it is to understand their pictures;
-but this is because some of the new men carry their theories so far it
-is hard for the layman to follow, however earnest and sympathetic his
-efforts.</p>
-
-<p>But because we do not understand what a man says is no good reason for
-calling him an ignoramus.</p>
-
-<p>The trouble <i>may</i> be with him, it is <i>probably</i> with us. At all events
-each re-reading, like each re-scrutiny of the pictures, yields clearer
-results.</p>
-
-<p>To a man <i>really and profoundly interested</i> in art nothing has occurred
-in many a generation so full of significance, so worthy one’s earnest
-attention, as the present new movements&mdash;all the more interesting
-because changing so rapidly and because some of them are certain to be
-so fleeting.</p>
-
-<p>The art institute which does not secure and preserve some examples
-illustrative of the extraordinary upheaval in the art world is
-derelict&mdash;as derelict as a natural history museum would be if it passed
-over indifferently the evidence of some mysterious upheaval in nature.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>When a man stands before a cubist painting or an improvisation by
-Kandinsky and says he sees all sorts of things in it, do not take him
-too seriously; he is like members of those extraordinary Browning Clubs
-who destroy our enjoyment of the poetry by reading into each line things
-the poet never dreamed.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Cubists and most of the moderns are very young men, what they
-<i>think</i> is of far less interest than what they <i>do</i>.</p>
-
-<p>What a young man does is often of vital importance, what he thinks may
-be of no importance at all&mdash;save to himself.</p>
-
-<p>Moved by the most naive theories and enthusiasms youth</p>
-
-<div class="figcenter" id="plt_015" style="width: 600px;">
-<a href="images/i_fp108.jpg">
-<img src="images/i_fp108.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CHABAUD</p>
-
-<p>Cemetery Gates</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span></p>
-
-<p class="nind">will do wonderful things, things the sober reflection of age would fear
-to do.</p>
-
-<p>One of the charms of the Cubists is their child-like faith in the
-absolute supremacy of their art; this faith is interesting in them
-because it leads them to produce works that cause us to stop and look
-and think, but when their followers indulge the same blind faith in
-print their utterances are mostly incoherent and boresome.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The violent partisan who sees all sorts of things in the modern painting
-is at one extreme, the violent opponent who sees nothing at all is at
-the other&mdash;let them fight it out.</p>
-
-<p>The truth lies midway, that there is <i>something</i> worth finding in even
-the most extravagant attempts of the new movement no thoughtful man will
-deny. The very fact the paintings attract such crowds and excite so much
-controversy proves there is <i>something</i> for serious investigation; the
-something may not turn out to be of overwhelming importance, but it will
-have its influence upon the future of art.</p>
-
-<p>No one for a moment doubts that the exhibitions held in New York,
-Chicago, and Boston are destined to have a very great effect upon
-American art, especially upon the art of the men most bitterly opposed
-to Cubism, and everything akin to Cubism. The academic has received a
-severe but healthful jolt.</p>
-
-<p>Whatever affects us has, at least, the merit of <i>affecting</i> us, and
-whatever moves us to do better work, whether in an old way or a new way,
-has the merit of <i>affecting us for good</i>.<span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
-
-<h2><a name="VII" id="VII"></a>VII<br /><br />
-THE NEW ART IN MUNICH</h2>
-
-<p class="nind"><span class="letra">“W</span>E cling more closely to the old masters; what we are doing is simply
-the natural development of their principles and their methods,” said a
-well-known painter of Munich while speaking of the Cubists and other
-moderns of Paris, and the words had direct reference to the head of a
-woman, by Jawlenski, reproduced herein in color.</p>
-
-<p>It would be difficult to convince the casual observer that this head has
-any relationship to portraits by Titian, <i>and yet</i>&mdash;</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Cubists are also equally quick to demonstrate the logical connection
-between their works and those of the old masters, tracing the connection
-through Courbet, El Greco, and so on.</p>
-
-<p>The truth, of course, is that <i>everything</i> modern is a development of
-<i>something</i> ancient, that <i>nothing</i> exists <i>unrelated</i>.</p>
-
-<p>Art is as <i>continuous</i> as everything else in life and nature.</p>
-
-<p>One thing flows inevitably out of another.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Sorolla and Zoloaga are the children of Velasquez. Puvis de Chavannes
-may seem nearer Raphael and the Italian Primitives than Degas and Manet,
-but he is simply the fruition of one collateral line, while Degas is the
-fruition of another, and Manet of another&mdash;<i>they are all painters</i>, and
-the art of painting admits endless variations in theory and technic.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is, therefore, true that every modern experiment, how<span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>ever strange,
-may trace its genealogy to the Old Masters and through them to the
-Primitives, and through them to the Cave Painters.</p>
-
-<p>So that when a Munich artist argues that the strange heads of Jawlensky
-and the still stranger compositions of Kandinsky are based upon the best
-there is in Italian art, the proposition in its broad significance may
-be conceded and plenty of room be still left for startling differences
-between the art of Venice in the sixteenth century and that of Munich in
-the twentieth.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is, however, some slight but tangible foundation for the assertion
-that the work of the extreme men of Munich is closer to that of the Old
-Masters than the work of the extreme men of Paris, in that most of the
-former paint more <i>solidly</i> and <i>substantially</i>, while most of the
-latter paint more <i>lightly</i> and <i>superficially</i>&mdash;just about the
-difference that exists between the two cities, the two environments. The
-worker in Munich cannot help being influenced by the <i>German</i>
-atmosphere, the worker in Paris cannot help being influenced by the
-<i>French</i>&mdash;in fact each is where he is because he finds the particular
-atmosphere congenial.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“The New Artists’ Federation,” in Munich, was founded in January, 1909,
-by Adolf Erbslöh, Alexej von Jawlensky, Wassily Kandinsky, Alexander
-Kanoldt, Alfred Kubin, Gabriele Münter, Marianna von Werefkin, Heinrich
-Schnabel, and Oskar Wittenstein. During the first year Paul Baum,
-Wladimir von Bechtejeff, Erma Bossi, Karl Hofer, Moissey Koga, and
-Albert Sacharoff joined. Paul Baum and Karl Hofer soon resigned their
-membership. In 1910 the Frenchmen, Pierre Girieud and Le Fauconnier,
-became members,<span class="pagenum"><a name="page_112" id="page_112">{112}</a></span> and in 1911 Franz Marc and Otto Fischer, followed in
-1912 by Alexander Mogilewsky.</p>
-
-<div class="blockquot"><p>The first exhibition was held in the winter of 1909 in the Modern
-Gallery, Munich. Indignation and derisive laughter, and insults
-from the press were the outward result. Still the seed scattered
-was not lost. Similar exhibitions were held in many cities of
-Germany and Switzerland. Everywhere they met with opposition, but
-also made some friends at each place.</p>
-
-<p>The second exhibition, held in the fall of the following year,
-brought the members into contact with a large number of outside
-artists, some of whom have become of great importance in the new
-art, and most of whom were, up to that time, unknown in Germany.
-These were the Germans, Hermann Haller, Bernhard Hoetger, Eugen
-Kahler, Adolf Nieder; the Frenchmen, Georges Bracque, André Derain,
-Kees Van Dongen, Francisco Durio, Pablo Picasso, Georges Rouault,
-and Maurice de Vlaminck; finally, the Russians, Mogilewsky, David
-and Wladimir Burljuk, and Seraphim Sudbinin. This was the first
-exhibition at which it was possible to rightly estimate the
-development and the international character of the new movement.</p>
-
-<p>The preparations for the exhibition in the year 1911 led to a
-split. Some of the members insisted that, as regarded their works,
-the custom of a jury should be dispensed with, while others were in
-favor of having the entries rigidly judged in order to insure
-proper selection. Kandinsky, Kubin, Marc, and Gabriele Münter in
-consequence announced their withdrawal from the federation. Thus a
-difference of opinion and convictions was openly vented that had
-existed in secret for quite a time. The members named, under the
-name of “Redaktion des Blauen Reiters,” opened a separate
-exhibition and have since continued to work under this banner.</p>
-
-<p>The New Artists’ Federation, since its third exhibition in 1912,
-has held a series of exhibits of the works of individual artists in
-its rooms at Munich, and its members are represented at nearly all
-important exhibitions in Germany and Switzerland.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The key-note of the modern movement in art is <i>expression of self</i>; that
-is, the expression of one’s <i>inner self</i> as distinguished from the
-representation of the outer world.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="figcenter" id="plt_041" style="width: 600px;">
-<a href="images/i_fp112.jpg">
-<img src="images/i_fp112.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MATISSE</p>
-
-<p>Woman in Red Madras</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span></p>
-
-<p>I have before me six of Jawlensky’s heads, painted a year or so apart.
-They range from almost conventional portrait studies in strong
-impressionistic manner to heads very like Matisse’s “Madras Rouge,”
-thence to the head reproduced, which was the last painted.</p>
-
-<p>The series shows an interesting development of the painter’s
-<i>convictions</i>, his technic remains essentially the same, facile and
-competent, only the latest picture places a much greater stress upon his
-resources.</p>
-
-<p>It was apparent from things in his studio, canvases ten or twelve years
-old, that he could have made a commercial success as a painter of
-portraits.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To say that Jawlensky’s latest heads with their strange, expressive,
-exaggerated eyes are not wholly new one has only to turn to any work on
-Greek painting wherein are reproduced some of the encaustic and tempera
-portraits found in the Fayum some twenty-odd years ago.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>When asked why he preferred his latest work to the earlier, Jawlensky
-said:</p>
-
-<p>“I have put more of myself into them; they are more expressive of what I
-feel.”</p>
-
-<p>And he went on to say the development seemed to him natural and logical.
-He could not understand why the heads should strike others as queer or
-laughable since they were the products of absolute sincerity.</p>
-
-<p>Of his work a friendly critic says:</p>
-
-<div class="blockquot"><p>Jawlensky, formerly an officer in the Russian army, resigned a
-captain’s commission and turned to painting. Today he looks back
-into an artistic past rich in changes and just as rich in successes
-achieved. Gauguin, VanGogh and Cézanne have given much to him; more
-recently, oriental and primitive art, Byzantine pictures and
-antique German woodcarvings have not been without influence on<span class="pagenum"><a name="page_114" id="page_114">{114}</a></span>
-him. His color is peculiarly his own, with its limpidity, its
-bloom, and bold modulations, the spontaneous, expressive force of
-which have a most refreshing effect. In its soft and surprising
-beauty one may perhaps discover a distinctly Russian quality. It is
-almost an injustice toward this artist’s pictures to reproduce them
-colorless. His still-life pictures excel in composition and charm
-by their color effects. In his landscapes a peculiar mood finds
-expression, always striking, always original, and often with great
-simplicity and beauty. His heads and half figures might be termed
-snapshots of the soul: a pose, a motion, a glance of the eye,
-retained by the briefest and most effective means. Here, too, a
-conscious simplifying and exaggeration becomes more and more
-evident. For this artist, art itself has the grace of a gesture;
-the soul part immediately becomes expression, and thus is shown
-everywhere the creative quality of an impulsive nature that owes
-its best to the inspiration of the moment, and from it proceeds to
-work with a most happy facility.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Marianna von Werefkin, a Russian, uses water color, gouache, and prefers
-the mystery of the night to daylight. Her pictures are interesting human
-documents. She does not seek startling or novel pictured effects.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is another and almost unknown artist, P. Klee, who is very highly
-esteemed by the most advanced men. There is certainly an exquisite
-refinement to his line; it is so alive it scintillates.</p>
-
-<p>Gabriele Münter has a vision of things quite her own, a sense of humor
-and of life that penetrates beneath the surface, and that manifests
-itself in a technic that is, one might say, almost nonchalant.</p>
-
-<p>A. Bloch is a young American, living in Munich, who has allied himself
-with the Blue Knights and made an impression by his very personal
-expressions. He was given a one-man exhibition in Berlin in December
-last, and his pictures were highly praised in a well-written article in
-the Berlin<span class="pagenum"><a name="page_115" id="page_115">{115}</a></span> <i>Borsen-Courier</i>. Absolute and unswerving fidelity to one’s
-ideals is the only sure road to success, and this sort of sincerity is
-manifest in the work of Bloch.</p>
-
-<p>Franz Marc is in a class by himself. He is the animal painter of the
-Blue Knights, and his pictures have a fairly steady sale notwithstanding
-they are extreme in conception and execution. Animal forms and their
-phases of composition seem to appeal to him, but he often uses the forms
-as arbitrarily as Matisse uses his nudes to secure an effect of life or
-grace. His color is always delightful, and there is a flow, a rhythm to
-his pictures that is fascinating.</p>
-
-<p>In an article in “Der Blaue Reiter” he says:</p>
-
-<div class="blockquot"><p>It is remarkable how <i>spiritual</i> acquisitions are valued so
-differently by men as compared with <i>material</i>. If someone conquers
-a new colony for his country everybody applauds; if, however,
-someone has the <i>inspiration</i> to give to mankind a new and purely
-spiritual value, it is rejected with scorn and indignation, the
-gift is suspected, and the people try to suppress and crush it. Is
-not this a frightful condition?</p></div>
-
-<p>And speaking of the new movement in art, which he considers a
-<i>spiritual</i> offering to the public, he says:</p>
-
-<div class="blockquot"><p>The public is against us, with scorn and abuse it refuses our
-pictures; but we may be right. They may not want our gifts, but
-perhaps they cannot help accepting them. We have the consciousness
-that our world of ideas is no card house with which we play, but it
-contains the vital elements of a <i>movement</i> the vibrations of which
-are felt today <i>the world</i> over.</p></div>
-
-<p>In the orthodox sense these men may or may not be religious&mdash;I do not
-know&mdash;but one thing is certain, there is an immense amount of religious
-power in their propaganda.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The most extreme man not only of Munich but of the entire modern art
-movement is Wassily Kandinsky, also a Russian.<span class="pagenum"><a name="page_116" id="page_116">{116}</a></span></p>
-
-<p>There was one of his Improvisations in the International Exhibition.<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a></p>
-
-<p>It did not hang with the Cubists, not even in the large room with
-Matisse and other radical men. Evidently those in charge of the hanging
-did not know what to make of it or what to do with it, so they
-side-tracked it on a wall that was partly in shadow. Visitors who paused
-to look at it dismissed it as meaningless splotches of paint, and passed
-on.</p>
-
-<p>There is this to be said for the public, that with no word of
-explanation one of Kandinsky’s Improvisations does seem&mdash;<i>at first
-glance</i>&mdash;the last word in extravagance; on fourth or fifth glance it
-appears to have a charm of color that is fascinating; on <i>study</i> it
-begins to <i>sound</i> like color music.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There were three of his canvases in the London Exhibition in Albert Hall
-in July, 1913, “Landscape with Two Poplars,” “Improvisation No. 29,” and
-“Improvisation No. 30,” the last reproduced herein in color.</p>
-
-<p>Of these three paintings a critic said:<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a></p>
-
-<div class="blockquot"><p>By far the best pictures there seemed to me to be the three works
-by Kandinsky. They are of peculiar interest, because one is a
-landscape in which the disposition of the forms is clearly prompted
-by a thing seen, while the other two are improvisations. In these
-the forms and colors have no possible justification, except the
-rightness of their relations. This, of course, is really true of
-all art, but where representation of natural form comes in, the
-senses are apt to be tricked into acquiescence by the intelligence.
-In these improvisations, therefore, the form has to stand the test
-without any adventitious aids. It seemed to me that they did this,
-and established their right to be what they were. In fact, these
-seemed to me the most complete pictures in the exhibition, to be
-those which had the most definite and coherent expressive power.
-Undoubtedly representation, besides the evocative power which it
-has through association of ideas,</p></div>
-
-<div class="figcenter" id="plt_032" style="width: 600px;">
-<a href="images/i_fp116.jpg">
-<img src="images/i_fp116.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KANDINSKY</p>
-
-<p>Improvisation No. 29</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span></p>
-
-<div class="blockquot"><p class="nind">has also a value in assisting us to coordinate forms, and, until
-Picasso and Kandinsky tried to do without it, this function at
-least was always regarded as a necessity. That is why of the three
-pictures by Kandinsky, the landscape strikes one most at first.
-Even if one does not recognize it as a landscape, it is easier to
-find one’s way about in it, because the forms have the same sort of
-relations as the forms of nature, whereas in the two others there
-is no reminiscence of the general structure of the visible world.
-The landscape is easier, but that is all. As one contemplates the
-three, one finds that after a time the improvisations become more
-definite, more logical and more closely knit in structure, more
-surprisingly beautiful in their color oppositions, more exact in
-their equilibrium. <i>They are pure visual music.</i></p></div>
-
-<p>People who do not find a <i>picture</i> turn away disappointed and irritated,
-but many turn back to look again, attracted by the strength and charm of
-the compositions, and in the end not a few reluctantly concede, “Yes,
-they have fine color, but&mdash;” and then follows the old demand for some
-familiar object as anchorage.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Of Kandinsky’s qualifications from the academic point of view let it be
-said he is a superb draftsman, though he no longer attaches any
-importance to drawing <i>per se</i>; and he is a master of color
-combinations.</p>
-
-<p>One would say that the two, mastery of drawing and mastery of color,
-would make a great painter, and so they <i>did</i> and <i>do</i>.</p>
-
-<p>I have at hand some of his earlier work along conventional lines, and I
-have seen tempera drawings of Moroccan scenes that would delight a
-Whistler, they are so delicate and so filled with subtle charm. Then I
-have a series of sketches, extending over a number of years, which show
-the development of his later works.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>He has explained his theories at length in his book,<span class="pagenum"><a name="page_118" id="page_118">{118}</a></span> “Ueber das
-Geistege in der Kunst,”<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a> and in numerous articles, notably in “Der
-Blaue Reiter.”</p>
-
-<p>The keynote of the entire modern movement is found in the first sentence
-of his book,</p>
-
-<p>“<i>Every work of art is the child of its own times.</i>”</p>
-
-<p>A man may so steep himself in history and tradition that all he does is
-reminiscent of the past, but such work marks no progress and such men
-are negligible factors in the advancement of mankind.</p>
-
-<p>It is the man who yields himself to <i>his times</i>, who absorbs all there
-is of good in the <i>life about him</i>, who sees everything, feels
-everything, who mingles with his respect for the achievements of the
-past a mighty admiration for the triumphs of the present&mdash;such a man is
-a leader among his fellows; brilliant thinker, daring adventurer, he
-blazes the way for the timid to follow.</p>
-
-<p>If we were Greeks of the fifth century we would carve the marbles they
-did. If we were Romans under the Caesars we would build the buildings
-they built. If we were Christians of the middle ages we would rear
-cathedrals. If we were English, French, German, Chinese, or Japanese, we
-would do the things they do, like the things they like. But we are none
-of these peoples; we are Americans living in an age of steam and
-electricity, of automobiles and aeroplanes, in an age of kaleidoscopic
-changes, of marvelous and startling developments.</p>
-
-<p>What <i>must</i> happen in painting, music, sculpture?</p>
-
-<p>Exactly what has happened in architecture.</p>
-
-<p>Painting, music, sculpture that will go with our mighty steel buildings,
-with our factories and railroads.</p>
-
-<p>Painting, music, sculpture varied in form, as old and as new as the
-brain of man can conceive, but always and essen<span class="pagenum"><a name="page_119" id="page_119">{119}</a></span>tially <i>our own</i>. That
-is the secret, it must be characteristic of our age&mdash;<i>our own</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>This is not a placid age.</p>
-
-<p>It is an age of feverish activities, brilliant imaginings, profound
-emotions.</p>
-
-<p>Hence our art will not be placid, but will be an art of the imagination
-and the emotions.</p>
-
-<p>Venturesome souls will not be content to paint things, or even people,
-but they will paint <i>themselves</i>, not their <i>outer</i> selves, but their
-<i>inner</i>; they will put on canvas what they <i>feel</i>. That is as near the
-final word in art as man can utter&mdash;to <i>paint</i> instead of <i>speak</i> his
-most subtle emotions.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In a recent article<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a> Kandinsky summarises part of his theory as
-follows:</p>
-
-<p>A work of art consists of two elements, the <i>inner</i> and the <i>outer</i>.</p>
-
-<p>The inner is the emotion in the soul of the artist. This emotion has the
-power to arouse a similar feeling in the soul of the observer.</p>
-
-<p>The soul being connected with the body it is affected through the medium
-of the senses&mdash;feelings; emotions are stirred and aroused by sensations.
-Hence our sensations are the bridge, the physical connection between the
-<i>immaterial</i>, the emotion in the soul of the artist, to the <i>material</i>,
-resulting in the production of the work of art.</p>
-
-<p>And again the sensations are the bridge from the <i>material</i>, the artist,
-and his work, to the <i>immaterial</i>, emotion in the soul of the observer.</p>
-
-<p>The sequence is, <i>emotion</i> (in
-artist)&mdash;sensations&mdash;<i>work</i>&mdash;sensations&mdash;<i>emotion</i> (in observer).<span class="pagenum"><a name="page_120" id="page_120">{120}</a></span></p>
-
-<p>The two emotions will be like and equal to the extent the <i>work</i> is
-successful. In this respect a painting is no different from a song, each
-is a message; the successful singer succeeds in arousing in his hearers
-the emotions he feels; the successful painter should do no less.</p>
-
-<p>The inner element, emotion, must exist, else the work will be a sham.
-The inner element determines the <i>character</i> of the work.</p>
-
-<p>In order that the inner element which at first exists only as an
-emotion, may develop into work, the <i>second</i> element&mdash;the <i>outer</i> is
-used as the embodiment. Therefore emotion is always seeking means of
-expression, seeking a material form, a form that can stir the
-senses.<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p>
-
-<p>The <i>vital</i>, the <i>determining</i> element is the <i>inner</i>, that controls the
-outer form, even as the idea in the mind determines the words we use,
-and not the words the idea.</p>
-
-<p>Therefore the selection of the <i>form</i> of a work of art is determined by
-the <i>inner</i> irresistible force&mdash;this is the only unchangeable <i>law</i> of
-art.</p>
-
-<p>A <i>beautiful</i> work is the product of the harmonious cooperation of the
-two elements, the inner and outer. A painting, for instance, is an
-intellectual organism which, like every material organism, consists of
-many parts.</p>
-
-<p>These single parts, if isolated, are as lifeless as a finger severed
-from the hand.</p>
-
-<p>The single parts live only through the whole.</p>
-
-<p>The endless number of single parts in a painting is divided into two
-groups:</p>
-
-<p>1. The <i>designed</i> form.</p>
-
-<p>2. The <i>picturesque</i> form.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>An examination of a work of art, especially a painting,</p>
-
-<div class="figcenter" id="plt_060" style="width: 600px;">
-<a href="images/i_fp120.jpg">
-<img src="images/i_fp120.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN GOGH</p>
-
-<p>Woman with Frying Pan</p></div>
-</div>
-
-<div class="figcenter" id="plt_061" style="width: 600px;">
-<a href="images/i_fp121.jpg">
-<img src="images/i_fp121.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN GOGH</p>
-
-<p>Chair with Pipe</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span></p>
-
-<p class="nind">usually discovers the presence of parts and forms drawn from <i>nature</i>,
-from <i>objects</i>.</p>
-
-<p>As the <i>imitation</i> of natural forms forms no part of the definition of
-pure art how is it these objective representations creep in?</p>
-
-<p>The origin of painting was the same as that of the other arts, and of
-every human action. It was <i>purely practical</i>.</p>
-
-<p>If a native hunter chases game for days, he is induced to do so by
-<i>hunger</i>.</p>
-
-<p>If today a princely hunter chases game, he is induced to do so by the
-desire for <i>enjoyment</i>. Just as hunger is of <i>bodily</i> value, here the
-enjoyment is of <i>aesthetic</i> value.</p>
-
-<p>If a savage requires artificial sounds for his dance, he is induced
-thereto by sexual impulse. The artificial sounds, from which through
-centuries the music of today developed, moved savages to an expression
-of passion in the form of dancing.</p>
-
-<p>If the man of today attends a concert he is not seeking the music for
-<i>practical</i> results, but <i>pleasure</i>.</p>
-
-<p>Also here the original <i>practical</i> motive changed to the <i>aesthetic</i>.
-That means that also here the practical want of the body changed to that
-of the <i>soul</i>.</p>
-
-<p>During this progress toward refinement (or spirituality) of the most
-simple practical (or bodily) wants, two consequences are to be noticed
-throughout: The <i>separation</i> of the spiritual <i>from</i> the bodily element
-and its further <i>independent development</i> through the different arts.</p>
-
-<p>Here the above mentioned laws (of the inner element and the form)
-gradually apply with ever increasing force, until finally out of each
-art comes a <i>pure</i> art.</p>
-
-<p>This is a steady, logical, natural growth, like the growth of a tree.</p>
-
-<p>The process is to be noticed in painting.<span class="pagenum"><a name="page_122" id="page_122">{122}</a></span></p>
-
-<p>First period, <i>Origin</i>: <i>Practical</i> desire to make use of <i>physical</i>.</p>
-
-<p>Second Period, <i>Development</i>: The gradual separation of this <i>practical</i>
-purpose, and the gradual ascendancy of the <i>spiritual</i> element.</p>
-
-<p>Third Period, <i>Aim</i>: The attainment of a higher stage in <i>pure art</i>; in
-this the remains of the practical desire are <i>totally separated</i>
-(abstracted). Pure art speaks from soul to soul, it is not dependent
-upon the use of objective and imitative forms.</p>
-
-<p>We can distinguish all of these three stages in various combinations in
-paintings of today.</p>
-
-<p>First Period: <i>Realistic Painting</i>. The realism here is understood to be
-such as developed traditionally into the nineteenth century&mdash;the
-<i>practical</i> desire to exhibit objective realities&mdash;portraits,
-landscapes, historical paintings, etc., in the direct sense.</p>
-
-<p>Second Period: <i>Naturalistic Paintings</i> in the form of Impressionism, of
-the New Impressionism and Expressionism&mdash;to which partly Cubism and
-Futurism belongs: The separation of the <i>practical</i> aim and the <i>general
-preponderance</i> of the <i>spiritual element</i>; from Impressionism through
-Neo-Impressionism to Expressionism always increasing separation and
-always increasing preponderance of the spiritual.</p>
-
-<p>Apparently in this finer development <i>nature</i> as such is no more taken
-into consideration; but this is only “apparently” so, for as a matter of
-fact nature is used as a motive, a background, a basis for the pictures,
-and if the attempt is made to separate the natural or <i>objective</i> part
-of the picture from the purely artistic, the result is the picture falls
-for lack of support.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In other words, in most of even the very abstract paint<span class="pagenum"><a name="page_123" id="page_123">{123}</a></span>ings, such as
-even Picasso’s, there is a foundation, a background of objects without
-which the pictures would not exist.</p>
-
-<p>Picasso may refine a “Woman with a Mandolin,” to a dozen intersecting
-lines that disclose neither woman nor mandolin, but <i>both</i> were present
-in his mind’s eye when he created his work, and without them the work
-has no reason for existing.</p>
-
-<p>It is here that one begins to understand Kandinsky’s attitude, and how
-diametrically he diverges from Picasso. The two have nothing in common
-save the desire to produce more abstract art, but Picasso abstractions
-are based on the <i>outer</i> world, while Kandinsky’s are based on the
-<i>inner</i>.</p>
-
-<p>When Picasso has refined nature, that is, things <i>outside</i> him, to the
-<i>last degree</i>, to the simplest mode of expression in line and mass, he
-has reached an <i>impasse</i>, further progress is impossible, further
-scientific subdivision in unattainable, his art in <i>that direction</i> is
-finished.</p>
-
-<p>But Kandinsky has before him an unlimited view. With him the elimination
-of nature, of all things <i>physical</i> from his compositions, simply gives
-him greater freedom in the painting of compositions representing
-things&mdash;moods&mdash;<i>spiritual</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To go on with his own explanation, not in his exact words, but in
-substance:</p>
-
-<p>It is thus seen that in both the first and second signs in the
-development of art, the objective foundation or background is not of
-simply secondary importance, but of <i>first</i>; it is essential because
-without it the work would not exist.</p>
-
-<p>To create <i>pure art</i> it is necessary to eliminate this background of the
-physical, and substitute for it <i>pure artistic form</i>, which alone can
-give the picture independent life.<span class="pagenum"><a name="page_124" id="page_124">{124}</a></span></p>
-
-<p>This step we find in the <i>dawning third period</i> of
-painting&mdash;<i>Compositional painting</i>.</p>
-
-<p>According to the scheme of the three periods, we have arrived at the
-third one&mdash;which was designated as the <i>Aim</i>.</p>
-
-<p>In the <i>compositional painting</i> which is developing today we see the
-signs of the attainment of the higher step of <i>pure art</i>, in which the
-remains of the <i>practical</i> desire (all evidences of objectivity) can be
-perfectly separated, which can speak from soul to soul in purely
-artistic language.</p>
-
-<p>The conscious and oftentimes also still unconscious striving, which
-strongly (and ever stronger) shows itself today, to replace the
-objective (subject paintings) by pure construction (pure composition) is
-the first sign of the dawning of that <i>pure art</i> to which the past art
-periods inevitably led.</p>
-
-<div class="blockquot"><p>I have been trying to briefly deal with the entire development and
-more especially the situation today in broad schematic outlines;
-therefore there are many deficiencies (gaps) which necessarily
-remain uncovered, and there are passed over many interesting lesser
-developments, which are inevitable in progress, like smaller
-branches on the tree, which extend outward notwithstanding the
-tree’s growth upward.</p>
-
-<p>The further development, which is pending in painting, will still
-have to suffer many seeming contradictions and diversions, as was
-the case with music, which today we know already as pure art.</p>
-
-<p>The past teaches us that the development of humanity consists in
-the increasing <i>spirituality</i> of various factors. Among these
-factors art takes the first place.</p>
-
-<p>Among the arts painting is following the road that leads it from
-the <i>practical</i>-efficiency to the <i>intellectual</i>-efficiency. From
-the <i>subject-picture</i> to the <i>pure composition</i>.</p></div>
-
-<p>To better understand the foregoing take the “Improvisation No. 30.”<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p>
-
-<p>It is a very pure example of <i>compositional</i> painting, but it</p>
-
-<div class="figcenter" id="plt_033" style="width: 600px;">
-<a href="images/i_fp124.jpg">
-<img src="images/i_fp124.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KANDINSKY</p>
-
-<p>Improvisation No. 30</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span></p>
-
-<p class="nind">is not <i>absolutely pure</i>, in that it contains many more or less obvious
-suggestions of familiar forms and objects.</p>
-
-<p>Some workmen who happened to be handling the painting, referred to it as
-the “War Picture,” and many casual observers insist it is an impression
-of war or of a battle field.</p>
-
-<p>This is because two cannon are quite plain in the lower right-hand
-corner, and the two oblong blue masses projecting from the cannons’
-mouths would seem to be the smoke of the discharges.</p>
-
-<p>Then, too, the seeming cataclysmic effect, the suggestion of a helmet, a
-tottering tower, banners, aerial flashes or fireworks, all accentuate
-the impression of conflict and explosions.</p>
-
-<p>If one looks long enough in this mood it is not difficult to read into
-the canvas all sorts of interpretations of a warlike character.</p>
-
-<p>Yet the painting was “improvised”&mdash;<i>composed</i> with no <i>direct</i> intention
-of suggesting war.</p>
-
-<p>In his own personal note book wherein he keeps a record of all his work,
-Kandinsky identifies the picture by a hasty pencil sketch and the words,
-“Blue Splashes,” or “Masses,” and “Cannons.”</p>
-
-<p>Of the painting he says in a letter:</p>
-
-<div class="blockquot"><p>The designation “Cannons,” selected by me <i>for my own use</i>, is not
-to be conceived as indicating the “contents” of the picture.</p>
-
-<p>These contents are indeed what the spectator <i>lives</i>, or <i>feels</i>
-while under the effect of the <i>form and color combinations</i> of the
-picture. This picture is nearly in the shape of a cross. The
-centre&mdash;somewhat below the middle&mdash;is formed by a large, irregular
-blue plane. (The blue color in itself counteracts the impression
-caused by the cannons!) Below this centre there is a muddy-gray,
-ragged second centre almost equal in importance to the first one.
-The four corners extending the oblique cross into the corners of
-the picture are heavier than the two centres, especially heavier
-than the first, and they vary from each other in characteristics,
-in lines, contours, and colors.<span class="pagenum"><a name="page_126" id="page_126">{126}</a></span></p>
-
-<p>Thus the picture becomes lighter, or looser in the centre, and
-heavier, or tighter towards the corners.</p>
-
-<p>The scheme of the construction is thus toned down, even made
-invisible for many, by the looseness of the forms. Larger or
-smaller remains of <i>objectivity</i> (the cannons, for instance)
-produce in the spectator that secondary tone which objects call
-forth in all who feel.</p>
-
-<p>The presence of the cannons in the picture could probably be
-explained by the constant war talk that had been going on
-throughout the year. But I did not intend to give a representation
-of war; to do so would have required different pictorial means;
-besides, such tasks do not interest me&mdash;at least not just now.</p>
-
-<p>This entire description is chiefly an analysis of the picture which
-I have painted rather subconsciously in a state of strong inner
-tension. So intensively did I feel the necessity of some of the
-forms, that I remember having given loud voiced directions to
-myself, as for instance: “But the corners must be heavy!” In such
-cases it is of importance exactly to discern all things, the
-weight, for instance, by the feeling. Generally speaking, I might
-almost declare that where the feeling that lies in the soul, in the
-eye, and in the hand is strong enough to faultlessly determine the
-finest measurements and weights, “schematism” and the much-dreaded
-“consciosity” will not become dangerous. On the contrary, in this
-case, the said elements will even prove immeasurably beneficial.</p>
-
-<p>I would that all my pictures might be judged exclusively from this
-point of view, and that the non-essentials might completely
-disappear from the judgment.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In subsequent letters he said:</p>
-
-<div class="blockquot"><p>Whatever I might say about myself or my pictures can touch the
-<i>pure artistic meaning</i> only <i>superficially</i>. The observer must
-learn to look at the picture as a graphic representation of a
-<i>mood</i> and not as a representation of <i>objects</i>.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>All that anyone can say about pictures, and what I might say
-myself, can touch the contents, the <i>pure artistic meaning</i>, of a
-picture <i>only superficially</i>. Each spectator for himself must learn
-to view the picture <i>solely</i> as a graphic representation of a mood,
-passing over as unimportant such details as representations or
-suggestions of natural objects. This the spectator can do after a
-time, and where one can do it, many can.</p></div><p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span></p>
-
-<p>Given a work of art, painting, sculpture, music&mdash;anything&mdash;its
-appreciation and understanding depend upon the <i>attitude</i> of the
-audience.</p>
-
-<p>A work of art may be, and ultimately must be viewed from two very
-different points of view&mdash;the point of view of the <i>artist</i>, and the
-point of view of the <i>observer</i>.</p>
-
-<p>The great majority of people view a painting only from the latter point
-of view, only in the light of <i>their preconceived</i> notions and
-prejudices&mdash;hence the ridicule of the strange and the protest against
-the new.</p>
-
-<p>A very, very small minority&mdash;a minority so small it numbers scarce one
-in ten thousand&mdash;view a new work searchingly and at the same time
-sympathetically <i>from the artist’s point of view</i>, seeking diligently to
-find out what he is trying to do, and not permitting a single prejudice
-or preconceived notion of their own to bias their judgment.</p>
-
-<p><i>After</i> this class of observers have ascertained what the artist
-intended, <i>then</i>, and not until then, do they turn and view the work
-from their own point of view&mdash;that is, in the light of their own likes
-and dislikes.</p>
-
-<p>Their final appreciation may be that <i>granting the theories of the
-artist</i> the picture is a fine one, but they do not agree with the
-artist’s theories, hence the picture from their point of view is a
-failure as a work of art.</p>
-
-<p>To rightly view a work of art is an <i>act of creation</i>; the true observer
-is a painter; the true reader is a poet.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is not at all strange that the great majority referred to should
-resent Kandinsky’s improvisations, for they are not easy to understand,
-though most of them are undeniably fascinating in color.</p>
-
-<p>It is not even strange that a large percentage of the intelligent and
-sympathetic minority should finally reach the<span class="pagenum"><a name="page_128" id="page_128">{128}</a></span></p>
-
-<div class="blockquot"><p class="nind">conclusion that the theories of the artist are not sound, and
-therefore all his work based on his extreme theories fails as art
-work, but the attitude of this fraction of the minority is an
-attitude of intelligent and conscientious conviction, reached after
-long and impartial investigation, while the attitude of the great
-majority is that of impulsive ignorance and irritation, reached on
-first impression and without the slightest attempt at
-understanding.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To illustrate: The great majority of people on first hearing Chinese
-music exclaim, “What a horrid din!” and turn away.</p>
-
-<p>A very, very small minority, about one man in a million, say, “True, it
-sounds to us like a din, but to a people of extraordinary civilization
-it is music; the matter is worth investigating,” and on investigation it
-would be found that Chinese music from time immemorial has been under
-state supervision.<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p>
-
-<p>The very ancient scale was pentatonic&mdash;five tones. It was in the seventh
-century, B.C., that the Asiatic flute was introduced into Greece and the
-Greek Doric scale transformed into one of five tones.<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a></p>
-
-<div class="blockquot"><p>Among the more cultivated nations, the Chinese, and Celts of
-Scotland and Ireland still retain the scale of five notes without
-semitones, although both have become acquainted with the complete
-scale of seven tones.</p>
-
-<p>The division of the octave into twelve semitones, and the
-transposition of scales have also been discovered by this
-intelligent and skilful nation.</p>
-
-<p>But, generally speaking, both the Gaels and the Chinese,
-notwithstanding their acquaintance with the modern tonal system,
-hold fast by the old. And it cannot be denied that by avoiding the
-semitones</p></div>
-
-<div class="figcenter" id="plt_022" style="width: 600px;">
-<a href="images/i_fp128.jpg">
-<img src="images/i_fp128.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GAUGUIN</p>
-
-<p>Portrait of Self</p></div>
-</div>
-
-<div class="figcenter" id="plt_023" style="width: 600px;">
-<a href="images/i_fp129.jpg">
-<img src="images/i_fp129.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GAUGUIN</p>
-
-<p>Farmyard</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span></p>
-
-<div class="blockquot"><p class="nind">of the diatonic scale, Scotch airs receive a peculiarly bright and
-mobile character, although we cannot say as much for the
-Chinese.<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a></p></div>
-
-<p>While we are content with a scale divided into semitones, the more
-delicate oriental ear requires <i>quarter</i> tones. The Arab octave is
-divided into <i>twenty-four</i> intervals. A distinguished musician on a
-visit to Cairo wrote Helmholtz as follows: “This evening I have listened
-attentively to the song on the minarets, to try to appreciate the
-<i>quarter-tones</i> which I had not supposed to exist, as I had thought the
-Arabs sang <i>out of tune</i>. But today as I was with the dervishes I became
-certain that such quarter-tones existed.<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></p>
-
-<p>In discussing the development of our modern, <i>equal</i> temperament
-(adopted commercially in England for pianos not until 1846), Helmholtz
-says, “Amiot reports equal temperament from China long previously even
-to Pythagoras.”<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p>
-
-<div class="blockquot"><p>The Chinese are the only people who, thousands of years ago,
-possessed a system of octaves, a circle of fifths, and a normal
-tone. With this knowledge, however, their eighty-four scales, <i>each
-of which has a special philosophical signification</i>, appear all the
-more incomprehensible to us.<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p></div>
-
-<p>“The Chinese believe their music to be the first in the world. <i>European
-music</i> they consider to be <i>barbaric</i> and <i>horrible</i>.”<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>All this goes to show how hazardous it is to jump to the conclusion that
-what we don’t understand has no meaning.</p>
-
-<p>To one ignorant of Chinese or Japanese or Hebrew handwriting it seems
-just as absurd and meaningless as a drawing by Picasso or a painting by
-Kandinsky, but to the earnest<span class="pagenum"><a name="page_130" id="page_130">{130}</a></span></p>
-
-<div class="blockquot"><p class="nind">and indefatigable searcher after hidden meanings the strange
-handwriting and the strange pictures both deliver up a message.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Of such paintings as Kandinsky’s improvisations it is often flippantly
-said, “They paint that way because they can’t draw.”</p>
-
-<p>As a matter of fact most of the extreme moderns such as Picasso,
-Matisse, Kandinsky, are past-masters of the art of drawing.</p>
-
-<p>But they do not now attach the importance to drawing, merely for the
-sake of drawing, they once did.</p>
-
-<p>Kandinsky’s own attitude is expressed in the following extract from a
-letter:</p>
-
-<div class="blockquot"><p>As regards other artists, I am very tolerant, but at the same time
-most severe; my opinion of artists is influenced but little by
-considerations of the element of form, pure and simple; I expect of
-the artist to bear within at least the “sacred spark” (if not
-“flame”). There really is nothing easier than to master the form of
-something or someone. Boecklin is quoted as having said that even a
-poodle-dog might learn how to draw, and in this he was correct. At
-the schools I attended I had more than a hundred colleagues who had
-learned something, many had in good time managed to draw quite well
-and anatomically correct&mdash;<i>still</i>, they were not artists, not a
-pfennig’s worth. In short, I value <i>only</i> those artists who really
-are artists; that is, who consciously or unconsciously, in an
-<i>entirely original form</i>, or in a style bearing their <i>personal
-imprint</i>, embody the expression of their <i>inner self</i>; who,
-consciously or unconsciously, work <i>only</i> for <i>this end</i> and cannot
-work <i>otherwise</i>. The number of such artists is very few. If I were
-a collector I would buy the works of such even if there were
-weaknesses in what they did; <i>such</i> weaknesses grow less in time
-and finally disappear entirely, and though they may be apparent in
-the earlier works of the artist still they do not deprive even
-these earlier and less perfect works of value. But the <i>other</i>
-weakness, that of <i>lack of soul</i>, never decreases with time, but is
-sure to grow worse and become more and more apparent, and so render
-absolutely valueless works that <i>technically</i> may be very correct.
-The entire history of art is proof of this. The <i>union</i> of <i>both</i>
-kinds of strength&mdash;that of intellect or spirituality with that of<span class="pagenum"><a name="page_131" id="page_131">{131}</a></span>
-form, or technical perfection&mdash;is most rare, as is also
-demonstrated by the history of art.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>From his exceedingly abstruse article “On the Question of Form” in “Der
-Blaue Reiter,” I take and paraphrase the following:</p>
-
-<p>At certain times our inner forces&mdash;impulses&mdash;mature and the result is a
-longing to create something, and we try to find a material
-form&mdash;manifestation&mdash;for the <i>new value</i> that exists in us in spiritual
-or intellectual form.</p>
-
-<p>This is the seeking of the <i>spiritual</i> for material expression. Matter
-is but the store house out of which the spirit selects the necessary
-elements to secure the objective result.</p>
-
-<p>Thus the <i>creative spirit</i> is hidden in the matter, behind the material
-manifestation through which it must make itself known. But often the
-material envelope is so dense that only a few people can discern the
-spiritual idea within and behind it; some people never penetrate behind
-the matter at all, and therefore, never comprehend the spiritual
-message.</p>
-
-<p>While many comprehend the <i>spiritual</i> content behind the <i>outward</i> forms
-of religion, they do not realize that there is, or should be, a
-<i>spiritual</i> content behind the <i>outward</i> forms of art.</p>
-
-<p>There are whole epochs when men seem blind to the spiritual truths that
-are behind material manifestations; generally speaking, the nineteenth
-century was a century of <i>materialism</i>.</p>
-
-<p>It is as if a <i>black hand</i> were placed over the eyes of men so they
-should not see the spiritual forces behind the material, and the
-production of new spiritual values is fought by mockery and calumny. The
-man who produces the new value is held up to ridicule and called a
-charlatan.<span class="pagenum"><a name="page_132" id="page_132">{132}</a></span></p>
-
-<p>The <i>joy of living</i> is the <i>perpetual victory</i> of the new, the
-<i>spiritual value</i>. But even as men learn to appreciate the new of
-yesterday and today they establish it as a barrier against the new of
-tomorrow. Spiritual development and evolution are a constant throwing
-down of these bars that are as constantly re-erected by the materialism
-and blindness of mankind.</p>
-
-<p>Therefore the important thing is not only the impulse to create new
-spiritual values, but <i>liberty</i> to do so.</p>
-
-<p>The spiritual is the <i>absolute</i>, the outward form is <i>relative</i>, it is
-born of the place and the hour. Therefore one should not fall into the
-worship of a particular form, but should use whatever form best serves
-to express the spiritual content.</p>
-
-<p>And, naturally, each artist must use <i>his own form</i> to express his own
-ideas, and <i>form</i> should have the stamp of <i>personality</i>.</p>
-
-<p>Each nation, each epoch will develop its own forms, or peculiarities of
-forms, and it is the reflection of the nation, the epoch, the individual
-in the particular form that is known as, or makes the <i>style</i>.</p>
-
-<p>When a group of artists is animated by the same spirit the forms they
-use will be so alike the result will be a “movement” or “school” in art;
-but a “school” should not be permitted to dominate the freedom of
-others. Every individual must be at liberty to choose the form that best
-expresses the spiritual message he wishes to utter.</p>
-
-<p>The form&mdash;picture&mdash;may be agreeable or disagreeable, beautiful or ugly,
-harmonious or disharmonious, but it must not be judged on its outward
-appearance; it must be judged by the <i>idea</i>, the <i>spiritual value</i>
-behind it. We must look <i>through</i> the form to the spiritual, as we would
-look through the deformed body of the cripple to the soul of the man.</p>
-
-<p>In practical life we never meet a man who, if he wishes</p>
-
-<div class="figcenter" id="plt_024" style="width: 600px;">
-<a href="images/i_fp132.jpg">
-<img src="images/i_fp132.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GAUGUIN</p>
-
-<p>Scene in Tahiti</p></div>
-</div>
-
-<div class="figcenter" id="plt_026" style="width: 600px;">
-<a href="images/i_fp133.jpg">
-<img src="images/i_fp133.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GRIS</p>
-
-<p>Still Life</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span></p>
-
-<p class="nind">to go to Berlin, gets off the train at Regensberg. But in spiritual life
-it is a common thing to find people who step out at Regensberg.
-Sometimes the engine driver refuses to go on and all the travelers have
-to leave the train at Regensberg. How many who are <i>looking for God</i>
-stop before a <i>carved image</i>! How many who are looking for art are
-caught by some form that has been used by some great artist to express
-<i>his</i> ideas!</p>
-
-<p>And in conclusion he asserts, it is not of vital importance whether the
-<i>form</i> is personal, national, according to prevailing mode, or whether
-it is related to “schools,” “movements,” etc., etc., or is isolated.
-“<i>The important question is whether the form has grown out of the inner,
-spiritual necessity.</i>”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In art, especially in painting, we have today striking richness of form
-which shows the immense striving that is going on.</p>
-
-<p>To adhere stubbornly to one form is to travel a lane that has no outlet.</p>
-
-<p>Many call the present state of painting “anarchy,” and so they say of
-music, but this appearance of anarchy, of lawlessness, is due to the
-workings of spiritual forces that cannot be expressed in old forms, but
-demand new manifestations.</p>
-
-<p>It is one thing to reproduce on canvas an accurate representation of an
-object, but such a representation is no more than the outer shell; to
-find out whether the picture has any real, any spiritual value one must
-get rid of this outer shell. Step by step the “objective,” the
-photographic elements are eliminated until in the end there may be no
-trace of any object, and with this elimination the spiritual content
-becomes plainer and plainer. The steps are:</p>
-
-<p>Realism&mdash;abstraction<span class="pagenum"><a name="page_134" id="page_134">{134}</a></span>&mdash;</p>
-
-<p>Abstraction&mdash;<i>reality</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Objects need not necessarily be eliminated from a picture, but they
-should be used <i>not</i> for the sake of forcing their photographic
-likenesses upon the observer, but solely to more perfectly express the
-inner, the spiritual significance of the work.</p>
-
-<p>If a painter introduces a suggestion of a landscape or a bit of still
-life it should be for the purpose of making <i>his</i> meaning, <i>his</i> inner
-feeling plainer to the beholder, and not for the purpose of making a
-colored photograph of a field or flowers.</p>
-
-<p>Therefore it does not matter whether <i>actual</i> or <i>abstract</i> forms are
-used by the artist, so long as both are used to express <i>spiritual
-values</i>. The sole question regarding form the artist should put to
-himself is, “Which form, or combination of forms, shall I use in this
-case to express most fully and plainly my spiritual mood?”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The <i>ideal art critic</i> is not the critic who tries to discover mistakes,
-ignorance, imitations in the form, but he who tries to <i>feel</i> and
-<i>understand</i> how the form <i>expresses</i> the <i>inner feeling</i> of the artist
-and who tries to make the public understand.</p>
-
-<p>A painter may use new and strange forms for the sake of the forms, just
-for the sake of painting new and strange pictures, but the result will
-be lifeless.</p>
-
-<p>It is only when new and strange forms are used <i>because</i> they are
-necessary to express a spiritual content that the result is a <i>living</i>
-work of art.</p>
-
-<p>“<i>The world reverberates; it is a cosmos of spiritually working human
-beings. Thus matter is living spirit.</i>”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Rather a fine philosophy, is it not?<span class="pagenum"><a name="page_135" id="page_135">{135}</a></span></p>
-
-<p>One cannot but feel that out of such thoughts good works must come.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To quote once more from a personal letter:</p>
-
-<p>“I have now been exhibiting for almost fifteen years, and for the same
-fifteen years I have been hearing (although more rarely of late) that I
-have gone too far on my way; that in time my exaggerations will most
-surely decrease, and that I would yet paint in an ‘entirely different
-manner'; that I would ‘return to nature.’ I had to hear this for the
-first time when I exhibited my studies painted on the naturalist basis
-with the horn (spatula).</p>
-
-<p>“The truth of the matter is that every really gifted artist, that is, an
-artist working under an impulse <i>from within</i>, must go in a way that in
-some mystical manner has been laid out for him from the very start. His
-life is nothing but the fulfillment of a task set for him (<i>for him, not
-by himself</i>). Meeting with enmity from the start, he feels only vaguely
-and indistinctly that he carries a message for the expression of which
-he must find a <i>certain</i> manner. This is the period of ‘storm and
-stress,’ then follow desperate <i>searching</i>, pain, great pain&mdash;until
-<i>finally</i> his eyes open and he says to himself, ‘There is my way.’ The
-rest of his life lies along this path. And one must follow it to the
-very last hour <i>whether one wants to do so, or not</i>. And no one must
-imagine that this is a Sunday afternoon’s walk, for which one selects
-the route at will. Neither is there any Sunday about it; it is a working
-day, in the strongest sense possible. And the greater the artist, the
-more one-sided is he in <i>his</i> work; true, he retains the ability to do
-‘nice’ work of other kind (by reason of his ‘talent'), but <i>innerly</i>
-weighty, infinitely deep, and immeasurable serious things he can achieve
-<i>only</i> in his <i>one-sided</i> art. Talent is not an electric pocket lantern,
-the rays of which one<span class="pagenum"><a name="page_136" id="page_136">{136}</a></span> may at will direct now hither and then thither;
-it is a star for which the path is being prescribed by the dear Lord.</p>
-
-<p>“As far as I am concerned personally, I was as if thunderstruck, when
-for the first time and in only a general manner I began to see my way. I
-was awed. I deemed this inspiration to be a delusion, a ‘temptation.’</p>
-
-<p>“You will easily understand what doubts I had to overcome, until I
-became convinced that I had to follow this way. Of course, I clearly
-understood what it means ‘to drop the objective.’ With what doubts I was
-troubled regarding my own powers! For I knew at once <i>what</i> powers were
-<i>absolutely</i> required for this task. How this inner development
-proceeded, how <i>everything</i> pushed me on to this way and how the
-exterior development slowly but logically (step by step) followed suit,
-you will see from my book that is to appear shortly (in English). All
-that I still see <i>ahead</i> of me, all these tasks, the ever-increasing
-wealth of possibilities, the ever-growing depth of painting I cannot
-describe. And one must and <i>may</i> not describe such things: they must
-mature <i>innerly</i> in secret confinement and may not be expressed
-otherwise than by the painter’s art.</p>
-
-<p>“If in time you acquire the ability to more exactly <i>live</i> my pictures,
-you will have to admit that the element of ‘chance’ is very rarely met
-with in these pictures, and that it is more than amply covered by the
-large positive sides&mdash;so amply, indeed, that it is not worth while to
-mention those weak spots.</p>
-
-<p>“My constructive forms, although outwardly appearing indistinct, are in
-fact rigidly fixed as if they were cut in stone.</p>
-
-<p>“These explanations lead us too far; they could help only if illustrated
-by examples. Also, this letter is already much longer than it ought to
-be. I trust that I have expressed myself clearly! These things are so
-infinitely complicated,</p>
-
-<div class="figcenter" id="plt_065" style="width: 600px;">
-<a href="images/i_fp136.jpg">
-<img src="images/i_fp136.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VLAMINCK</p>
-
-<p>Village</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span></p>
-
-<p class="nind">and how often do I deviate from my theme and thus (instead of producing
-‘clarity') cause confusion to become worse confounded!”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The result are paintings such as the four reproduced in color and
-half-tone.</p>
-
-<p>The brilliant color combinations and harmonies of the originals are
-inadequately disclosed in the reproductions, the scale is too reduced.
-But the forms are well indicated, strange, curious forms, meaningless on
-first impression but <i>insistent</i>.</p>
-
-<p>Most people are repelled at once by the landscapes because they seem so
-badly drawn a child could do better; but even as landscapes, as
-impressions of nature&mdash;or rather of <i>something in nature</i>&mdash;the pictures
-will not be denied.</p>
-
-<p>If they were intended to be accurate representations of natural scenes,
-mountains, fields, trees, houses, they would be ridiculous indeed, but
-they are not so intended, therefore they should not be so judged.</p>
-
-<p>In looking at these pictures&mdash;compositions, rather, it is but fair to
-look at them from the point of view of the painter, try to <i>read</i> them
-as he <i>wrote</i> them.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“<i>Compositional</i>” painting is no radical departure, no new discovery.</p>
-
-<p>The instinct of the child is to “compose,” to create. It is only after
-much chiding and correction that the child draws literally&mdash;copies what
-it <i>sees</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It takes a big and strong man to pass through schools and academies and
-come out unscathed. The art school is a godsend to talent and
-mediocrity; it is a menace to genius.</p>
-
-<p>Most paintings are “compositional” to <i>some</i> extent. But<span class="pagenum"><a name="page_138" id="page_138">{138}</a></span> from the
-literalness of Monet’s hay stacks to the abstract qualities of
-Kandinsky’s improvisations the interval is great.</p>
-
-<p>There is, too, a difference in kind, as well as degree, between the
-compositions of the painter who simply re-arranges nature, persons, or
-objects to secure a pleasing or effective result, and the painter who
-uses nature, life, or objects as so many signs or notes to express his
-inner feelings; the former paints to <i>impress</i> others, the latter paints
-to <i>express himself</i> to others. The one is thinking all the time of his
-picture, the other is thinking all the time of his message.</p>
-
-<p>All great painters have combined the two attitudes, they have <i>expressed
-themselves</i> in pictures that not only convey the message but <i>as
-pictures</i> impress others&mdash;that is characteristic of the world’s great
-art.</p>
-
-<p>At the moment the pendulum is swinging toward the extreme where
-everything is subordinated to the expression of the artist’s <i>self</i>, and
-the indications are that some subtle and wonderful things will be
-painted before the pendulum swings back.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To what extent the public generally will accept pure compositional
-painting it is impossible to say; but the number of those who enjoy it
-will steadily increase until there will be many lovers of art who will
-collect only the most abstract works.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>A Russian painter of great strength but entirely different inspiration
-and technic was asked, “Do you like Kandinsky’s Improvisations?”</p>
-
-<p>“Very much.”</p>
-
-<p>“Do you understand them?”</p>
-
-<p>“No.”</p>
-
-<p>“Then why do you like them?”</p>
-
-<p>“Because they give me pleasure and I am sure that as<span class="pagenum"><a name="page_139" id="page_139">{139}</a></span> I look at them
-they excite in me the same pleasure they excited in him when he painted
-them; he has succeeded in conveying to me his own emotions and that is
-the most any artist can hope to do.”</p>
-
-<p>Which brings us back to the proposition laid down in an earlier chapter:
-the emotional reaction to music and painting may be and usually is quite
-independent of the intellectual, and while it may be either increased or
-diminished in <i>volume</i> by <i>understanding</i>, it is necessarily <i>changed</i>
-in character.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Another artist, an Austrian, was asked:</p>
-
-<p>“How do you like Kandinsky’s Improvisations?”</p>
-
-<p>After a moment’s hesitation he replied slowly: “They interest me
-immensely, and I admire the man’s courage to express himself in his own
-way regardless whether people understand him or not, but he goes so far
-that it is almost impossible for even his friends and sympathizers to
-understand his pictures. He goes so far he is quite alone, no one can
-follow, and therein I think perhaps he makes a mistake, for after all
-pictures should be so painted that those who earnestly try can
-understand them.”</p>
-
-<p>But that is just the question that every great artist is obliged to put
-to himself, “Shall I write or paint so that others will understand, or
-shall I express myself in my own way even though no one but myself
-comprehends and even I fail at times?”</p>
-
-<p>It is just as bad to paint with the sole purpose of being
-understood&mdash;<i>commercialism</i>&mdash;as it is to paint with the sole purpose of
-being misunderstood&mdash;<i>charlatanism</i>.<span class="pagenum"><a name="page_140" id="page_140">{140}</a></span></p>
-
-<h2><a name="VIII" id="VIII"></a>VIII<br /><br />
-COLOR MUSIC</h2>
-
-<p class="nind"><span class="letra">C</span>OLOR music is no new idea, but of late it is finding new expression.</p>
-
-<p>While painters are beginning to paint color harmonies that are
-independent of the representations of natural objects, others are
-seeking the same emotional effects with colored lights.</p>
-
-<p>A “color organ” has been invented<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a> which deals with color for its own
-sake as music does with sound, thereby opening up a new world of beauty
-and interest as yet to a great extent unexplored.</p>
-
-<div class="blockquot"><p>When you enter Mr. Rimington’s English studio you see at one end of
-it a curious instrument with a keyboard and stops, while at the
-other end is a white screen, hung in folds to give greater depth
-and life to the colors playing upon it. What happens when the
-instrument is played is thus described by Mr. Rimington:</p>
-
-<p>“Imagine a darkened concert room. At one end there is a large
-screen of white drapery in folds, surrounded with black and framed
-by two bands of pure white light. Upon this we will suppose, as an
-example of a simple color composition, that there appears the
-faintest possible flush of rose color, which very gradually fades
-away while we are enjoying its purity and subtlety of tint, and we
-return to darkness. Then, with an interval, it is repeated in three
-successive phases, the last of which is stronger and more
-prolonged.</p>
-
-<p>“While it is still lingering upon the screen, a rapid series of
-touches of pale lavender notes of color begin to flit across it,
-gradually strengthening into deep violet. This again becomes shot
-with amethyst, and afterward changing gradually into a broken tint
-of ruby, gives a return to the warmer tones of the opening passage.</p>
-
-<p>“A delicate primrose now appears, and with little runs and flushes
-of pulsation leads through several passages of indescribable
-cinnamon</p></div>
-
-<div class="figcenter" id="plt_051" style="width: 600px;">
-<a href="images/i_fp140.jpg">
-<img src="images/i_fp140.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>PICASSO</p>
-
-<p>Old Woman</p></div>
-</div>
-
-<div class="figcenter" id="plt_025" style="width: 600px;">
-<a href="images/i_fp141.jpg">
-<img src="images/i_fp141.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>GIRIEUD</p>
-
-<p>Woman Seated</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span></p>
-
-<div class="blockquot"><p class="nind">color to deep topaz. Then suddenly interweavings of strange green
-and peacock blue, with now and then a touch of pure white, make us
-seem to feel the tremulousness of the Mediterranean on a breezy
-day, and as the color deepens there are harmonies of violet and
-blue green which recall its waves under a Tramontana sky. More and
-more powerful they grow, and the eye revels in the depth and
-magnificence of the color as the executant strikes chord after
-chord among the bass notes of the instrument.</p>
-
-<p>“Then suddenly the screen is again dark and there is only a
-rhythmic and echoing beat of the dying color upon it. At last this
-disappears also, and there is another silent pause, then one
-hesitating tint of faded rose as at the opening of the composition.</p>
-
-<p>“Upon this follows a stronger return of the color, and as the
-screen once more begins to glow with note after note of red and
-scarlet, we are prepared for the rapid crescendo which finally
-leads up to a series of staccato and forte chords of pure crimson
-which almost startle us with the force of their color before they
-die away into blackness!</p>
-
-<p>“This,” says Mr. Rimington, “is an extremely simple example, but it
-may suffice to show the kind of effect produced by an unadorned
-form of mobile color not accompanied by music. In some cases a
-musical accompaniment was found to add greatly to the interest of a
-color composition. The nearest approach to color music in nature is
-to be found in certain sunsets.” Of the emotional and aesthetic
-effect of color music on various beholders we read:</p>
-
-<p>The amount of pleasure and interest derived from color compositions
-varies immensely with individuals. An interesting instance of this
-was the case of a well-known London doctor, who told the author,
-after first seeing a recital of color-music, that he was absolutely
-unappreciative of any form of “sound music;” that it was, in fact,
-a pain to him, and that he had always detested it. “But,” he said,
-“from the moment that I first saw a display of mobile color, I
-realized what I had missed all my life through my inability to
-appreciate music. It opened up a new world of sensations to me and
-gave me the greatest mental pleasure I have ever experienced.” This
-clearly shows that to some persons mobile color would, or does,
-fill the place which music can not occupy in their lives.</p>
-
-<p>On the other hand, there can be little doubt that to some, though
-they would hardly own it, color of any kind is more or less
-unpleasant, and they would prefer to live in a monotonic world. One
-must therefore be prepared for a great variety of opinions with
-regard to any such art as that of mobile color. The majority of
-people will probably derive a moderate but increasing pleasure from
-it.<span class="pagenum"><a name="page_142" id="page_142">{142}</a></span></p>
-
-<p>There are many to whom it at once provides a surpassingly
-interesting source of enjoyment and education, and some to whom,
-like my medical friend, it will open up an entirely new world of
-sensations; and there are others, again, to whom it will be
-supremely distasteful. It is well to recognize this to avoid
-disappointment, and be prepared for very divergent expressions of
-opinion about it.</p>
-
-<p>Speaking broadly, it appeals most to those who have had an artistic
-training into which color has entered, and it is less attractive to
-those whose interests center in music. This is not what the author
-personally expected. He imagined that the connection with music
-being so close on some points, those who would take the greatest
-interest in mobile color would be musicians; but, with some
-striking exceptions among distinguished musicians, the musical
-world, as far as it has yet come into contact with color-music, has
-been at first inclined to see points of divergence rather than
-those of analogy and to look upon the art as a possible rival. A
-similar attitude is often adopted toward any new departure in
-science or art, and there is no reason for resenting it; it merely
-makes the cooperation of those among musicians who are able to take
-a sympathetic view and welcome the endeavor to open up new fields
-of investigation all the more valuable.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>From time immemorial child and man have taken the keenest delight in
-fireworks and colored lights which are after all a species of light
-music.</p>
-
-<p>Since the adoption of electricity for lighting it is comparatively easy
-to produce the most wonderful effects both indoors and out.</p>
-
-<p>As yet little thought has been given to producing harmonious light
-effects on streets&mdash;save in advertising signs. For the most part the
-lighting is garish in the extreme, often positively painful to the eyes,
-but in time this will be corrected. Public authorities cooperating with
-private owners will work out schemes for lighting streets and shops that
-will yield charming effects.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Already much has been done in the theater, especially<span class="pagenum"><a name="page_143" id="page_143">{143}</a></span> in Russia and
-Germany. The value of light effects is being recognized. Soft music is
-often played to enhance the effect of a tender or pathetic scene, and it
-is quite common for the lights to change in harmony.</p>
-
-<p>By the use of light alone as an accompaniment to a love scene the same
-effect on the audience can be secured as by the use of soft music.</p>
-
-<p>So far all this has been done crudely and for the most part
-unscientifically. Producer and electrician have worked together in a
-haphazard way, often with great success, sometimes with most
-disagreeable results.</p>
-
-<p>The very term “stage lighting” is not inspiring, but the art of light
-music will be developed and be taught in theory and practice. Masters of
-the art will come and men will realize that it is just as great an art
-to satisfy the eye with light melodies as it is to please the ear with
-sound melodies.</p>
-
-<p>There yet may be entertainments where only light music is played as
-there are concerts where only sound music is played.</p>
-
-<p>And why not? Just ask yourself the question&mdash;Why not?</p>
-
-<p>Of all the organs of sense the eye is the most delicate and the most
-wonderful. The ear responds to <i>air</i> waves that travel at the rate of
-1,100 <i>feet</i> per second and vary in frequency from 16 to 32,000 per
-second. The musical notes vary from 32 to 5,000 beats per second.</p>
-
-<p>The eye responds to <i>ether</i> waves that travel at the rate of 182,000
-<i>miles</i> per second and vary in frequency from 400 millions millions&mdash;the
-lowest red of the spectrum&mdash;to 750 millions millions (red
-400,000,000,000,000; violet 750,000,000,000,000) the highest violet.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Man has devoted ages to developing harmonies in the<span class="pagenum"><a name="page_144" id="page_144">{144}</a></span> combination of air
-waves, and he has reduced sound music to a science.</p>
-
-<p>He has devoted <i>all</i> the ages of his being to the use of color in one
-way and another to please his eye, but only of late has he made any
-attempt to understand the <i>science</i> of light and color music.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The <i>material</i> civilization we <i>have</i> attained in comparison with the
-<i>spiritual</i> civilization we <i>should</i> attain is fairly well indicated by
-the vast difference between the crude and natural art of <i>sound</i> effects
-which is, so far, man’s most abstract achievement in art, and the
-incomparably finer and more ethereal art of light and color effects
-which will be one of the crowning achievements of man’s nobler future.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The painter of <i>easel</i> pictures arrogates to himself the name artist and
-to his work the phrase <i>fine art</i>. He looks down upon the house painter,
-the dressmaker, and the interior decorator.</p>
-
-<p>Yet as compared with those who clothe our bodies and decorate our homes
-in harmonies of line and color the painter of easel pictures cuts very
-little figure in life; he plays his part but much of his inspiration is
-drawn from the work of the other two.</p>
-
-<p>It should never be forgotten that in all the great portraits of the
-world the clothes and the interiors that furnish the beautiful color
-schemes <i>preceded</i> the pictures often by generations.</p>
-
-<p>The costumer and the decorator work year in and year out, from
-generation to generation, throughout the centuries, with not so much as
-a thought of the painter in the corner with his little canvas,
-faithfully copying.<span class="pagenum"><a name="page_145" id="page_145">{145}</a></span></p>
-
-<p>Now and then a great painter, a great sculptor, takes off his coat,
-turns workman for the moment and makes sculptures for buildings, paints
-pictures on walls, devises costumes, and contributes to making our
-environment more beautiful.</p>
-
-<p>But not infrequently the sculptor and the painter upset the equilibrium
-of the work of others by doing things which are out of key or out of
-proportion. The “fine artist” <i>may</i> bring the work of decorating to a
-standstill by painting spotty <i>easel</i> pictures on walls that should be
-treated in harmony with the entire building and with its uses.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The time will come when art schools will teach pure color composition as
-well as drawing and the painting of pictures.</p>
-
-<p>Why should not prizes be offered for color harmonies?</p>
-
-<p>As it is now pupils are taught everything <i>except</i> the use of color <i>for
-the sake of color</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>What is a “still life”? Simply a painting of a number of objects
-selected and arranged primarily for their color notes. Why not paint the
-notes without the fruit and dishes?</p>
-
-<p>So far as the color harmony is concerned the <i>figure</i> of an orange, an
-apple, a banana is not essential; in reality the photographic
-realization distracts. But the public is not accustomed to <i>pure</i> color
-music, it is not accustomed to seeing canvases that contain only color
-harmonies with no suggestion of object or form, it demands that the note
-of yellow shall be a lemon or a banana, that the note of purple shall
-assume the shape of a plum and so on, and so on; yet all the time the
-enjoyment derived from a fine “still life” is<span class="pagenum"><a name="page_146" id="page_146">{146}</a></span> from the harmony that
-results from the combination of colors, and in no sense from the objects
-arbitrarily and artificially grouped together.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The use of line and color <i>imitatively</i> to depict objects is one thing.</p>
-
-<p>The use of line and color <i>freely</i> to produce pure line harmonies and
-pure color harmonies, with no reference to objects is quite another, and
-in a sense, a far higher art&mdash;a more abstract art.</p>
-
-<p>It is toward the development of this more abstract art that the modern
-experiments are tending. The net result in the long run will be the
-education of a considerable fraction of the public to the appreciation
-of pure line and color music and a consequent demand for paintings that
-are simply pure line and color compositions.</p>
-
-<p>With this development of a taste for a very abstract art all the arts
-and crafts are certain to be beneficially affected.</p>
-
-<p>The study of line for the sake of line, and of color for the sake of
-color if systematically pursued will make all draftsmen greater masters
-of line, and all painters&mdash;to the humblest house painter&mdash;greater
-masters of color.<span class="pagenum"><a name="page_147" id="page_147">{147}</a></span></p>
-
-<h2><a name="IX" id="IX"></a>IX<br /><br />
-ESORAGOTO</h2>
-
-<p class="nind"><span class="letra">N</span>EITHER the Cubists nor Kandinsky troubled a very distinguished Japanese
-expert who spent many days at the exhibition.</p>
-
-<p>“The principles of all this are old, very old, in Japan.”</p>
-
-<p>He was far more interested in the extreme drawings and paintings than in
-the more academic. Pointing to a drawing that seemed scarce more than a
-few careless strokes, he said, “That is quite in the spirit of the best
-Japanese art.”</p>
-
-<p>Of the “King and Queen” he said, “I like that very much,” and so on,
-passing from one Cubist picture to another, commenting upon each
-seriously and intelligently.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To either copy or be in the slightest degree hampered by nature is a
-mark of inferiority in Chinese and Japanese art.</p>
-
-<p>The very abstract art of the Orient has its elaborate conventions, but
-those conventions are all in the direction of <i>pure</i> art, whereas the
-conventions of our art (music always excepted) are all in the direction
-of imitation.</p>
-
-<div class="blockquot"><p>It was a theory of the great Chinese teacher, Chinanpin, and
-particularly enforced by him, that trees, plants, and grasses take
-the form of a circle, called in art <i>Rin kan</i>; or a semi-circle,
-<i>Han kan</i>; or an aggregation of half circles, called fish-scales,
-<i>Gyo sin</i>; or a modification of these latter, called moving
-fish-scales, <i>Go sin Katsu</i>.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>In regard to painting moving waters, whether deep or shallow, in
-rivers or brooks, bays or oceans, Chinanpin declared it was
-impossible for the eye to seize their exact forms because they are
-ever changing and have no fixed, definite shape; therefore, they
-cannot<span class="pagenum"><a name="page_148" id="page_148">{148}</a></span> be sketched satisfactorily; yet, as moving water must be
-represented in painting, it should be long and minutely
-contemplated by the artist and its general character&mdash;whether
-leaping in the brook, flowing in the river, roaring in the
-cataract, surging in the ocean or lapping the shore&mdash;observed and
-reflected upon, and after the eye and the memory are both
-sufficiently trained and <i>the very soul of the artist is
-saturated</i>, as it were, with this one subject, and he feels his
-whole being calm and composed, he should retire to the privacy of
-his studio and with the early morning sun to gladden his spirit
-there attempt to reproduce the movement of the flow; <i>not by
-copying what he has seen</i>, for the effect would be stiff and
-wooden, but by symbolizing according to certain laws <i>what he feels
-and remembers</i>.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It begins to be plain why the Japanese expert was profoundly interested
-in the modern pictures and drawings.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>One of the most important principles in the art of Japanese
-painting&mdash;indeed a fundamental and entirely distinctive
-characteristic&mdash;is that called living movement, <i>sei do</i>, or
-<i>Kokoro machi</i>, it being, so to say, the transfusion into the work
-of <i>the felt nature</i> of the thing to be painted by the artist.
-Whatever the subject to be translated&mdash;whether river or tree, rock
-or mountain, bird or flower, fish or animal&mdash;the artist at the
-<i>moment of painting it must feel its very nature</i>, which, by the
-magic of his art, he transfers into his work to remain forever,
-affecting all who see it with the same sensations he experienced
-when executing it.</p>
-
-<p>This is not an imaginary principle, but a strictly enforced law of
-Japanese painting. The student is insistently admonished to observe
-it. Should his subject be a tree he is urged when painting it to
-<i>feel</i> the <i>strength</i> which shoots through the branches and
-sustains the limbs; or if a flower to try to <i>feel</i> the grace with
-which it expands or bows its blossoms. Indeed, nothing is more
-constantly urged upon his attention than this great <i>underlying
-principle</i> that it is <i>impossible to express in art what one does
-not first feel</i>.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">“Waga kokoro waga te woyaku<br /></span>
-<span class="i1">Waga te waga kokoro ni ozuru.”<br /></span>
-<span class="i1">Our spirit must make our hand its servitor;<br /></span>
-<span class="i1">Our hand must respond to each behest of our spirit.<br /></span>
-</div></div>
-</div>
-
-<div class="figcenter" id="plt_010" style="width: 600px;">
-<a href="images/i_fp148.jpg">
-<img src="images/i_fp148.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SOUSA CARDOZA</p>
-
-<p>Stronghold</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span></p>
-
-<div class="blockquot"><p>The Japanese artist is taught that even to the placing of a dot in
-the eyeball of a tiger, he must <i>first feel</i> the savage, cruel,
-feline character of the beast, and only under such influence should
-he apply the brush. If he paint a storm he must at the moment
-<i>realize</i> passing over him the very tornado which tears up trees
-from their roots and houses from their foundations. Should he
-depict the seacoast with its cliffs and moving waters, at the
-moment of putting the wave-bound rocks into the picture he must
-<i>feel</i> that they are being placed there to resist the fiercest
-movement of the ocean, while to the waves in turn he must give an
-irresistible power to carry all before them. Thus, by this
-sentiment called living movement (<i>sei do</i>), <i>reality</i> is imparted
-to the inanimate object. This is one of the marvelous secrets of
-Japanese painting handed down from the great Chinese painters and
-based on psychological principles&mdash;<i>matter responsive to mind</i>.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In the light of the foregoing, one begins to understand why Winslow
-Homer painted such wonderful realizations of the sea and rocky
-coasts&mdash;he <i>lived</i> removed from men, his most intimate friends the rocks
-and waves.</p>
-
-<p>One also begins to understand how painters who show great strength and
-promise in their earlier works, based upon surroundings they know, lose
-both strength and promise when, flushed by prosperity or attracted by
-tinsel and glitter, they establish their studios in cities and still try
-to paint the sea or the country.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>Japanese artists are not bound down to the literal presentation of
-things seen. They have a canon, called <i>esoragoto</i>, which literally
-means an invented picture, or a picture into which certain fictions
-are painted.</p>
-
-<p>Every painting to be effective must be <i>esoragoto</i>; that is there
-must enter therein certain artistic liberties. It should aim not so
-much to reproduce the exact thing as its sentiment, called <i>kokoro
-mochi</i>, which is the moving spirit of the scene; it must not be a
-facsimile.</p></div>
-
-<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span></p><p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<div class="blockquot"><p>It is related that Okubo Shibutsu, famous for painting bamboo, was
-requested to execute a kakemono representing a bamboo forest.
-Consenting, he painted with all his well-known skill a picture in
-which the entire bamboo grove was in red. The patron upon its
-receipt marveled at the extraordinary skill with which the painting
-had been executed, and, repairing to the artist’s residence, he
-said:</p>
-
-<p>“Master, I have come to thank you for the picture; but, excuse me,
-you have painted the bamboo red.”</p>
-
-<p>“Well,” cried the master, “in what color would you desire it?”</p>
-
-<p>“In black, of course,” replied the patron.</p>
-
-<p>“And who,” answered the artist, “ever saw a black-leaved bamboo?”</p>
-
-<p>This story well illustrates <i>esoragoto</i>. The Japanese are so
-accustomed to associate true color with what the <i>sumi</i> [the black
-so commonly used in Japan] stands for, that not only is fiction in
-this respect permissible but actually missed when not employed.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p><i>Esoragoto</i> is a very good word for the Post-Impressionists to
-appropriate. We have no word in English and I know of none in French
-that is anywhere near its equivalent.</p>
-
-<p>Impressionism is painting with a minimum of <i>esoragoto</i>;
-Post-Impressionism is painting with a maximum of <i>esoragoto</i>.</p>
-
-<p>The pendulum in art and literature swings from less <i>esoragoto</i> to
-more&mdash;from realistic transcription with a minimum of self, to idealistic
-compositions with a <i>maximum</i> of self.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>All the great art of the world is <i>esoragoto</i>.</p>
-
-<p>The greatest paintings in the world are indoor not outdoor
-paintings&mdash;<i>in-self</i> not <i>out-self</i>.</p>
-
-<p>All the great Italian paintings and frescoes are creations of the
-imagination. The portraits of Velasquez, Rembrandt, Hals are
-<i>esoragoto</i>. They are the sitters idealized by the genius of the
-artists. They are far removed from photographic realism.</p>
-
-<p>Why are the portraits of the same man or woman painted by different
-artists so unlike? Because each is more or less<span class="pagenum"><a name="page_151" id="page_151">{151}</a></span> <i>esoragoto</i>&mdash;more or
-less the reflection of the painter rather than the sitter.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>For a long time we have been so influenced by the theories of the
-Impressionists, the realists, the <i>plein-air</i> school, that we resent it
-when an artist says, “I will paint something more beautiful than nature;
-I will paint nature herself more beautiful than she is. I will paint the
-spirit of nature. I will paint trees that do not look like trees, but
-will give you the feeling, the dignity, the power of trees. I will paint
-the earth, not as it looks, but in a way that will give you an
-impression of its fertility and fecundity. I will paint you flowers, not
-by faithfully copying them as they are in the field, but as they bloom
-and blossom in your memory. I will paint you men and women, not as you
-see them on the street and in the drawing room&mdash;superficial
-resemblances&mdash;but as they really are to you and to me, human beings the
-true significance of which is not expressed in the drooping of a
-moustache, the lifting of an eyebrow. I will paint them in black or
-brown or red or blue, or in gold or bronze, as does the sculptor; I will
-paint them in a way so strange you have never seen the like before, but
-I will make you <i>feel</i> their <i>humanity</i>.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To illustrate the arbitrary manner which the great oriental artists use
-colors to produce harmonious results irrespective of nature, I once used
-a number of old Chinese paintings borrowed from a famous collection&mdash;in
-each of which the hair of the figures was painted <i>blue</i>.</p>
-
-<p>And why not? Black, brown, or flaxen would not have given the effect the
-painter desired, any more than C, D, or E would take the place of F in a
-chord.</p>
-
-<p>The Oriental needs a note of blue and so paints the hair<span class="pagenum"><a name="page_152" id="page_152">{152}</a></span> blue. And when
-one comes to think of it, next to some marvelous shades of red, blue
-hair is far more positive and picturesque than gray, or yellow, or any
-black but a glossy raven.</p>
-
-<p>We never think of resenting a terra cotta horse in a print by Hokusai;
-it does not disturb us because we instinctively recognize the fact that
-a strong note of terra cotta is needed precisely where it is used&mdash;a
-terra cotta horse, or rock, or man, it matters not.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Human faces of gold, silver, bronze, even marble&mdash;that ugliest of all
-stones, in its natural state&mdash;do not worry us.</p>
-
-<p>In fact when we look at marble sculpture we are in the attitude of the
-man who ordered the painting of the bamboo forest. We are so accustomed
-to seeing ghostly white marble busts and statues we actually resent it
-if the sculptor <i>stains</i> or <i>colors</i> the marble not to make it more
-realistic, but to make it <i>more beautiful</i>.</p>
-
-<p>Yet all Greek sculpture was painted or treated with wax in such a manner
-the harshness of the stone was modified. The sensitive vision of the
-Greeks could not tolerate the cold, hard whiteness.</p>
-
-<p>Much of our enjoyment of ancient sculpture is due to its discoloration,
-to what time and the elements have done to its surfaces.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Our appreciation of art will never be true until we can gaze with
-unprejudiced eye upon any combination of lines and colors the artist
-chooses to use.</p>
-
-<p>So long as we demand that he shall use only those combinations we are
-accustomed to, just so long do <i>we</i> by <i>our</i> attitude check his
-development.</p>
-
-<p>The average man is bewildered by the new and the<span class="pagenum"><a name="page_153" id="page_153">{153}</a></span> strange; he is
-bewildered by new cities, new countries, new peoples, new pictures, new
-sculpture, new architecture, new music, new books, new ideas&mdash;because he
-is not used to them and does not understand them; he does not know
-whether to like them or not so he condemns them in order to make a
-pretense of knowing.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The rare man is not bewildered by the new and the strange at home or
-abroad, in art or life. He is interested and at once sets about learning
-and comprehending. He <i>loves</i> the new and the strange <i>instinctively</i>
-because they excite his curiosity and pique his intelligence. He loves
-to meet the new and the strange as an archeologist loves to find an
-inscription in an unknown tongue&mdash;for the hidden significance.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>This chapter may be concluded appropriately by four warnings which
-Chinese wisdom pours into the ears of art students. Many of the modern
-painters should ponder these precepts.</p>
-
-<p>“Ja, Kan, Zoku, Rai.”</p>
-
-<p>“<i>Ja</i> refers to attempted originality in a painting without the ability
-to give it character, departing from all law to produce something not
-reducible to any law or principle.</p>
-
-<p>“<i>Kan</i> is producing only superficial pleasing effect without any <i>power</i>
-in the brush stroke&mdash;a characterless painting, to charm only the
-ignorant.</p>
-
-<p>“<i>Zoku</i> refers to the fault of painting from a mercenary motive
-only&mdash;thinking of money instead of art.</p>
-
-<p>“<i>Rai</i> is the base imitation of or copying or cribbing from others.<span class="pagenum"><a name="page_154" id="page_154">{154}</a></span>”</p>
-
-<h2><a name="X" id="X"></a>X<br /><br />
-UGLINESS</h2>
-
-<p class="nind"><span class="letra">T</span>HE modern movement is in the direction of greater freedom, freedom to
-produce beautiful things in one’s own way.</p>
-
-<p><i>Unhappily many of the things produced are not beautiful now</i>&mdash;not
-nearly so dignified and beautiful as thousands upon thousands of old
-pictures.</p>
-
-<p>One’s <i>first</i> impression on entering an exhibition of extreme modern
-works is not an impression of beauty but of <i>ugliness</i>.</p>
-
-<p>There is no denying that, and it takes even the most impartial and
-sympathetic observer a long time to pick out the things which are fine
-in color and line and to readjust his notions of beauty.</p>
-
-<p>Many of the pictures are brutal and most of them are crude, but while
-the first impression may be one of ugliness it is more, it is one of
-<i>exceeding vitality</i>.</p>
-
-<p>There is nothing musty about the moderns, their canvases are so alive
-<i>they scream</i>.</p>
-
-<p>As compared with the subdued tones of an academic exhibition a modern
-seems like a babel of discordant sounds, but the confusion is more
-apparent than real. By going day after day one gets accustomed to the
-newness, the freshness, the strangeness of it all and begins to
-understand and appreciate the one big, dominant note&mdash;<i>vitality</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Then, too, when we say the <i>first</i>&mdash;and last for most people&mdash;impression
-is one of ugliness, we must not forget</p>
-
-<div class="figcenter" id="plt_017" style="width: 600px;">
-<a href="images/i_fp154.jpg">
-<img src="images/i_fp154.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>
-DERAIN</p>
-
-<p>Forest at Martigues</p>
-</div>
-</div>
-
-<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span></p>
-
-<p class="nind">that our appreciations are primarily the result of environment and
-habit, and only secondarily, and with comparatively few, the result of
-intelligent discipline.</p>
-
-<p>We like what we are accustomed to and dislike what we are not accustomed
-to. Few take the pains to discipline their likes and dislikes.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Seventy years ago public and critics thought Turner ugly in the extreme.</p>
-
-<p>Sixty years ago public and critics thought Millet ugly in the extreme.</p>
-
-<p>Fifty years ago public and critics thought Manet ugly in the extreme.</p>
-
-<p>Forty years ago public and critics thought Monet ugly in the extreme.</p>
-
-<p>Thirty years ago public and critics thought Cézanne ugly in the extreme.</p>
-
-<p>Twenty years ago public and critics thought Gauguin ugly in the extreme.</p>
-
-<p>Ten years ago public and critics thought VanGogh ugly in the extreme.</p>
-
-<p>Today public and critics think the Cubists and nearly all the new men
-ugly in the extreme.</p>
-
-<p>Each decade has its men in art, music, science, literature whose works
-at first seem ugly, only to win out in the long run.</p>
-
-<p>Hence the danger in pronouncing this or that painting ugly; it may seem
-grotesque and hideous today; thirty years hence it may command thousands
-from men and museums eager to possess it. That has been the history of
-many great paintings.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Still we do have our notions regarding the ugly and the<span class="pagenum"><a name="page_156" id="page_156">{156}</a></span> beautiful, and
-while our notions change and develop year by year they naturally control
-at each given moment; that is, we cannot say we <i>think</i> a picture or a
-piece of music is beautiful today because the chances are we will think
-it beautiful a dozen years hence, any more than we can say we like
-olives on first tasting them, simply because most people come to like
-them after a time.</p>
-
-<p>To the London public in 1840 the pictures of Turner were absurd.</p>
-
-<p>To the Paris public in 1874 the pictures of the Impressionists were
-ridiculous.</p>
-
-<p>To the New York public in 1913 the pictures of the Cubists were
-grotesque.</p>
-
-<p>These several publics were not to blame; they could not help their
-impressions. They had been brought up on very different picture-food and
-did not like the taste of the new.</p>
-
-<p>The attitude of the public was normal, logical, and sane. If the people
-had received the new men with wild acclamations of joy and called them
-great on first sight it would have meant such instability of opinion and
-character as to render the homage absolutely worthless.</p>
-
-<p>In a sense, tenacity of opinion on the part of the public is the
-salvation of art as well as of morals; it is essential to substantial
-progress.</p>
-
-<p>Therefore the everlasting conflict between the old and the new is a
-normal conflict; the clash between the public and new art, new music,
-new thought is a healthful clash, because the fiercer the conflict the
-more certain that what survives will be worth having.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The only excuse for an ugly picture is superb technic&mdash;and even then the
-excuse is not a very good one for the same technic should paint a
-beautiful thing.<span class="pagenum"><a name="page_157" id="page_157">{157}</a></span></p>
-
-<p>There were plenty of ugly pictures in the exhibition; some were
-interesting on account of their technic, others were without any excuse
-at all&mdash;<i>just ugly</i>.</p>
-
-<p>A great painter may paint things, a great writer may write things which
-no amount of good painting and no amount of good writing can
-excuse&mdash;there are plenty of such paintings and books in the world.</p>
-
-<p>But because there were a number of ugly&mdash;ugly to the extent of being
-objectionable&mdash;pictures in the exhibition, that should not and does not
-detract from the merits of men who did not paint them.</p>
-
-<p>An ugly work is a comment upon him who produces it and upon those who
-accept it. It is a golden opportunity, a touchstone to those who reject
-it.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is a great deal of the ugly in the work of Matisse, mixed with a
-great deal of extraordinary technic. He is a good man to study, but a
-bad man to imitate&mdash;for that matter, the same, in a profounder sense,
-may be said of every man of ability.</p>
-
-<p>Then, too, it should never be forgotten that <i>refinement</i> is an
-essential element in all <i>great</i> art.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The supreme justification of the new art is that its works shall tend
-toward the beautiful. If they make for ugliness their existence is
-without rhyme or reason. Many of the new men seem to forget this.</p>
-
-<p>However, even the ugly, the grotesque, the hideous has its use. Any art
-may become so smug, so complacent, so conceited that it requires the
-shock of the ugly to stir it to new life.</p>
-
-<p>After Bouguereau, Matisse was inevitable.<span class="pagenum"><a name="page_158" id="page_158">{158}</a></span></p>
-
-<p>However, a very little of the ugly goes a long ways, a very little of
-Matisse at his worst is all that is needed as an antidote to Bouguereau.</p>
-
-<p>Zola-like fidelity in depicting the ugly in life has its uses&mdash;and
-abuses.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is easy enough to paint a conglomeration of angles and cubes, but it
-will be as hollow and meaningless as the pattern of an oilcloth unless
-it has sincerity behind it.</p>
-
-<p>No doubt many of the new men lack sincerity. Doubtless not a few are
-inspired with simply the desire to create a sensation, but these men
-soon betray themselves.</p>
-
-<p>The artist may not succeed in making <i>his</i> meaning clear, but the
-public&mdash;yes, even the much despised public&mdash;will instinctively <i>feel</i>
-whether there is <i>some</i> meaning, <i>some</i> intention worth finding out.</p>
-
-<p>That was the secret of the success of the Cubist pictures. They
-attracted throngs because they were strange, but the throngs would never
-have gazed as they did unless behind the outward strangeness there had
-not been an inward seriousness of purpose.</p>
-
-<p>“Those fellows are trying to do something,” was an expression often
-heard.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The papers would say, “They are simply making fun of the public,” but
-the public, generally speaking, did not feel that way.</p>
-
-<p>A goodly section of the public made fun of the pictures, but very few
-people honestly felt the pictures made fun of the public&mdash;if anything
-they were rather too serious.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>To return to the proposition that a Cubist picture&mdash;being so largely
-<i>esoragoto</i>&mdash;must be well painted.</p>
-
-<div class="figcenter" id="plt_029" style="width: 600px;">
-<a href="images/i_fp158.jpg">
-<img src="images/i_fp158.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>JAWLENSKY</p>
-
-<p>Head of a Girl</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span></p>
-
-<p>The painter of scenes and things is helped out by his subject.</p>
-
-<p>The portrait of a beautiful woman may be very badly painted, but if it
-conveys the impression of a beautiful woman it is accepted.</p>
-
-<p>The Cubist who tries to paint <i>his</i> impression of a beautiful woman has
-no likeness to help him out; he must make his painting so beautiful in
-itself that those who see it will, without knowing why, get some of the
-enjoyment from the mere composition of line and color that the artist
-received from knowing the woman who inspired the picture.</p>
-
-<p>To do this a man must be a greater master of line and color, a greater
-technician, than the average portrait painter.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Ask the average portrait painter to paint a composition of line and
-color, beautiful in itself without reference to any object, and not one
-in a hundred can do it.</p>
-
-<p>The average portrait painter finds his compositions of line and color
-ready-made; he takes them as they come to him. He has little practice in
-<i>composing</i> for himself.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>However disconcerting the exhibition was to most painters it should have
-been stimulating to decorators and interior furnishers.</p>
-
-<p>The older pictures are of little help to the decorator. On the contrary
-he rather dreads their presence on his walls. A room may be quite upset
-by a strong picture. To make the Leyland dining room harmonize with the
-“Princess from the Land of Porcelain” Whistler painted practically every
-inch of walls and ceilings, completely covering costly woodwork and old
-Spanish leather.</p>
-
-<p>To rightly hold a Rembrandt a room must be subdued and<span class="pagenum"><a name="page_160" id="page_160">{160}</a></span> rich in tone,
-otherwise the picture is a dead weight. The greater the picture, the
-more completely the surroundings must either rise to it or be completely
-subordinated to it.</p>
-
-<p>It is not so with the more abstract Cubist pictures; they do not thrust
-a great landscape or a powerful personality into the room; they are not
-intended to thrust any object upon the attention of the visitor.
-Intended to express simply the mood or emotion of the painter, they are
-unobtrusive, as unobtrusive as a pattern of the wall covering, a rug, or
-a tapestry; in effect they are not unlike a tapestry, save they are
-essentially modern in feeling, and therefore fit into our modern rooms
-as tapestries&mdash;and often rugs&mdash;do not.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Imagine the editorial room of a live, up-to-date newspaper&mdash;say a
-typical yellow journal&mdash;hung with Titians and Rembrandts! The paper
-would be paralyzed, the editorial staff would be depressed by the
-dignity and the sobriety, by the old-world flavor.</p>
-
-<p>Whereas a lot of Cubist, Futurist, Orphist pictures would be quite in
-keeping with modern journalistic methods, and stimulating in the
-extreme. In the picturesque language of current journalism, they would
-be “live stuff.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is worth noting in passing that the time is probably coming when
-about as many pictures will be bought for offices as for homes, and
-fewer and fewer will be bought for those graveyards of art&mdash;private
-galleries.</p>
-
-<p>Why should men buy pictures and hang them where they are seldom seen,
-often in places where the light is so bad they cannot be seen?</p>
-
-<p>Where do most men spend most of their time? In their places of business.
-Then why not make their places of business attractive and livable?<span class="pagenum"><a name="page_161" id="page_161">{161}</a></span></p>
-
-<p>Every man knows how relaxing and delightful it would be if in the midst
-of a busy afternoon he could drop business for a moment and read an
-interesting book or listen to some good music. Well, we can’t do that;
-it takes too long to get into a book, and music is not at hand.</p>
-
-<p>But we can turn from our desks and in a second lose ourselves in the
-contemplation of a beautiful picture.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The physician covers the walls of his office with prints of such
-pictures as Rembrandt’s “Lesson in Anatomy.” Ugh!</p>
-
-<p>The lawyer covers the walls of his office with dusty lawbooks. Whew!</p>
-
-<p>The manufacturer covers the walls of his office with prints of
-factories, machinery, goods, etc., etc. Shop! Shop! Shop!</p>
-
-<p>No relief anywhere for man, patient, client, or customer.</p>
-
-<p>Tired eyes that seek rest in change are met with the same old
-story&mdash;reflections of the daily grind.</p>
-
-<p>Speaking from experience, I can say that next to getting out of an
-office for a brief respite, the contemplation of pictures yields the
-greatest rest, actually enabling one to do more work per day with less
-fatigue.</p>
-
-<p>It is so refreshing to get up from one’s desk for only a few moments and
-be instantly transported far away on the wings of the imagination of a
-painter.</p>
-
-<p>It is a rest, a complete rest, for the tired brain-cells, to lift one’s
-eyes from one’s work and gaze at a picture&mdash;the effect is like unto that
-of distant music wafted through the open window.</p>
-
-<p>Of all men in the world, the busy American is most in need of pictures
-on the walls of his office&mdash;not one or two,<span class="pagenum"><a name="page_162" id="page_162">{162}</a></span> but many. The busier he is,
-the more he needs; his walls should be a blaze of color.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Most of our bankers and corporation magnates spend large sums in “solid
-mahogany fittings.” Their offices resemble old-fashioned Pullman
-sleepers. Cost is the one impressive feature. Woodwork, furniture, rugs,
-everything to the inkstand are massive and&mdash;oppressive. Everything is
-admirably calculated to make work more burdensome; commercial and
-financial life more sombre.</p>
-
-<p>Why not the reverse of all this? Why fit up an office so that it is
-about as inviting as a tomb?</p>
-
-<p>Why not make it so attractive that a man will look forward each morning
-to entering it? Why not so inviting that friends and strangers will be
-glad to visit it?</p>
-
-<p>Why should an office be a place where no one goes except for business?
-Why should not men say to one another, “Come in a minute; I have a new
-picture I want to show you”?</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>One has simply to enter the offices and school-rooms of any art
-institute to realize the hollowness of the pretense of love for the
-beautiful. Infinite pains are taken to arrange the pictures and
-sculpture in the galleries; once out of the galleries, and all feeling
-of art disappears; the offices and school-rooms are more sordid, barren,
-and uninviting than most shops and factories.</p>
-
-<p>In other words, the very men who are supposed to be devoting their lives
-to the service of art, to making the world more beautiful, who promote
-exhibitions and urge people to buy pictures, are content to pass all
-their working lives amidst surroundings unrelieved by a single picture,
-unadorned by a single fresco.<span class="pagenum"><a name="page_163" id="page_163">{163}</a></span></p>
-
-<p>There is a great opportunity for missionary work in this direction. Why
-should not the many organizations such as “Friends of American Art,”
-etc., whose disinterested purpose is to advance art, organize a movement
-the object of which will be to place, by loaning if necessary, pictures
-and small sculpture in the offices and business haunts of the busy
-American man, and so create a new demand for beautiful things?</p>
-
-<p>Once fill a man’s office with pictures, he will be reluctant to let them
-go.<span class="pagenum"><a name="page_164" id="page_164">{164}</a></span></p>
-
-<h2><a name="XI" id="XI"></a>XI<br /><br />
-FUTURISM</h2>
-
-<p class="nind"><span class="letra">T</span>HERE were no Futurist pictures in the exhibition, but there were
-several more or less influenced by Futurism, notably the “Nude
-Descending the Stairs,” by Duchamp.</p>
-
-<p>In many respects this was the least satisfactory of his pictures,
-because it is neither good Cubism nor good Futurism.</p>
-
-<p>It is easy to distinguish a figure drawn in more or less Cubist fashion,
-at the right&mdash;the spectator’s right&mdash;of the confused mass of lines; it
-is quite easy, if the balance of the picture be covered.</p>
-
-<p>The confused mass is just so many overlapping figures coming down the
-stairs. As a child exclaimed one day, “Why, I see them; there’s one on
-every step.” The Cubist drawing did not bother the child.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>A sympathetic writer says of the picture:</p>
-
-<div class="blockquot"><p>M. Duchamp says in effect something like this: “If you paint a girl
-coming downstairs, on any one step you will not show her moving. If
-you paint a girl on every step, like Burne-Jones with the ‘Golden
-Stair’ you have a crowd and still no movement. But if you get the
-forms down to simplest and most essential, just swaying shoulders
-and hip and knee, bent head and springy sole&mdash;and then show them on
-every step and between all the steps, passing and always passing
-one into the next, you give the sense of movement, as with a run of
-arpeggios on the harp or a cadenza on the violin. You and your
-friends don’t feel the movement&mdash;too bad, my friends and I do.” And
-pure movement is what, after all, here was sought.</p>
-
-<p>Pure movement, it will hardly be questioned, these men can give.</p></div>
-
-<div class="figcenter" id="plt_001" style="width: 600px;">
-<a href="images/i_fp164.jpg">
-<img src="images/i_fp164.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BALLA</p>
-
-<p>Dog and Person in Movement</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span></p>
-
-<div class="blockquot"><p>Picabia makes the lines in his “Dance at the Spring” leap and swing
-and flicker like a fiddler’s bow. If he and others want, when they
-choose, to abandon the last pretense of representation and convey
-directly to you the way they feel mass and motion, as music conveys
-inner experience always, who is to stop them?</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Futurism had its beginning in Italy a few years ago. The first
-exhibition in Paris was held in February, 1912. One of its fundamental
-notions in painting is a certain theory regarding the painting of
-motion. It is that in order rightly, scientifically, to indicate motion
-on a canvas it is not sufficient to paint the figure of a man in an
-attitude of walking, but a series of more or less clearly outlined
-figures must be shown overlapping, a sort of cinematograph effect; very
-much as every painter shows a blur of spokes to indicate a wheel
-turning, if an individual is in motion there must be a blur of many
-overlapping individuals. (See the half-tone of the girl with the dog.)</p>
-
-<p>The theory is interesting, it is based on recognized optical conditions,
-and no doubt the experiments will have their value. Some very
-interesting results have been obtained in photography already.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The program of the Futurists is, however, far more ambitious than the
-mere painting of motion effects. They have issued the following formal
-“Manifestoes”:</p>
-
-<p>1. “Manifesto of Futurism,” February, 1909; written by F. T.
-Marinetti.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p>
-
-<p>2. “Manifesto of Futurist Painters,” April, 1910.<span class="pagenum"><a name="page_166" id="page_166">{166}</a></span></p>
-
-<p>3. “Manifesto of Futurist Musicians,” May, 1911.</p>
-
-<p>4. “Manifesto of the Futurist Woman,” March, 1912.</p>
-
-<p>5. “Manifesto of Futurist Sculpture,” April, 1912.</p>
-
-<p>6. “Manifesto of the Technic of Futurist Literature,” May, 1912.
-Supplement to same, August, 1912.</p>
-
-<p>And every few months new declarations of faith are issued in Milan,
-each, if possible, more violent and extravagant than its forerunner.</p>
-
-<p>If the public looked upon the Cubist pictures as “crazy,” what would it
-think of these manifestoes if printed in English and scattered
-broadcast?</p>
-
-<p>The work of madmen!</p>
-
-<p>So many madmen and visionaries have influenced the world by their
-utterances that we must not turn a deaf ear.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The Futurists are the anarchists of the art and literary world.</p>
-
-<p>The Cubists, Orphists, and other extreme moderns all <i>reason from</i> the
-past; the Futurists would <i>break with</i> the past entirely&mdash;as if it were
-possible!</p>
-
-<p>All who do not agree with them are <i>Pass-ists</i>, and every form of art
-and literature up to Futurism belongs to <i>Pass-ism</i>, and is therefore
-condemned.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is much in Futurism that is repellant, just as there is much in
-Anarchism that is repellant.</p>
-
-<p>When men push their opposition to established order to extremes, their
-hatred of the traditional and conventional is such they indulge in wild
-and foolish excesses; they even defy law and order and decency, and
-require curbing.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The unprejudiced reader will find a great deal that is<span class="pagenum"><a name="page_167" id="page_167">{167}</a></span> suggestive in
-some of these Futurist declarations mixed with much that is
-philosophically and ethically unsound.</p>
-
-<p>Take, for instance, some of the propositions regarding the technic of
-the literature of the future:</p>
-
-<p>1. Use only the <i>infinite form</i> of the verb, because only the infinite
-mood gives the sense of the <i>continuity of life</i>.</p>
-
-<p>2. Abolish the use of the <i>adjective</i> so that the noun <i>standing alone</i>
-may speak for itself with all its force. The adjective implies
-modification, an arrest of judgment, meditation, and is, therefore,
-opposed to the <i>human vision dynamic</i>, to the <i>force</i> and <i>energetic
-flow</i> of human thought.</p>
-
-<p>3. Abolish the <i>adverb</i>, which is a <i>superfluous refinement</i>, a
-fastidious hampering of human expression.</p>
-
-<p>4. New <i>punctuation</i>: Adjectives and adverbs and conjunctive phrases
-being suppressed, punctuation goes with them naturally, in the varied
-continuity of a living style which creates itself without the use of
-absurd commas and periods. To accentuate certain movements and indicate
-their directions, certain mathematical and unusual signs will be used.</p>
-
-<p>5. Abolish the “I” from literature, that is to say, <i>psychology</i>;
-replace the “I,” the ego, by the <i>matter</i>, the essence of which must be
-appreciated by intuitions. Heretofore the matter, the real substance of
-a book or a poem, has been obscured by the intervention of the ego of
-the writer, by the persistent “I” of the author, who is too much
-pre-occupied with himself and filled with prejudices and conceits in his
-own supreme wisdom. In short, writers use the subjects of the works as
-vehicles to exploit themselves.</p>
-
-<p>(Here the Futurists certainly put their finger on one of the weak spots
-in literature.)</p>
-
-<p>6. Revolution in <i>typographical</i> appearance: Suppress the ornaments,
-fancy initials, &amp;c., &amp;c., of the presented printed<span class="pagenum"><a name="page_168" id="page_168">{168}</a></span> page, which impede
-rather than assist the natural flow of expression. “We will employ on
-the same page three or four inks of different colors, and twenty
-different characters, if necessary: for example, italics to express
-rapid sensations; capitals for violent; &amp;c., &amp;c. New conception of the
-<i>graphic</i> printed page.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>All of which sounds wildly extravagant, but in sum and substance it
-simply means the death of the, let us say, Henry James style and the
-apotheosis of the front page of the modern sensational journal.</p>
-
-<p>And is it not true that the painfully involved and boresome style of
-Henry James&mdash;the adjectival and adverbial style, the style of endless
-qualifications, the assertion and amplification of the “ego” style&mdash;is
-rapidly becoming obsolete in fiction as it has long been obsolete in
-American journalism?</p>
-
-<p>And is it not true that the <i>terse</i>, the <i>substantive</i>, the
-<i>journalistic</i> style, together with the printed page in many colors and
-many types, is gaining vogue?</p>
-
-<p>In even the matter of punctuation the painstaking use of the comma and
-the semicolon has yielded to the free use of the dash. Only a short time
-ago there appeared a lamentation by a well-known writer over the use of
-the dash in dialogue. He counted an unbelievable number on one page of a
-popular magazine, each of which, he thought, should have been replaced
-by one of the more orthodox signs.</p>
-
-<p>But the orthodox signs are <i>too slow</i>. Modern conversation does not move
-in studied phrases and rounded periods; its sign is the <i>dash</i>, because
-the dash either breaks the thought abruptly or carries it over into the
-words of the next speaker.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Furthermore, before leaving the subject, it should be</p>
-
-<div class="figcenter" id="plt_063" style="width: 600px;">
-<a href="images/i_fp168.jpg">
-<img src="images/i_fp168.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>VAN REES</p>
-
-<p>Maternity</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span></p>
-
-<p class="nind">noted that there is coming over our literature a profound, a radical
-change, <i>a change in the direction of terser, more forcible expression</i>;
-a change in the <i>direction of the elimination of superfluous words</i>, of
-<i>condensation</i>, to the end that the imagination and intelligence of the
-<i>reader</i> will be called more and more into play.</p>
-
-<p>It is conceivable that the reading public may become so <i>intelligent</i>
-and so keenly <i>sensitive</i> that <i>one word</i> will suffice to convey a
-wealth of information or suggestion where <i>a page</i> is now necessary.</p>
-
-<p>Certain it is, if mankind is progressing at all, it is progressing in
-<i>that direction</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The <i>rise</i> of the <i>printed</i> drama means the <i>fall</i> of the <i>descriptive</i>
-novel.</p>
-
-<p>A few years ago no American publisher would risk the printing of a play;
-now every play of any merit and many of no merit are issued in book
-form.</p>
-
-<p>The novelist devotes two-thirds of his book to descriptions of persons
-and places, and most of the remaining third to banal psychological
-analysis and comment. He leaves little to the imagination of the reader,
-who is told the color of the heroine’s eyes and hair, the number of her
-dimples, the length of her smile, the shape of her teeth, her make of
-face powder, together with endless references to her hats, gowns, shoes,
-parasols, etc., etc.</p>
-
-<p>Usually the novelist has some young woman acquaintance in mind, and he
-<i>literally forces</i> the woman he likes upon the reader, who may be in
-love with an entirely different type, and who, if left to himself, would
-find the girl he likes in the pages of the story.</p>
-
-<p>The dramatist does nothing of the kind. “Mary Smith,<span class="pagenum"><a name="page_170" id="page_170">{170}</a></span> age about twenty,”
-suffices for him. Shakespeare gives no more than the name.</p>
-
-<p>As for description of places, “a room,” or “an office,” “a wood,” “a
-garden,” answers every purpose.</p>
-
-<p>Managers and players have no trouble in building up both scenes and
-characters; the less “directions,” the more room for individual
-initiative.</p>
-
-<p>Nor is the reader of a play troubled by entire absence of description
-and “directions.” His imagination supplements the dramatist’s, and he
-creates heroes and heroines to please himself.</p>
-
-<p>That psychological <i>analysis</i> is not only not essential to the
-psychological novel, but positively detrimental, is demonstrated by the
-entire absence of such analysis in so profound a psychological study as
-Hamlet. Paul Bourget is as obsolete as Henry James.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Bernard Shaw is the one conspicuous reactionary. He still exploits the
-ego, and writes as if his readers were fools&mdash;perhaps they are.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The popularity of the cinematograph lies not in the cheapness of the
-entertainment, nor in its <i>novelty</i>, which wore off long ago, but in the
-fact that it is <i>without words</i> and each onlooker enjoys his own
-interpretation; from child to old man, every one in the audience is <i>his
-own playwright</i>, supplying his own dialogue as the scenes flicker on the
-curtain.</p>
-
-<p>The best of modern plays leave much to the imagination of the audience.
-Words and bits of business absolutely necessary thirty years ago are
-considered childishly obvious nowadays, as is amply demonstrated in
-revivals of old plays.</p>
-
-<p>Apparently the development is toward more action and less dialogue&mdash;more
-cinematograph, fewer words.<span class="pagenum"><a name="page_171" id="page_171">{171}</a></span></p>
-
-<p>Scenery will become less and less obvious&mdash;save, of course, where it is
-intended to be of first importance. In the theater of the future there
-will be less and less on the stage to interfere with the <i>play&mdash;of the
-spectator’s</i> imagination.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>There is a precisely parallel tendency in print&mdash;more action, fewer
-words; more suggestion, less description.</p>
-
-<p>The future novel will leave more and more to be supplied by the reader.
-Paragraphs, pages, whole chapters now deemed essential, will be omitted.</p>
-
-<p>In books such as histories, philosophical works, scientific treatises,
-&amp;c., &amp;c., the skill and art of the printer will be exhausted to make the
-page not only attractive but expressive&mdash;<i>readable at a glance</i>, instead
-of, as now, to make the volumes as forbidding as possible.</p>
-
-<p>The much-despised “yellow journal” of America has taught a valuable
-lesson in the <i>art of emphasis</i>, and its effect is seen not only in the
-make-up of newspapers but of periodicals, and will be felt in the
-make-up of books.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a></p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In America the art of advertising has far outstripped the art of
-literature. The advertising pages of our periodicals are often more
-interesting and <i>always</i> more <i>alive</i> than the literary.</p>
-
-<p>A magazine devotes pages to an article or a story every line of which
-betrays the writer’s evident desire to write as<span class="pagenum"><a name="page_172" id="page_172">{172}</a></span> <i>many words</i> as
-possible. In the advertising pages, to every square inch, the minds not
-of one but of three or four experts have been concentrated upon the
-attempt to express an idea in as <i>few words</i> as possible and in such a
-manner it will stand out and be read with a minimum of trouble.</p>
-
-<p>Why should not stories be told that way? Why should not all literature
-be written and printed that way?</p>
-
-<p>The proposition may seem a startling one, but the <i>tendency is</i> that
-way.</p>
-
-<p>We find fault with our plays, our poetry, our fiction, our serious
-literature; we complain people prefer the <i>flashy</i> periodical; well the
-word <i>flashy</i> is doubly descriptive&mdash;it is commonly used to describe the
-<i>quality</i> but it also measures <i>time</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Meanwhile most of us underrate the intelligence of our readers and use
-more words than are necessary to carry our meanings.</p>
-
-<p>The Futurists themselves use an abundance of words in advocating their
-cause, though their examples of Futurist literature contain many lines
-and pages that are written in strict accordance with their theories.</p>
-
-<p>Marinette says in so many words, “Philosophy, science, politics,
-journalism, must still make use of the conventional syntax and
-punctuation; I am myself obliged to use them to explain my ideas.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>March 8, 1910, in the Theatre Chiarella, at Turin, before an audience of
-three thousand, the Futurist painters launched their first declaration
-of faith, “which contained,” to follow their own words, “all our
-profound disgusts and hatreds, our revolts against vulgarity, against
-academic and pedantic mediocrity, against the fanatic cult of what is
-antique.”</p>
-
-<div class="figcenter" id="plt_045" style="width: 600px;">
-<a href="images/i_fp172.jpg">
-<img src="images/i_fp172.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MÜNTER</p>
-
-<p>The Boat Ride</p></div>
-</div>
-
-<div class="figcenter" id="plt_046" style="width: 600px;">
-<a href="images/i_fp173.jpg">
-<img src="images/i_fp173.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MUNTER</p>
-
-<p>The White Wall</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span></p>
-
-<div class="blockquot"><p>1. Our desire for the truth no longer contents itself with form and
-color as heretofore understood.</p>
-
-<p>2. What we wish to reproduce on the canvas is not an instant or a
-moment of immobility of the universal force that surrounds us, but
-<i>the sensation of that force itself</i>.</p>
-
-<p>3. As a matter of fact everything moves, everything runs,
-everything transforms rapidly. A profile is never immobile before
-us, but it appears and disappears without ceasing.</p>
-
-<p>Given the fact of the momentary persistence of the image on the
-retina, objects in movement multiply, change form and follow like
-vibrations in space. A running horse has not four legs, but twenty,
-and their movements are triangular.</p>
-
-<p>4. Nothing is absolute in painting. That which was a truth for the
-painters of yesterday, is a lie for those of today. We declare, for
-example, that a portrait should not resemble its sitter, and that
-the painter carries in his own imagination the landscape he wishes
-to place upon the canvas.</p></div>
-
-<p>[On this point the Futurists and Cubists agree.]</p>
-
-<div class="blockquot"><p>5. To paint the human figure it is not necessary to paint the
-<i>figure</i> but simply to give its <i>envelopment</i>. Space does not
-exist. Millions of miles separate us from the sun, yet that is no
-reason why the house before us should not be encased in the solar
-disk. In our work we can secure effects similar to those of the
-X-ray. Opacity does not exist.</p>
-
-<p>They paint all sides of an object as if they saw through it. They
-will paint a platter on a table and the part of the table covered
-by the platter; they will paint the entire collar about the neck so
-that it is visible through the neck. They ignore not only the
-ordinary conceptions of space, but time does not exist for them.
-Where in ordinary painting the box of bonbons that is passed at a
-baptism may be painted closed on a table, the Futurist shows what
-is inside the box, also the people assembled to whom the bonbons
-are given, and the infant to be baptized, and perhaps the marriage
-of the father and mother, the carriages outside the church, etc.,
-etc.<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p></div>
-
-<p>They illustrate further,</p>
-
-<div class="blockquot"><p>The sixteen persons about us in a moving omnibus are <i>in turn</i> and
-<i>at the same time</i>, one, ten, four, three; they are immobile and
-yet move; they go, come, bounding along the street, suddenly lost
-in the sun, then return seated before you, like <i>so many symbols
-persistent of universal vibration</i>.<span class="pagenum"><a name="page_174" id="page_174">{174}</a></span></p>
-
-<p>How often it happens that upon the cheek of the person with whom we
-are talking we see the horse that passes far away at the end of the
-street. Our bodies become parts of the seat upon which we rest and
-the seat becomes part of us. The omnibus merges in the houses that
-it passes, and the houses mix with the bus and become part of it.</p>
-
-<p>6. The construction of pictures up to this time has been stupidly
-traditional.</p>
-
-<p>Painters have always shown things and persons <i>before</i> us. We place
-the spectator <i>in the midst</i> of the picture.</p>
-
-<p>Heretofore we have looked at pictures; it is the idea of the
-Futurist that we should look <i>through</i> them, that the pictures
-should give us <i>new visions</i> of life and things, new sensations,
-new emotions.</p>
-
-<p>We declare:</p>
-
-<p>That one should hate every form of imitation and glorify every form
-of originality.</p>
-
-<p>That it is necessary to revolt against the tyranny of the words
-“harmony” and “good taste,” expressions too elastic and with which
-one might easily condemn the works of Rembrandt, Goya, and Rodin.</p>
-
-<p>That art critics are useless and detrimental.</p>
-
-<p>That it is necessary to brush aside all the subjects already used,
-in order to adequately express our turbulent life of steel, of
-pride, of feverish rapidity.</p>
-
-<p>That the name madmen applied to all innovators shall be considered
-a title of honor.</p>
-
-<p>That the universal force must be shown in painting as a <i>sensation
-dynamic</i>.</p>
-
-<p>Above all, sincerity and purity are required in the portrayal of
-nature.</p>
-
-<p>That movement and light destroy the materiality of objects.</p>
-
-<p>We are opposed to the use of those bituminous colors by which it is
-attempted to secure the effect of time on modern pictures.</p>
-
-<p>We are opposed to the superficial and elementary archaism based on
-the flat tints and linear manner of the Egyptians, which makes
-painting puerile and grotesque.</p>
-
-<p>We are opposed to the false modernism of the Secessionists and
-Independents who have built up new “schools” as pontifical as the
-old.</p>
-
-<p>The nude in painting is as nauseous as adultery in literature.</p>
-
-<p>To explain this last article: There is nothing immoral in our eyes,
-it is the monotony of nudity that we fight against. Painters
-possessed of the desire to display on canvas the bodies of the
-women with whom they are in love have transformed picture
-exhibitions into<span class="pagenum"><a name="page_175" id="page_175">{175}</a></span> galleries of portraits of disreputables. We
-demand for the next ten years the absolute suppression of the nude
-in painting.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The first exhibition of Futurist paintings in London was at the
-Sackville Gallery in March, 1912.</p>
-
-<p>The painters printed by way of preface to the little catalogue a
-statement of their beliefs and aims. From this statement the following
-paragraphs are taken:</p>
-
-<p>“We are young and our art is violently revolutionary.”</p>
-
-<p>Speaking of the Cubists and Post-Impressionists generally:</p>
-
-<p>“While we admire the heroism of these painters of great worth, who have
-displayed a laudable contempt for artistic commercialism and a powerful
-hatred of academism, we feel ourselves and we declare ourselves to be
-absolutely opposed to their art.</p>
-
-<p>“They obstinately continue to paint objects motionless, frozen, and all
-the static aspects of nature; they worship the traditionalism of
-Poussin, of Ingres, of Corot, ageing and petrifying their art with an
-obstinate attachment to the past, which to our eyes remains totally
-incomprehensible.</p>
-
-<p>“We, on the contrary, with points of view pertaining essentially to the
-future, seek for a style of motion, a thing which has never been
-attempted before us.</p>
-
-<p>“All the truths learnt in the schools or in the studios are abolished
-for us. Our hands are free enough and pure enough to start everything
-afresh.</p>
-
-<p>“It is indisputable that several of the aesthetic declarations of our
-French comrades display a sort of masked academism.</p>
-
-<p>“Is it not, indeed, a return to the Academy to declare that the subject,
-in painting, is of perfectly insignificant value?</p>
-
-<p>“We declare, on the contrary, that there can be no modern painting
-without the starting point of an absolutely modern sensation, and none
-can contradict us when we state that <i>painting</i> and <i>sensation</i> are two
-inseparable words.<span class="pagenum"><a name="page_176" id="page_176">{176}</a></span></p>
-
-<p>“If our pictures are futurist, it is because they are the result of
-absolutely futurist conceptions, ethical, aesthetic, political, and
-social.</p>
-
-<p>“To paint from the posing model is an absurdity, and an act of mental
-cowardice, even if the model be translated upon the picture in linear,
-spherical, or cubic forms.</p>
-
-<p>“To lend an allegorical significance to an ordinary nude figure,
-deriving the meaning of the picture from the objects held by the model
-or from those which are arranged about him, is to our mind the evidence
-of a traditional and academic mentality.</p>
-
-<p>“While we repudiate impressionism, we emphatically condemn the present
-reaction which, in order to kill impressionism, brings back painting to
-old academic forms.</p>
-
-<p>“It is only possible to react against impressionism by surpassing it.</p>
-
-<p>“Nothing is more absurd than to fight it by adopting the pictural laws
-which preceded it.</p>
-
-<p>“The points of contact which the quest of style may have with the
-so-called <i>classic art</i> do not concern us.</p>
-
-<p>“Others will seek, and will, no doubt, discover, these analogies which
-in any case cannot be looked upon as a return to methods, conceptions,
-and values transmitted by classical painting.</p>
-
-<p>“A few examples will illustrate our theory.</p>
-
-<p>“We see no difference between one of those nude figures commonly called
-<i>artistic</i> and an anatomical plate. There is, on the other hand, an
-enormous difference between one of these nude figures and our futurist
-conception of the human body.</p>
-
-<p>“Perspective, such as it is understood by the majority of painters, has
-for us the very same value which it lends to an engineer’s design.<span class="pagenum"><a name="page_177" id="page_177">{177}</a></span></p>
-
-<p>“The simultaneousness of states of mind in the work of art: that is the
-intoxicating aim of our art.</p>
-
-<p>“Let us explain again by examples. In painting a person on a balcony,
-seen from inside the room, we do not limit the scene to what the square
-frame of the window renders visible; but we try to render the sum total
-of visual sensations which the person on the balcony has experienced;
-the sun-bathed throng in the street, the double row of houses which
-stretch to right and left, the beflowered balconies, etc. This implies
-the simultaneousness of the ambient, and, therefore, the dislocation and
-dismemberment of objects, the scattering and fusion of details, freed
-from accepted logic, and independent from one another.</p>
-
-<p>“In order to make the spectator live in the center of the picture, as we
-express it in our manifesto, the picture must be the synthesis of <i>what
-one remembers</i> and of <i>what one sees</i>.</p>
-
-<p>“You must render the invisible which stirs and lives beyond intervening
-obstacles, what we have on the right, on the left, and behind us, and
-not merely the small square of life artificially compressed, as it were,
-by the wings of a stage.”</p>
-
-<p>[This feeling of transparency is fundamental to the theory.]</p>
-
-<p>“We have declared in our manifesto that what must be rendered is the
-<i>dynamic sensation</i>, that is to say, the particular rhythm of each
-object, its inclination, its movement, or, to put it more exactly, its
-interior force.</p>
-
-<p>“It is usual to consider the human being in its different aspects of
-motion or stillness, of joyous excitement or grave melancholy.</p>
-
-<p>“What is overlooked is that all inanimate objects display, by their
-lines, calmness or frenzy, sadness or gaiety. These various tendencies
-lend to the lines of which they are formed a sense and character of
-weighty stability or of aerial lightness.<span class="pagenum"><a name="page_178" id="page_178">{178}</a></span></p>
-
-<p>“Every object reveals by its lines how it would resolve itself were it
-to follow the tendencies of its forces.</p>
-
-<p>“This decomposition is not governed by fixed laws but it varies
-according to the characteristic personality of the object and the
-emotions of the onlooker.</p>
-
-<p>“Furthermore, every object influences its neighbour, not by reflections
-of light (the foundation of <i>impressionistic primitivism</i>), but by a
-real competition of lines and by real conflicts of planes, following the
-emotional law which governs the picture (the foundation of <i>futurist
-primitivism</i>).</p>
-
-<p>“With the desire to intensify the aesthetic emotions by blending, so to
-speak, the painted canvas with the soul of the spectator, we have
-declared that the latter ‘<i>must</i> in future be placed in the center of
-the picture.’</p>
-
-<p>“We may further explain our idea by a comparison drawn from the
-evolution of music.</p>
-
-<p>“Not only have we radically abandoned the motive fully developed
-according to its determined and, therefore, artificial equilibrium, but
-we suddenly and purposely intersect each motive with one or more other
-motives of which we never give the full development but merely the
-initial, central, or final notes.</p>
-
-<p>“As you see, there is with us not merely variety, but chaos and clashing
-of rhythms, totally opposed to one another, which we nevertheless
-assemble into a new harmony.</p>
-
-<p>“We thus arrive at what we call the <i>painting of states of mind</i>.</p>
-
-<p>“One may remark, also, in our pictures spots, lines, zones of colour
-which do not correspond to any reality, but which, in accordance with a
-law of our interior mathematics, musically prepare and enhance the
-emotion of the spectator.</p>
-
-<p>“We thus create a sort of emotive ambience, seeking by intuition the
-sympathies and the links which exist between</p>
-
-<div class="figcenter" id="plt_054" style="width: 600px;">
-<a href="images/i_fp178.jpg">
-<img src="images/i_fp178.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>RUSSOLO</p>
-
-<p>Rebellion</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span></p>
-
-<p class="nind">the exterior (concrete) scene and the interior (abstract) emotion. Those
-lines, those spots, those zones of colour, apparently illogical and
-meaningless, are the mysterious keys to our pictures.</p>
-
-<p>“Conclusion: Our futurist painting embodies three new conceptions of
-painting:</p>
-
-<p>“1. That which solves the question of volumes in a picture, as opposed
-to the liquefaction of objects favoured by the vision of the
-impressionists.</p>
-
-<p>“2. That which leads us to translate objects according to the <i>force
-lines</i> which distinguish them, and by which is obtained an absolutely
-new power of objective poetry.</p>
-
-<p>“3. That (the natural consequence of the other two) which would give the
-emotional ambience of a picture, the synthesis of the various abstract
-rhythms of every object, from which there springs a fount of pictural
-lyricism hitherto unknown.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The explanations of two pictures are as follows:</p>
-
-<p>“Leave-taking,” by Boccioni: “In the midst of the confusion of
-departure, the mingled concrete and abstract sensations are translated
-into force lines and rhythms in quasi-musical harmony: mark the
-undulating lines and the chords made up of the combinations of figures
-and objects. The prominent elements, such as the number of the engine,
-its profile shown in the upper part of the picture, its wind-cutting
-forepart in the center, symbolical of parting, indicate the features of
-the scene that remain indelibly impressed upon the mind.”</p>
-
-<p>“Rebellion,” by Russolo: “The collision of two forces, that of the
-revolutionary element made up of enthusiasm and red lyricism against the
-force of inertia and reactionary resistance of tradition. The angles are
-the vibratory waves of the former force in motion. The perspective of
-the houses<span class="pagenum"><a name="page_180" id="page_180">{180}</a></span> is destroyed just as a boxer is bent double by receiving a
-blow in the wind.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The theory of the Futurists is vividly illustrated in the following note
-to a picture called “The Street Enters the House.” “The dominating
-sensation is that which one would experience on opening a window: all
-life, the noises of the street rush in at the same time as the movement
-and reality of the objects outside. The painter does not limit himself
-to what he sees in the square frame of the window as would a simple
-photographer, but he also reproduces what he would see by looking out on
-every side from the balcony.”</p>
-
-<p>To the layman this attitude is almost incomprehensible. For instance,
-the Cubist, Pierre Dumont, says of his picture, “The Cathedral at
-Rouen”:</p>
-
-<div class="blockquot"><p>One must not expect to find in this picture an exact representation
-of the cathedral at Rouen, but rather my idea, my personal
-perception, of this cathedral as I see it.</p>
-
-<p>In painting my picture I did not paint from a fixed point and
-always from the same point, but I studied the cathedral and
-surroundings from all points of view and obtained a personal
-conception of it, which I reproduced on my canvas.</p>
-
-<p>I only included the details which struck me most forcibly, and
-thought it necessary to break up the monotony of the roofs in the
-first plan by one of the most beautiful details of the cathedral&mdash;a
-statue of a saint, who is certainly not in his right place as far
-as the eye is concerned, but does really occupy the place which he
-occupies in my conception of what was before me.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>That a painter should deliberately attempt to show on one canvas
-features of all sides of a building, strikes the layman&mdash;and many
-artists&mdash;as a “crazy” attempt to achieve the impossible; but it is <i>not
-impossible</i>, as a moment’s reflection shows.</p>
-
-<p>It is, of course, easy to show all sides and all details of a building,
-interior and exterior, on one sheet or canvas, by<span class="pagenum"><a name="page_181" id="page_181">{181}</a></span> drawing or painting,
-one after another, in panorama effect&mdash;that is done in every architect’s
-drawing-room.</p>
-
-<p>It is also equally possible to <i>superimpose</i> these detached drawings one
-over the other and <i>see</i> or <i>feel</i> the outlines <i>through</i>. That is, the
-drawing or photograph of the exterior of a cathedral may be so made as
-to show in outline or shadowy substance the altar within.</p>
-
-<p>Illustrations along these lines are common in fiction&mdash;ghostly, shadowy,
-mystical effects, effects secured only by treating stones and walls and
-human beings as <i>semi-transparent</i>.</p>
-
-<p>In this way every feature of a cathedral that strikes the artist,
-whether on the outside or inside, whether a feature so permanent as a
-statue or so fleeting as a wedding ceremony, may be indicated in his
-picture. By suppressing every detail save the most striking, what
-purports to be the picture of a cathedral may appear to be fragments of
-spires, bronze doors, statues, altars, lights, processions, the
-brilliant color of a priest’s robe, the white note of a bridal veil.</p>
-
-<p>Another man painting his impressions of the same subject might catch
-glimpses of entirely different features.</p>
-
-<p>If we can <i>in our mind’s eye</i> see what is behind an object; if, for
-instance, we can picture to ourselves clearly the children playing in
-the yard back of a house, why may not the painter, if he chooses,
-suggest to us in his picture of the house the vital feature of the
-children in the rear?</p>
-
-<p>The feat is a seemingly impossible one. Perhaps neither the Cubists nor
-the Futurists have accomplished it successfully; but because it is
-difficult is no reason why the attempt should not be made.</p>
-
-<p><i>Theoretically</i> there is nothing to be said against pictures which show
-what both the <i>eye</i> and the <i>mind’s eye</i> of the artist see.<span class="pagenum"><a name="page_182" id="page_182">{182}</a></span></p>
-
-<div class="blockquot"><p>The works of the ultra-modern men can be understood only by the aid
-of the imagination, by the aid of the <i>mind’s eye</i> to see
-<i>through</i>, and <i>about</i> and <i>into</i> things, to see the <i>inner</i>
-conditions, happenings, and significance of things.</p>
-
-<p>Stated in other terms, the extreme modern is no longer content to
-paint what is before his eyes at a given moment and from a given
-point of view; he is no longer content to act the part of a camera,
-making reproductions of what is in front of it. He demands the
-freedom to walk around his subject, fly over it, enter it, find out
-all about it, and then record on canvas the sum and substance of
-his observations <i>and</i> reflections. The result may not look like a
-cathedral, but if done by a genius it may give a fine impression of
-certain salient features of the building, inside and out, and also
-a vivid impression of some of its great ceremonies. Why not try to
-paint the <i>power</i> as well as the proportions?</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>If the American public found the work of Lehmbruck and Brancusi queer,
-what would it think of the Futurist sculpture?</p>
-
-<p>The two female figures exhibited by Lehmbruck were simply decorative
-elongations of natural forms. In technic they were quite conventional.
-Their modelling was along purely classical lines, far more severely
-classical than much of the realistic work of Rodin.</p>
-
-<p>The heads by Brancusi were idealistic in the extreme; the sculptor
-carried his theories of mass and form so far he deliberately lost all
-resemblance to actuality. He uses his subjects as motives rather than
-models. In this respect he is not unlike&mdash;though more extreme than&mdash;the
-great Japanese and Chinese artists, who use life and nature arbitrarily
-to secure the results they desire.</p>
-
-<p>I have a golden bronze head&mdash;a “Sleeping Muse,” by</p>
-
-<div class="figcenter" id="plt_055" style="width: 600px;">
-<a href="images/i_fp182.jpg">
-<img src="images/i_fp182.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SEGONZAC</p>
-
-<p>Pasturage</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span></p>
-
-<p>Brancusi&mdash;so simple, so severe in its beauty, it might have come from
-the Orient.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Of this head and two other pieces of sculpture exhibited by Brancusi in
-July, 1913, at the Allied Artists’ Exhibition in London, Roger Fry said
-in “The Nation,” August 2:</p>
-
-<div class="blockquot"><p>Constantin Brancusi’s sculptures have not, I think, been seen
-before in England. His three heads are the most remarkable works of
-sculpture at the Albert Hall. Two are in brass and one in stone.
-They show a technical skill which is almost disquieting, a skill
-which might lead him, in default of any overpowering imaginative
-purpose, to become a brilliant <i>pasticheur</i>. But it seemed to me
-there was evidence of passionate conviction; that the
-simplification of forms was no mere exercise in plastic design, but
-a real interpretation of the rhythm of life. These abstract vivid
-forms into which he compresses his heads give a vivid presentment
-of character; they are not empty abstractions, but filled with a
-content which has been clearly, and passionately apprehended.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Futurist sculpture, like Futurist painting, starts with a fundamental
-departure.</p>
-
-<p>All sculpture, classic as well as Impressionistic and
-Post-Impressionistic, deals with an object or a group of objects. It
-models and reproduces them <i>detached</i> from their environment.</p>
-
-<p>Futurist sculpture seeks to reproduce a figure or an object <i>attached</i>
-to and a <i>part of</i> its fleeting and flowing surroundings, its
-atmosphere, its <i>medium</i>.</p>
-
-<p>It goes further; it seeks to convey not only the impression of the truth
-that a figure is a part of its environment, but that its atmosphere and
-environment <i>flows through</i> the figure and the figure <i>through</i> the
-environment, that <i>nothing is segregated</i> but everything <i>fusing</i>.</p>
-
-<p>The philosophical thought is old, as old as the earliest Greek
-philosophy, but the attempt to express the thought in stone, wood,
-bronze, is new.<span class="pagenum"><a name="page_184" id="page_184">{184}</a></span></p>
-
-<div class="blockquot"><p>We may feel sure the attempt is futile, that it cannot succeed, but
-our scepticism is no reason why a sculptor in his enthusiasm should
-not make the attempt.</p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In June and July last a Futurist sculptor, Boccioni, exhibited some of
-his work in Paris.</p>
-
-<p>One example, “Head&mdash;Houses&mdash;Light,” was literally a conglomerate of a
-human bust of heroic size, with hands crossed in front, and the
-following accessories:</p>
-
-<p>On the top of the head the fronts of several small houses, with doors,
-windows, and all details just as the sculptor saw the houses <i>many
-blocks back</i> of his model. The casual observer would be completely
-mystified on seeing several house fronts start out of the head of a
-bust; but when one understands that it is a fundamental belief of the
-Futurists that <i>all that is within the vision, actual or imagined, of
-painter or sculptor is a part of the picture or bust</i>, the reason why of
-the houses is plain.</p>
-
-<p>From one shoulder of the figure starts about eighteen inches of a wooden
-railing and iron grill work, part of a balcony, just as the sculptor
-glimpsed it a block or so down the street.</p>
-
-<p>A little to the back of the shoulder is a slightly inclined level
-surface about a foot square; on this surface is the toy figure, an inch
-high, of a woman in street costume. The figure was probably bought at a
-toy store, just as the wooden railing and iron grill work might have
-been picked up at any second-hand shop. The little figure of the woman
-and the level surface represent some open square that&mdash;judging from the
-diminutive size of the figure&mdash;must have been a long distance away, far
-enough away for a human being to appear no taller than an inch.</p>
-
-<p>The entire bust was crudely colored, and one side of the</p>
-
-<div class="figcenter" id="plt_005" style="width: 600px;">
-<a href="images/i_fp184.jpg">
-<img src="images/i_fp184.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BOCCIONI</p>
-
-<p>Head&mdash;Houses&mdash;Light</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span></p>
-
-<p class="nind">face was modelled in downward flowing lines and painted yellow to
-represent rays of strong sunlight.</p>
-
-<p>The figure was ugly in the extreme; the lines were ugly, the coloring
-ugly, the technic clumsy; but <i>as an illustration of a theory</i> the work
-was both curious and interesting.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In the creed of the Futurist are found the following:</p>
-
-<p>1. Sculpture must give life to objects by making sensible <i>their
-extension in space</i>, for no one today can deny that an object continues
-to where another object begins, and that all things that are about
-us&mdash;automobile, house, tree, street, etc., etc.&mdash;traverse our bodies,
-dividing us into planes and sections, forming an arabesque of curved and
-straight lines.</p>
-
-<p>This traversing of each object by the planes occupied by all other
-objects is called in the transcendental terminology of Futurism,
-“<i>Compenetration of planes</i>.” (Here Futurist and Cubist again meet.)</p>
-
-<p>2. A Futurist sculptural <i>composition</i> will contain in itself the
-marvellous mathematical and geometrical elements of modern objects.
-These objects will not be placed close to the statue, like so many
-<i>detached</i> explanatory attributes or decorative elements, but according
-to the laws of the new conception of harmony they will be <i>embodied</i> in
-the muscular lines of the body. For example, we may see the wheel of an
-automobile starting out of the body of a chauffeur, the line of a table
-traversing the head of a man who is reading, and the pages of his book
-may project through his chest.</p>
-
-<p>3. The abolition complete of the <i>line finished</i> and the <i>statue
-isolated</i>! Throw open the figure like a window and make part of it the
-surroundings in which it exists. The sidewalk may extend to your table;
-your head may traverse and include the street, and at the same moment
-your lamp may unite house to house by its searching rays.<span class="pagenum"><a name="page_186" id="page_186">{186}</a></span></p>
-
-<p>The entire world precipitates itself upon us, amalgamates with us,
-creating a harmony that will not be controlled except by creative
-intuition.</p>
-
-<p>4. Do not be afraid to go outside one art and receive assistance from
-others. There is no such thing as painting <i>alone</i>, sculpture <i>alone</i>,
-music <i>alone</i>, poetry <i>alone</i>; there is simply <i>creation</i>.</p>
-
-<p>Hence if a particular sculptural composition needs some special movement
-to augment or contrast the rhythm of the ensemble, there is no reason
-why one should not make use of a small motor to secure the effect.</p>
-
-<p>5. It is necessary to get rid of the idea, purely literary and
-traditional, that marble and bronze are the materials that must be used
-in great sculpture. The sculptor may use twenty materials in one work if
-required to express his idea. He may use glass, wood, cement, cardboard,
-leather, cloth, mirrors, electric lights, etc.</p>
-
-<p>6. It is only by choosing subjects absolutely modern that one can
-discover new motives and ideas.</p>
-
-<p>7. It is necessary to abandon the nude and the traditional conception of
-the statue and the monument.</p>
-
-<p>8. What the Futurist sculpture creates is, in a way, the <i>ideal bridge</i>
-that unites the infinite plastic <i>exterior</i> with the infinite plastic
-<i>interior</i>. That is why the objects <i>never finish</i>, but they <i>intersect</i>
-with endless combinations both sympathetic and averse. The feeling of
-the spectator is at the <i>center</i> of the work, not aloof and outside, as
-with traditional sculpture.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>All this sounds wildly extravagant, but not absolutely incoherent.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The obvious objection to the attempt of the Futurist sculptor to include
-in his <i>composition</i> an object <i>and</i> its environment</p>
-
-<div class="figcenter" id="plt_028" style="width: 600px;">
-<a href="images/i_fp186.jpg">
-<img src="images/i_fp186.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>HERBIN</p>
-
-<p>Still Life</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span></p>
-
-<p class="nind">is found in his own proposition&mdash;<i>which is philosophically valid</i>&mdash;that
-<i>the universe</i> is the atmosphere, the environment of every object from a
-grain of sand to a planet.</p>
-
-<p>Hence the Futurist figure that shows a few houses, a bit of a railing, a
-glimpse of a distant square, is more comprehensive than the conventional
-bust to only an infinitesimal degree; only <i>almost infinitesimal
-fractions</i> of the <i>enveloping</i> universe are shown.</p>
-
-<p>The effect is fragmentary and confusing.</p>
-
-<p>Other sculptors, conspicuously Rodin in some of his work, get the effect
-of atmosphere and environment by detaching the figure or composition
-<i>only partially</i> from the block of marble or mass of bronze, leaving to
-the <i>imagination of the observer</i> the finishing of the work, the
-supplying of both environment and atmosphere.</p>
-
-<p>That would seem to be the finer, the purer, the more abstract way.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In fact, there is an obvious contradiction between the creed of the
-Futurist sculptor and the Futurist writer.</p>
-
-<p>The former feels impelled to show environment by encumbering his figure
-with an overwhelming mass of details, houses, railings, sidewalks, petty
-figures, etc., etc.&mdash;all the <i>qualifying</i> objects that happen within his
-vision, leaving nothing to the imagination of his observer; while the
-Futurist writer would eliminate from literature all adjectival and
-adverbial words and phrases, leaving the nouns (the simple figures of
-sculpture) to stand alone.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Many things can be done in painting that cannot be done in sculpture. A
-figure may be painted against a background of an entire city, or against
-the heavens; or it may be painted<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span> in the midst of a battle, or a train
-wreck; the flight of years can be indicated, centuries may be swept into
-one canvas.</p>
-
-<p>In sculpture this cannot be done save, in a measure, in such crude
-mixtures of sculpture, relief, and painted scenes as those large
-circular panoramas so popular twenty years ago, where the spectator
-stood <i>in the center</i>&mdash;where the theory of the Futurist requires him to
-be&mdash;and gazed from life-size figures and objects at his feet across
-smaller and smaller, until reality imperceptibly joined the painted
-canvas, which gave a sense of great distance&mdash;entire battle-fields.</p>
-
-<p>The Futurist sculptor cannot give this sense of environment and
-atmosphere by attaching diminutive houses and bits of balconies to the
-bust of a man.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In reading their extravagant declarations and denunciations of the past
-it must be remembered that extremes beget extremes, that enthusiasts
-habitually indulge in extravagant arguments and theories for the purpose
-of attracting attention and stimulating discussion.</p>
-
-<p>In an address recently delivered in London, the leader of Futurism
-warned his hearers not to accept too literally the startling
-extravagances of some of the Futurist manifestoes and literature. He
-stated frankly that many of the most violent propositions were uttered
-for the purpose of arousing public attention to what they considered
-very real evils in our modern life. For instance, when the Futurists
-cry, “Down with all museums,” “Destroy all remains of antiquity,” they
-do not mean that if they were given the power they would do these
-things, but what they desire is to arouse Italy and the ancient world to
-the fact that Italy has a position as a <i>modern</i> nation. The Futurists
-resent the attitude of the world toward Rome and Athens; they resent the
-attitude of travelers who visit those two places solely to look<span class="pagenum"><a name="page_189" id="page_189">{189}</a></span> at the
-remains of the <i>ancient world</i>; they believe that Italy is just as much
-a <i>modern nation</i> as is America, and that Rome is just as much alive as
-is New York, and they would have people come to Italy, not to see ruins,
-but to see her factories and industries and places of business. When one
-rightly considers the matter this is a very rational and patriotic
-attitude, and it is the only attitude that is wholly consistent with the
-development and progress of a nation as a <i>vital force</i> in the world of
-<i>today</i>.</p>
-
-<p>Viewed in the light of the intense patriotism which is behind some of
-these wildly extravagant denunciations of the past, they do not seem so
-devoid of reason.</p>
-
-<p>We in America have no past to oppress us; therefore it is difficult for
-us to realize the feeling of a modern nation, or a modern city, which
-the civilized world will not accept as modern, but insists upon viewing
-as a museum of antiquities.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The address referred to also said:</p>
-
-<div class="blockquot"><p>“Futurism was first put forward by me for the purpose of renovating
-and reawakening the Italian race to a true appreciation of the true
-art in literature as well as in painting and sculpture. Precisely
-because it has a splendid past, Italy is today in some sort
-disinherited. The cult of the past is upheld among them by a whole
-world of interested people, and the Futurist movement in its
-creative effort is hampered not only by such economic hindrances
-but by the mental cowardice of people.</p>
-
-<p>“In art you must continually advance; those who stop are already
-dead, or candidates for death. The Romanticism of artists like
-Baudelaire and Wagner and Flaubert was inspired by two or three
-principles which are worn out today. ‘Salambo’ was the type romance
-of that old sensibility. In a certain sense such Romanticism is the
-identification of the</p></div><p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span></p>
-
-<p class="nind">idea of beauty with the idea of woman. We are at the end of that period.</p>
-
-<p>“Woman as the center, the obsession has already gone out of poetry. As a
-leit-motif she has no longer the same force; other problems have taken
-her place. According to our view, poetry is nothing but a more intense,
-a more exalted, life&mdash;and that is why we combat the constant intrusion
-into it of the ‘domestic triangle’ in various forms, and which has been
-its ruin.</p>
-
-<p>“Now, Futurists are found everywhere. In England you have H. G. Wells.
-We all realize the need to be more rapid, more intense, more essential,
-and though our method of expression has been stigmatized as ‘telegraphic
-lyricism’ I take no exception to that so long as it makes people talk
-and brings them to examine our underlying rules of action.</p>
-
-<p>“Art, either plastic or active, is not a religion. It is the best part
-of our strength, of our physiological being. It is, in consequence,
-absurd to consider it as a system, as something to worship with joined
-hands; it should express all the intensity of life&mdash;its beauty,
-greatness, its fire, its brutality, its sordidness.</p>
-
-<p>“Futurism in poetry represents a realism profound, rapid, intense&mdash;the
-very complex of our life of today.<span class="pagenum"><a name="page_191" id="page_191">{191}</a></span>”</p>
-
-<h2><a name="XII" id="XII"></a>XII<br /><br />
-VIRILE-IMPRESSIONISM</h2>
-
-<p class="nind"><span class="letra">W</span>HAT is happening in America? Exactly what might be expected in a
-<i>young</i>, <i>vigorous</i>, and <i>virile</i> country.</p>
-
-<p>America has been keenly susceptible to art influences from every
-section. Her students are everywhere, her exhibitions are gathered from
-the four quarters of the globe. She is very much alive to what Europe is
-doing, she has long been interested in what China and Japan have done.</p>
-
-<p>While her art is in the main conservative, it is not the conservatism of
-stubbornness or stolidity, it is rather the conservatism of isolation;
-but her isolation is a thing of the past. Communication is so frequent,
-travel so easy, transportation so cheap, that both art and artists flow
-hither and thither almost unrestricted.</p>
-
-<p>In spite of this freedom of inter-communication, the development of
-American art has been along independent lines&mdash;at least along <i>one</i>
-independent line, a line so individual in its characteristics it
-deserves the name <i>American</i>-Impressionism, or, more generically,
-Virile-Impressionism.</p>
-
-<p>By Virile-Impressionism is meant a manner of viewing nature and a mode
-of painting quite different from the more superficial refinements of
-Impressionism on the one hand and the extraordinary developments of
-Post-Impressionism on the other.</p>
-
-<p>Let us try to make this clear.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>As already noted, Impressionism attained a logical end in the painting
-of brilliant light effects, especially in the works of the
-Neo-Impressionists, the pointillists.<span class="pagenum"><a name="page_192" id="page_192">{192}</a></span></p>
-
-<p>In short, the drift of Impressionism in France was toward more and more
-brilliant reflections of the <i>surfaces</i> of things.</p>
-
-<p>This extreme <i>attentuation</i> was quite foreign to the spirit of America,
-which is more <i>material</i> and <i>practical</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It may be our fault, it is certainly our virtue, that we are material
-and practical in our outlook. In a big, sane sense we are <i>dreamers</i>.
-Only dreamers could carry the Panama Canal to completion, and, to
-mention lesser works, only dreamers could build such terminals as the
-Pennsylvania and New York Central in New York, and such buildings as the
-Woolworth and the Manhattan. But our dreams always take practical shape.
-We are a nation of inventors <i>because</i> we are a nation of dreamers.</p>
-
-<p>Hence, while our artists were quick to respond to all that is good and
-strong in Impressionism, they found little satisfaction in the
-ultra-refinements of Neo-Impressionism.</p>
-
-<p>The result was that when France pressed Impressionism to its extreme, a
-normal and healthy reaction took place in American art.</p>
-
-<p>Many of the strong painters of America began doing things of their own.
-They still adhered closely to nature. They remained Impressionists in
-the older significance of the term, but they painted not the <i>surfaces</i>
-of things but the <i>substance</i>&mdash;in short, they were
-<i>Cézanne</i>-Impressionists as distinguished from <i>Monet</i>-Impressionists.</p>
-
-<p>For instance, Winslow Homer was a great and true Impressionist, but he
-had nothing in common with the Neo-Impressionists, and little in common
-with Monet. He had, however, a great deal in common with Cézanne. His
-pictures give one an impression of <i>nature herself</i>, of the power of the
-sea, the adamant of the rocks, the significance of life, yet each one is
-an accurate transcript of what he saw. He did</p>
-
-<div class="figcenter" id="plt_056" style="width: 600px;">
-<a href="images/i_fp192.jpg">
-<img src="images/i_fp192.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>SEGONZAC</p>
-
-<p>Forest</p>
-</div></div>
-
-<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span></p>
-
-<p class="nind">not go into his studio and <i>create</i> pictures out of his imagination; he
-let his imagination play upon nature, but nature controlled all he did.</p>
-
-<p>He was, in a sense, the greatest of <i>American</i>-Impressionists&mdash;he was a
-Virile-Impressionist.</p>
-
-<p>There are many Virile-Impressionists in Europe, but they are so many
-individuals; here Virile-Impressionism is the result of racial,
-national, geographical conditions.</p>
-
-<p>It was inevitable that Impressionism in America should follow along
-virile and substantial lines rather than along nervous and superficial;
-it is the way the country is built.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Sargent is a Virile-Impressionist. He paints striking <i>likenesses</i>, but
-he also paints marvellous <i>characterizations</i>; that is, he gets beneath
-the skin of his sitters and paints them as they <i>are</i>, not as they seem.
-His sense of color is very deficient; many of his portraits from a
-decorative point of view are almost the reverse of pleasing; he had not
-the faintest appreciation of the subtle refinements of the things
-Whistler strove so long and earnestly to achieve; in his best things he
-is strong and direct to the point of brutality&mdash;all of which is
-characteristic of Virile-Impressionism, and exactly what one would
-expect from a vigorous, muscular, frank American. Though Sargent spends
-most of his time on the other side, he is no more English than French;
-his pictures fit into an American exhibition far more comfortably than
-into the Royal Academy or the old Salon.</p>
-
-<p>Robert Henri is another strong Virile-Impressionist.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The attitude of American painters toward the extreme modern developments
-is both curious and interesting.<span class="pagenum"><a name="page_194" id="page_194">{194}</a></span></p>
-
-<p>On the opening of the International Exhibition there was an outburst of
-violent indignation from the older men, ordinary speech failed to
-express their feelings, and they rushed into print with language as
-violent as the press would accept. All that made lively reading and lent
-zest to current literature.</p>
-
-<p>Six months later this feeling of angry opposition largely subsided. As
-an illustration, one of the bitterest of the Academicians accepted as a
-“good idea” the organization of an <i>independent</i> exhibition, open to
-artists <i>without the intervention of a jury</i>, under the auspices of the
-National Academy, as soon as a building could be provided that would
-adequately house all exhibitions.</p>
-
-<p>Again, the very conservative authorities of a large art institute
-listened receptively to the suggestion that every art museum owed the
-public two things in the way of exhibitions:</p>
-
-<p><i>First</i>, exhibitions selected by juries which would give the public the
-benefit of the best expert judgment available.</p>
-
-<p><i>Second</i>, exhibitions wherein painters and sculptors barred by the
-juries would have opportunities to present their works <i>to the judgment
-of the public</i>.</p>
-
-<p>In short, suggestions that would not have been listened to before the
-International are now discussed as quite within the range of
-possibilities.</p>
-
-<p>There is no danger of these things coming to pass in the <i>immediate</i>
-future; there is still too much latent opposition, but the virulent has
-measurably subsided.</p>
-
-<p>So much for the <i>older</i> men.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The younger were naturally much more tolerant. They were more&mdash;they were
-both <i>curious</i> and <i>receptive</i>. Many of them searched with eager eye for
-valuable hints, for ways and means to perfect their own art.<span class="pagenum"><a name="page_195" id="page_195">{195}</a></span></p>
-
-<p>It was a great pleasure to watch and talk with these young men, the
-<i>rising</i> generation.</p>
-
-<p>Many of them, to their own surprise, found they had been working along
-modern lines without fully realizing it.</p>
-
-<p>They had not cut loose from Impressionism, but they were doing things
-<i>constructively</i> rather than <i>superficially</i>; they were painting like
-Cézanne rather than Monet.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>If the attempt were made to name these younger men, the result would be
-injustice to many whose works are unknown to the writer, and the
-argument would be confused.</p>
-
-<p>To speak, therefore, of one of the paintings reproduced, take the “Still
-Life,” by Kroll. In the decorative arrangement of the draperies and in
-the manner in which the fruit and stone jug are painted, the feeling is
-quite <i>Post</i>-Impressionistic; while the glimpse of the street out the
-window is purely <i>Impressionistic</i>.</p>
-
-<p>That is to say, all within the window is painted solidly and
-constructively, quite under the influence of Cézanne; all that is
-without is painted fleetingly and superficially, more under the
-influence of Monet. It was done intentionally, to secure a certain
-effect of contrast; but the result is neither <i>French</i>-Impressionism nor
-<i>Post</i>-Impressionism, but <i>American</i>-Impressionism&mdash;a certain
-<i>eclecticism</i>.</p>
-
-<p>The glimpse of the street is delightful, but the arbitrarily arranged
-interior is more than delightful; it possesses strength of line, fine
-color, and solid masses, <i>done constructively</i>.</p>
-
-<p>Still, one has only to compare this picture with the “Still Life,” by
-Herbin, and the “Forest at Martigues,” by Derain, to see how close to
-nature it is, how <i>Impressionistic</i> it is as distinguished from the
-<i>Post</i>-Impressionistic, or creative, spirit.</p>
-
-<p>Kroll painted what he felt, <i>controlled</i> by what he saw.<span class="pagenum"><a name="page_196" id="page_196">{196}</a></span> Derain painted
-what he felt, <i>influenced only slightly</i> by what he had seen.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The foregoing illustrates the position of the more vigorous of the
-younger American painters; they are so strong, so virile, so
-muscular&mdash;let us say&mdash;that instinctively they lean toward the painting
-of things in a big, broad <i>constructive</i> manner; the refinements of
-<i>superficial</i> impressionism do not interest them.</p>
-
-<p>At the same time they have not reached the point where they are willing
-to let go of nature entirely and do purely <i>creative</i> things.</p>
-
-<p>Perhaps this is just as well.</p>
-
-<p>America&mdash;like every new country&mdash;is so essentially practical, practical
-in even its most imaginative flights, that it is difficult for its
-painters to retire within themselves and do things that have only an
-esoteric or metaphysical relation to actualities; that sort of thing in
-both art and literature is much easier on the continent than in either
-England or America; it is especially easy in the highly charged and
-hyper-artificial atmosphere of Paris.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Purely <i>creative</i> work is done in a masterly manner&mdash;in his best
-things&mdash;by Arthur Davies. It is attempted and quite successfully by
-Kenneth Miller, to mention only two of many.</p>
-
-<p>To the casual observer Davies may seem to lose himself at times in his
-theories, to press his dreams and speculations beyond the confines of
-his art, but on this point the opinion of the “casual observer” is of
-little value, for Davies’s pictures cannot be casually observed; they
-challenge the attention of the most serious and repay study. I make no
-pretense to having fathomed their mystery, to understanding their<span class="pagenum"><a name="page_197" id="page_197">{197}</a></span> inner
-significance, but enjoy and have always enjoyed the marvellously fine
-way in which they are done, and their rare decorative quality.</p>
-
-<p>Here is a man doing <i>creative</i> work, work in which he plays with and
-uses nature to attain ends far above and far removed from nature. He is
-in no sense a Virile-Impressionist, no one would think of classing him
-as an Impressionist at all. Yet he is not a Post-Impressionist as the
-term has been defined in this book.</p>
-
-<p>He belongs rather to the class of inspired or <i>poetic</i> painters, a few
-of whom are with us always, men who neither found nor belong to a
-“school,” but who express on canvas or in stone their fancies in a way
-that reminds one of fairy-tales.</p>
-
-<p>Davies may admire much of the work of some of the ultra
-Post-Impressionists; he likes, for instance, much of Matisse’s work; he
-may even fancy he has something in common with these men, but he has
-not. He was painting his pictures long before theirs were very much
-known, and he would have painted his if theirs had never been produced
-at all.</p>
-
-<p>Matisse is moved by a <i>spirit fundamentally different</i> from that which
-animates Davies.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>“The Bridge,” by Kroll, is another striking example of
-American-Impressionistic art. It is one of a series of pictures of lower
-New York, each painted “on the spot,” some from roofs and high places
-difficult of access and dangerous.</p>
-
-<p>It is comparatively easy to go out and make a few sketches of portions
-of a city like New York and then retire to the studio and paint faint
-and superficial reproductions, such inadequate reproductions as appear
-on the walls of any metropolitan exhibition; it is quite another thing
-to plant<span class="pagenum"><a name="page_198" id="page_198">{198}</a></span> one’s easel on slippery rocky heights and day after day, in
-the cold, paint from nature as directly as Monet ever painted and in a
-much more virile way.</p>
-
-<p>It takes imagination and enthusiasm and the superb confidence of youth
-to attempt such colossal things, and it takes an unusual technical
-facility to “get away” with the attempt.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Winslow Homer’s name has been mentioned and mentioned with the respect
-due one of the greatest painters this country has produced, but the
-besetting weakness of picture buyers is undue reverence for the man who
-has “arrived,” above all for the master who is dead.</p>
-
-<p><i>Better pictures are being painted in America today than Homer painted</i>,
-and he would be the first to say so if living.</p>
-
-<p>Since he painted his best pictures the art of painting has advanced,
-painters have improved their technic and broadened their outlook.</p>
-
-<p>There are pictures being painted today by young Americans that will be
-worth far more than Homer’s, and that is said with the full realization
-that no lover of what is big and strong in art could ask for more virile
-impressions of nature than those of Homer at his best.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>When the Morgan pictures were hanging in the Metropolitan Museum,
-acclaimed in parrot phrases by critics and visited by multitudes, it was
-a delight, a veritable refreshing of the soul, to get away from the
-smell of the dead into the living atmosphere of the Hearn collection and
-see pictures that <i>belong to us</i>, to our own times, that are flesh of
-our flesh, bone of our bone.</p>
-
-<p>Every picture in the Morgan collection had its vital relation</p>
-
-<div class="figcenter" id="plt_035" style="width: 600px;">
-<a href="images/i_fp198.jpg">
-<img src="images/i_fp198.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KROLL</p>
-
-<p>Brooklyn Bridge</p>
-</div></div>
-
-<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span></p>
-
-<p class="nind">to life <i>once</i>&mdash;<i>when</i> it was painted and <i>where</i> it was painted.</p>
-
-<p>Not one has even a remote relation to the life of America.</p>
-
-<p>They are valuable, very valuable, in the sense that old tapestries, old
-armor, old brocades, old pottery, etc., etc., are valuable&mdash;valuable as
-illustrating the history and development of painting, and beautiful as
-many old things are beautiful&mdash;but <i>not half so beautiful as the living
-and breathing things of today</i>.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>But how can we appreciate the beauty of the things our painters and
-sculptors are doing when we are blind to the superb, the magnificent
-beauty of what our engineer-builders are doing&mdash;our <i>steel</i>
-“<i>sky-scrapers</i>”&mdash;America’s greatest achievement and unique contribution
-to the arts&mdash;an <i>absolutely new architecture</i>?</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Though the artist may be quick to disavow all such intention, it is
-obvious that there is much Post-Impressionism in John W. Alexander’s
-work.</p>
-
-<p>In both his technic and his inspiration he is very Post-Impressionistic.</p>
-
-<p>In the delightful sweep of his line, and the purely decorative use of
-color, he departs far from nature.</p>
-
-<p>The attitude of Sargent toward a model or sitter and that of Alexander
-are diametrically opposed, the one seeks to paint a vigorous
-<i>characterization</i> of the person before him, the other seeks to <i>create
-a picture</i>, and to do so by a technic so different from that commonly
-used it still occasions much of the wonderment it excited years ago.</p>
-
-<p>Some of the portraits by Alexander are conspicuous on the walls of an
-exhibition for very much the same reasons such a picture as Van Rees’s
-“Maternity” would be conspicuous.<span class="pagenum"><a name="page_200" id="page_200">{200}</a></span></p>
-
-<p>The landscape and cattle piece by Segonzac are both examples of
-Virile-Impressionism. But Segonzac has painted many other pictures that
-are Post-Impressionistic&mdash;arbitrary in design and execution, and still
-others that are both Virile-Impressionistic and Post-Impressionistic,
-such as his large canvas, “A Pastoral,” shown at the International,
-wherein the cattle are Virile-Impressionistic creations while the nude
-figures and the entire scheme are purely Post-Impressionistic.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The two landscapes by Vlaminck and Charmy are good examples of the
-transition state from Virile-Impressionism to Post-Impressionism.</p>
-
-<p>They are sufficiently close to nature to be Impressionistic in the large
-sense of the term; at the same time they are so arbitrary and decorative
-in technic as to be quite Post-Impressionistic. They are about as far
-removed from the average exhibition of Impressionistic pictures as they
-are from the creative and abstract art of the Cubists, yet they will
-hang with either without unduly shocking the spectator’s sense of the
-fitness of things.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The three Cardoza’s are purely Post-Impressionistic; they are charming
-examples of what might be called <i>romantic</i> Post-Impressionism as
-distinguished from the more <i>abstract</i> conceptions of the Cubists; they
-have no more relation to life than a fairy tale, rather less if
-anything, for they are primarily decorative rather than significant.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Zak’s “Shepherd” is also Post-Impressionistic, romantic in feeling like
-Cardoza’s, but of deeper human significance. The utter loneliness of the
-shepherd’s life, the monotony of its outlook, the note of resignation,
-are all as subtly indicated</p>
-
-<div class="figcenter" id="plt_016" style="width: 600px;">
-<a href="images/i_fp200.jpg">
-<img src="images/i_fp200.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>CHARMY</p>
-
-<p>Landscape</p>
-</div></div>
-
-<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span></p>
-
-<p class="nind">as are any of the human qualities in Millet’s pictures of peasant life;
-yet in technic and composition the picture is essentially
-Post-Impressionistic, a decorative and musical work of the <i>creative</i>
-imagination. One would not be far astray in classing it with the poetic
-work of Arthur Davies.<span class="pagenum"><a name="page_202" id="page_202">{202}</a></span></p>
-
-<h2><a name="XIII" id="XIII"></a>XIII<br /><br />
-SCULPTURE</h2>
-
-<p class="nind"><span class="letra">D</span>EVELOPMENTS in sculpture do not always parallel those in painting.</p>
-
-<p>In comparison painting is so facile that it lends itself easily to
-experiments, responds quickly to moods and fancies. In short, painting
-is more susceptible&mdash;more volatile.</p>
-
-<p>Not that the painter and the sculptor are different human beings, but
-the mediums whereby they express themselves are so different, and the
-demands for their work are so unequal, that sculpture usually lags
-behind in new ventures. The sculptor, however great his desire, cannot
-afford to make the experiments the painter makes, or at the best he can
-only embody his new ideas and aspirations in uninviting plaster casts.</p>
-
-<p>He is bound by some of the conditions that hamper the architect, one of
-which is difficulty in finding a patron who will take the risk and pay
-the expense of innovations.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The reaction in sculpture has been from the <i>classic</i> along two opposed
-lines:</p>
-
-<p>A. Back to nature.</p>
-
-<p>B. Purely creative.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The movement back to nature, to a closer observation of life, even to
-the rendering of the human figure with brutal frankness, is exemplified
-in the work of Matisse, work so <i>ugly</i>&mdash;to most people&mdash;it seems a
-grotesque caricature of</p>
-
-<div class="figcenter" id="plt_007" style="width: 600px;">
-<a href="images/i_fp202.jpg">
-<img src="images/i_fp202.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BRANCUSI</p>
-
-<p>M’lle Poganey</p></div>
-</div>
-
-<div class="figcenter" id="plt_038" style="width: 600px;">
-<a href="images/i_fp203.jpg">
-<img src="images/i_fp203.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>LEHMBRUCK</p>
-
-<p>Kneeling Woman</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span></p>
-
-<p class="nind">the human form, but the human form today is never so symmetrical, so
-perfect as in classic sculpture, and one suspects the Greeks themselves
-idealized their young men and maidens.</p>
-
-<p>Long before Matisse, Rodin started the “return to nature.” His “Age of
-Bronze,” 1877, was so literal a transcript it was denounced as a cast
-from life; sculptors and critics refused to believe human fingers could
-model so perfect an impression. His “Saint John,” “Eve,” “Bourgeois of
-Calais,” “Le Penseur,” “La Belle Heaulmière,” to mention only a few,
-were all created in a spirit diametrically opposed to the classic&mdash;yet
-Rodin is a most intelligent lover of the classic.</p>
-
-<p><i>Per contra</i>, most of Rodin’s marbles are a fine mixture of the classic
-and purely modern&mdash;of the <i>classic</i> and the <i>romantic</i>.</p>
-
-<p>The point here is that in some of his bronzes he exhibits as clear and
-merciless an observation of nature as Matisse or any other modern. It
-may be said once for all that in the number and <i>variety</i> of things he
-does, in the manner in which he links past and present, Rodin stands
-quite alone among sculptors. If he has little sympathy with the extreme
-sculpture of the hour it is because life is short and in his life time
-he has covered so vast a territory, responded to so many impulses,
-ancient and modern, he is not unnaturally reluctant to embark upon new
-experiments or interest himself vitally in what others are doing.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The best American sculpture, even more than American painting, is
-solidly virile-impressionistic, notably the work of such men as Barnard
-and Borghlum. Davidson has one foot firmly planted within the confines
-of Post-Impressionism, but he has by no means cut loose from the past.
-His “Decorative Panel” in the Exhibition was purely
-post-impression<span class="pagenum"><a name="page_204" id="page_204">{204}</a></span>istic, a work of the imagination, while his figures were
-virile-impressionistic.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is only by comparing the work of these new men with that of St.
-Gaudens, French, MacMonies&mdash;to mention no others&mdash;that one begins to
-rightly understand what is meant by the “<i>reaction to nature</i>.”</p>
-
-<p>There is plenty of pure <i>observation</i> and plenty of fine <i>imagination</i>
-in the work of those three men, but there is also much of the purely
-classical, and not one of them showed or shows any desire to break with
-tradition, while the very essence of the modern movement is a disregard,
-conscious or unconscious, for tradition; in many of the new men there is
-a violent revolt against the domination of the past.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is when we come to the work of Brancusi and Archipanko that we find
-the most startling examples of the reaction along purely creative lines.</p>
-
-<p>Nature is purposely left far behind, as far behind as in Cubist
-pictures, and for very much the same reasons.</p>
-
-<p>Of Brancusi something has been said already.</p>
-
-<p>Of all the sculpture in the International Exhibition the two pieces that
-excited the most ridicule were Brancusi’s egg-shaped portrait of Mlle.
-Pogany and “Family Life” by Archipanko.</p>
-
-<p>Both are <i>creative</i> works, products of the imagination, but in their
-inspiration they are fundamentally different.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In his symmetrical oval head with the spiral masses where the neck would
-be, it is apparent the sculptor’s interest is in the play of line and
-relation of masses, no profound human problem troubled him. That there
-is a relation between the strange shape of the head and his theories of
-life and art no</p>
-
-<div class="figcenter" id="plt_006" style="width: 600px;">
-<a href="images/i_fp204.jpg">
-<img src="images/i_fp204.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>BOCCIONI</p>
-
-<p>Spiral Expansion of Muscles in Action</p></div>
-</div>
-
-<div class="figcenter" id="plt_042" style="width: 600px;">
-<a href="images/i_fp205.jpg">
-<img src="images/i_fp205.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MATISSE</p>
-
-<p>Portrait Heads</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span></p>
-
-<p class="nind">serious observer of his other work could doubt, but his unusual technic
-over-shadows other interest.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>In his “Family Life,” the group of man, woman, child, Archipanko
-deliberately subordinated all thought of beauty of form to an attempt to
-realize in stone the relation in life that is at the very basis of human
-and social existence.</p>
-
-<div class="blockquot"><p>Spiritual, emotional, and mathematical intellectuality, too, is
-behind the family group of Archipanko. This group, in plaster,
-might have been made of dough. It represents a featureless, large,
-strong male&mdash;one gets the impression of strength from humps and
-lumps&mdash;an impression of a female, less vivid, and the vague
-knowledge that a child is mixed up in the general embrace. The
-faces are rather blocky, the whole group with arms
-intertwined&mdash;arms that end suddenly, no hands, might be the sketch
-of a sculpture to be. But when one gets an insight it is intensely
-more interesting. It is, eventually, clear that in portraying his
-idea of family love the sculptor has built his figures with
-pyramidal strength; they are grafted together with love and
-geometric design, their limbs are bracings, ties of strength, they
-represent, not individuals, but the structure itself of family
-life. Not family life as one sees it, but the unseen, the deep
-emotional unseen, and in making his group when the sculptor found
-himself verging upon the seen&mdash;that is, when he no longer felt the
-unseen&mdash;he stopped. Therefore the hands were not essential. And
-this expression is made in the simplest way. Some will hoot at it,
-but others will feel the respect that is due one who simplifies and
-expresses the deep things of life. You may say that such is
-literature in marble&mdash;well, it is the modernest sculpture.<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p></div>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>The group is so angular, so <i>Cubist</i>, so ugly according to accepted
-notions, that few look long enough to see what the sculptor means; yet
-strange as the group was it undeniably gave a powerful impression of the
-binding, the <i>blending</i> character of the family tie, a much more
-powerful impression than groups in conventional academic pose could
-give.<span class="pagenum"><a name="page_206" id="page_206">{206}</a></span></p>
-
-<p>In considering the extreme modern movement in sculpture it must not be
-forgotten that groups and figures just as strange have been done in the
-past&mdash;that even queerer and more grotesque things have been used to
-adorn churches and altars.</p>
-
-<p>True, those sculptures and carvings are <i>naive</i> and <i>primitive</i>, but may
-not the naive and primitive be closer to life and to life’s great truths
-than the sophisticated and classical?</p>
-
-<p>That is the question.</p>
-
-<p>The answer of the moderns is that the swing of the pendulum in art is
-from the naive and primitive through the more and more conventional to
-the fixed and lifeless mold of the classic and academic, then back again
-to the naive, traversing the romantic, in its course, both ways.</p>
-
-<div class="figcenter" id="plt_043" style="width: 600px;">
-<a href="images/i_fp206.jpg">
-<img src="images/i_fp206.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>MATISSE</p>
-
-<p>Back of Woman</p></div>
-</div>
-
-<div class="figcenter" id="plt_021" style="width: 600px;">
-<a href="images/i_fp207.jpg">
-<img src="images/i_fp207.jpg" height="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>ERBSLOH</p>
-
-<p>Young Woman</p></div>
-</div>
-
-<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span></p>
-
-<h2><a name="XIV" id="XIV"></a>XIV<br /><br />
-IN CONCLUSION</h2>
-
-<p class="nind"><span class="letra">T</span>O gather the loose ends of the argument in one skein.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>Impressionism was the natural, the inevitable reaction from the romantic
-and story-telling art of the forties, fifties, and sixties&mdash;a return to
-<i>nature</i> from the <i>studio</i>, to works of the <i>observation</i> from works of
-the <i>imagination</i>.</p>
-
-<p>Impressionism developed along three diverging lines:</p>
-
-<p>A. <i>Superficial</i> Impressionism&mdash;Monet.</p>
-
-<p>B. <i>Realistic</i> Impressionism&mdash;Manet.</p>
-
-<p>C. <i>Substantial</i> Impressionism&mdash;Cézanne.</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>A. <i>Superficial</i>&mdash;the painting of light effects, the impressionism of
-Monet, culminated in the extreme refinements of the pointillists, the
-Neo-Impressionists, Seurat and Signac.</p>
-
-<p>In superficial Impressionism the last word seems to have been said for
-the time being. Any number of delightful pictures&mdash;light effects&mdash;are
-being painted, and will continue to be painted, but the early enthusiasm
-has largely subsided.</p>
-
-<p>Superficial Impressionism leads naturally to the painting of pure color
-effects&mdash;<i>color music</i>, <i>orphism</i>, <i>compositional</i> painting. After the
-last word in the <i>observation</i> of light effects <i>Post</i>-Impressionistic
-attempts to <i>create</i> pure color effects, irrespective of natural&mdash;that
-is a logical reaction.</p>
-
-<p>B. <i>Realistic</i> Impressionism penetrates a little deeper. While Monet and
-his followers, Signac and Seurat, dealt more and more with the play of
-light on the <i>surface</i> of things, Manet and his followers painted closer
-to the <i>heart</i> of things.<span class="pagenum"><a name="page_208" id="page_208">{208}</a></span></p>
-
-<p>While Monet was content to paint a hay stack twenty times in as many
-different lights, Manet preferred a touch of <i>life</i> and <i>character</i> in
-his pictures. While he was first and last a painter, he was not so
-absorbed in securing purely technical effects as to be wholly blind to
-the <i>human</i> element, hence his wonderful portraits, his bullfights, his
-glimpses of city life&mdash;pictures <i>big</i> in more senses than one.</p>
-
-<p>Still he and his followers were primarily interested in the <i>aspect</i> of
-things, the <i>characteristics</i> as distinguished from the fundamental
-<i>character</i> of things. He penetrated far deeper than Monet, so much
-deeper the two had little in common, but he did not get so close to the
-heart that he forgot the skin; he was always a painter of <i>appearances</i>,
-but in a <i>big</i> as distinguished from a <i>superficial</i> way.</p>
-
-<p>The realistic Impressionism of Manet has by no means run its course.
-Some of the finest painting in the world has been done and is being done
-along this line. It is the line of Franz Hals and Velasquez; it is the
-line of men so different as Whistler and Sargent in their best
-portraits.</p>
-
-<p>The natural reaction from perfection in this line is higher accentuation
-of characteristics&mdash;in the extreme <i>caricature</i>.</p>
-
-<p>That is, given the last word in the painting of character by great men
-in a <i>solid</i> way, the logical attempts of new men or lesser men will be
-the indication of character in a lighter and more superficial way. The
-penetrating <i>observation</i> of the older men gives way to the keen and
-playful <i>fancies</i> of the younger. The same sitter yields with the former
-a powerful portrait, with the latter a fascinating picture which may be
-quite as <i>revealing</i> both as a likeness and as a characterization.</p>
-
-<p>C. <i>Substantial</i> Impressionism is not so easy to define and
-differentiate. It is far from <i>superficial</i> but has much in common with
-<i>realistic</i>.</p>
-
-<p>It is easiest to simply say it is the Impressionism of<span class="pagenum"><a name="page_209" id="page_209">{209}</a></span> Cézanne and
-those who have read what has already been said about Cézanne will
-understand.</p>
-
-<p>Cézanne was not content to paint either the <i>surface</i> or the
-<i>characteristics</i> of things or people; he sought to go <i>deeper</i>, to get
-at the very <i>substance</i> and to place on canvas their elemental
-qualities.</p>
-
-<p>As a natural result the longer he painted the <i>less</i> interesting his
-pictures became <i>superficially</i>, but the <i>greater</i> their interest
-<i>fundamentally</i>.</p>
-
-<p>While Monet became more and more a <i>popular</i> painter, a painter for the
-dealer and the buyer, Cézanne became more and more a <i>painter’s
-painter</i>, doing things that only the technically skilled could rightly
-appreciate.</p>
-
-<p>Interested solely in the profoundest problems of his art and painting
-only for those who had a very great knowledge of art, he attracted
-comparatively few followers; the path he followed promised little in the
-way of immediate fame and rewards.</p>
-
-<p>Still during his last years he had his ardent admirers and after his
-death his simple, strong <i>constructive</i>, <i>elemental</i> pictures began to
-be widely appreciated.</p>
-
-<p>They make no pretense to the superficial charm of color or composition
-that attracts the average observer, but they <i>fascinate</i> every man who
-studies things long enough to even partially understand what the artist
-was so earnestly trying to do.</p>
-
-<p><i>Substantial</i> or Cézanne Impressionism led naturally to the
-Virile-Impressionism of today, a way of seeing and painting things that
-is a compound of the Impressionism of Manet with that of Cézanne.</p>
-
-<p>There is a great and glorious future for Virile-Impressionism. Some of
-the greatest portraits and pictures in the world will be painted with
-the penetrating vision of a<span class="pagenum"><a name="page_210" id="page_210">{210}</a></span> Cézanne, modified by the clear, cool
-observation of a Manet.</p>
-
-<p>The logical reaction from carrying observation of nature to the extent
-Cézanne carried it is painting of the substance of things <i>creatively</i>,
-<i>theoretically</i>, as in <i>Cubism</i>.</p>
-
-<p>Cézanne carried the use of planes <i>imitatively</i> so far that it was but a
-step to their use <i>arbitrarily and scientifically</i>.</p>
-
-<p><i>Substantial</i> Impressionism leads naturally to substantial
-Post-Impressionism; or in other words, the <i>substance</i> of things painted
-impressionistically (more or less imitatively) leads logically to the
-painting of the <i>substance</i> of things <i>creatively</i> =
-<i>Post</i>-Impressionistically.</p>
-
-<div class="figcenter" id="plt_036" style="width: 600px;">
-<a href="images/i_fp210.jpg">
-<img src="images/i_fp210.jpg" width="600" alt="[Image unavailable.]" /></a>
-<div class="caption"><p>KROLL</p>
-
-<p>Still Life</p>
-</div></div>
-
-<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span></p>
-
-<h2><a name="APPENDIX_I" id="APPENDIX_I"></a>APPENDIX I<br /><br />
-EXHIBITIONS AT 291 FIFTH AVENUE</h2>
-
-<p class="nind"><span class="letra">D</span>URING a number of years prior to 1913 Mr. Alfred Stieglitz gave
-exhibitions of extreme modern work in his Small Photo-Secession Gallery,
-291 Fifth Avenue, New York, and the International was the outcome, the
-logical culmination of these earlier efforts.</p>
-
-<p>Mr. Stieglitz prepared the following chronological narrative:</p>
-
-<p>In the end of November, 1906, “291” (“Photo-Secession Gallery,” “Little
-Gallery,” etc., etc.) was opened with an exhibition of pictorial
-photography. The exhibition represented the best work of Steichen, Frank
-Eugene, Kasebier, Clarence White, Stieglitz, Coburn, Brigman, Herbert G.
-French, and about thirty others, all Americans.</p>
-
-<p>This exhibition was followed up by a series of exhibitions&mdash;usually
-one-man&mdash;of the picked work which had been done in pictorial photography
-the world over.</p>
-
-<p>In 1907 the first exhibition not devoted to photography was that of Miss
-Pamela Coleman Smith. This exhibition created a sensation. At the time
-it aroused the ire of most of the New York critics.</p>
-
-<p>Following this there were shown Willie Geiger’s (Munich) best etchings
-and Ex Libris. This was the first show of his in America.</p>
-
-<p>But the real beginning, I suppose, of the so-called <i>Modern</i> work shown
-at “291” was the exhibition of about sixty of Rodin’s choicest drawings.
-These were selected by Rodin and Steichen for the special exhibition.
-The exhibition aroused intense indignation in New York amongst the
-critics and amongst most painters (men like Chase, Alexander, and
-others<span class="pagenum"><a name="page_212" id="page_212">{212}</a></span> of this type feeling that such things were not meant for the
-public).</p>
-
-<p>April, 1908, Matisse was introduced to the American public for the first
-time. This exhibition of Matisse’s represented the complete evolution of
-Matisse from his academic period up to date. It included etchings,
-drawings, water colors, lithographs, and oil paintings.</p>
-
-<p>January, 1909, the work of Marius De Zayas was introduced for the first
-time.</p>
-
-<p>March, 1909, John Marin and Alfred Maurer (the “new” Maurer) were
-introduced. The work of these Americans seemed to upset the equilibrium
-of the academicians even more than the “jokes” of Rodin and Matisse.</p>
-
-<p>May, 1909, Marsden Hartley was introduced to the public for the first
-time.</p>
-
-<p>December, 1909, Toulouse Lautrec Exhibition. A very choice collection of
-his lithographs. First Lautrec Exhibition in America.</p>
-
-<p>February, 1910, second Marin Exhibition.</p>
-
-<p>March, 1910, exhibition of the work of “Younger American Painters”:
-Arthur G. Dove, Arthur B. Carles, L. Fellows, Marsden Hartley, Putnam
-Brindley, John Marin, Alfred Maurer, Steichen, Max Weber. This was the
-first collective exhibition of Modern work by Americans.</p>
-
-<p>April, 1910, second Rodin Exhibition. The very latest drawings of Rodin
-were shown, together with eleven of his earliest ones. At the same time
-the best small bronze of the “Penseur” (loaned by Mrs. John W. Simpson)
-was exhibited.</p>
-
-<p>November, 1910, Exhibition of lithographs by Cézanne, Renoir, Manet, and
-Toulouse Lautrec. Together with these, drawings and paintings by Henri
-Rousseau, just deceased. This exhibition introduced Rousseau for the
-first time to America, as well as it introduced Cézanne.<span class="pagenum"><a name="page_213" id="page_213">{213}</a></span></p>
-
-<p>January, 1911, Exhibition by Max Weber, American.</p>
-
-<p>February, 1911, Marin Exhibition (third).</p>
-
-<p>March, 1911, a series of Cézanne water colors. The first one-man show of
-Cézanne’s in America. These water colors were most carefully selected
-and really represent a side of Cézanne which is underestimated by all
-those, even Cézanne lovers, who do not fully understand Cézanne’s
-importance.</p>
-
-<p>April, 1911, Picasso. Drawings, lithographs, water colors, etc. A series
-of eighty showing the complete evolution of Picasso. The first
-introduction of Picasso to America and the first exhibition anywhere of
-Picasso held in this sense.</p>
-
-<p>February, 1912, second Hartley exhibition.</p>
-
-<p>February, 1912, first Arthur G. Dove exhibition.</p>
-
-<p>March, 1912, sculptures and latest drawings by Matisse. First
-introduction to America of Matisse, the sculptor.</p>
-
-<p>April, 1912, Exhibition of Children’s Work, showing relationship of that
-to much of the spirit of so-called “Modern” work, first exhibition of
-its kind held in America.</p>
-
-<p>December, 1912, drawings and paintings by A. Walkowitz.</p>
-
-<p>January, 1913, fourth Marin Exhibition&mdash;the now famous New York
-skyscraper series were shown.</p>
-
-<p>March, 1913, Picabia’s New York work. The first one-man show of Picabia
-held in America.</p>
-
-<p>April, 1913, Exhibition of De Zaya’s abstract caricature. Possibly the
-most <i>modern</i> expression of the human portrait.</p>
-
-<p>Incidentally, without having had official shows, the work of Eli
-Nadelmann (Paris) and Manolo, was introduced to America by examples of
-their work being shown.</p>
-
-<p>Outside of all these exhibitions, of course, must be added the
-exhibition of color-photography, first in America, in 1907, and numerous
-other exhibitions, of important photographic work.<span class="pagenum"><a name="page_214" id="page_214">{214}</a></span></p>
-
-<h2><a name="APPENDIX_II" id="APPENDIX_II"></a>APPENDIX II<br /><br />
-TWO COMMENTS</h2>
-
-<p class="nind"><span class="letra">I</span>T is only fair to the press to say that here and there, in most
-unexpected places, not only articles but editorials appeared admonishing
-the public to be cautious about condemning the new art too impulsively.</p>
-
-<p>We have chosen two such expressions from places so different, as London,
-and Reno, Nevada.</p>
-
-<p>Apropos the Russian Ballet and its extraordinary music, the London
-“Times,” in a leading editorial, July 13, 1913, said:</p>
-
-<p>“We have entered into one of those periods of artistic revolution in
-which the public, audience, or spectators become partisans and express
-their opinions as if they were at a political meeting. The Russian
-Ballet, for instance, produced a conflict of opinion last Friday, which
-recalls the conflicts provoked by the plays of Victor Hugo in the
-thirties. Post-Impressionism now is what the Romantic movement was then.
-To one party it means the end of all beauty; to the other a new birth of
-it. People no longer clap or hiss because they think a particular
-performance is well or ill done. Even in England, where the arts are not
-commonly taken very seriously, they are beginning to clap or hiss on
-principle, and to feel that they are making history when they do so.
-Partisans on both sides are probably not very clear in their minds why
-they like Post-Impressionism or dislike it; but the word, vague and
-clumsy as it is, does imply to them a set of tendencies by which all the
-arts may be ruined or regenerated. It is not merely a fashion in
-painting, but, like Romanticism,<span class="pagenum"><a name="page_215" id="page_215">{215}</a></span> a movement of the mind which is trying
-to express itself through all means of artistic expression.</p>
-
-<p>“Of this the new turn taken by the Russian Ballet is a striking proof;
-for no one can suppose that the artists concerned in that enterprise are
-haters of beauty because of their own incompetence to achieve it. They
-have every material inducement to continue delighting the world with
-Ballets like Carnival or Scheherazade; and, if they attempt a new kind
-of art, it must be because they are driven to it by some force in
-themselves too powerful to be withstood. Masters like M. Nijinsky do not
-try dangerous experiments on the public for the mere pleasure of trying
-them; and it is a little presumptuous to assume that they are suddenly
-afflicted by sheer perversity of taste. It is more probable that they
-are possessed by that ardour of discovery which is common both to great
-artists and to great men of science, indeed to all men whose interest in
-life is stronger than their desire for their own comfort.</p>
-
-<p>“Most people make the mistake of thinking that the development of an art
-consists altogether of what is called invention and not of discovery;
-and for that reason they often resent innovations as mere perversities.
-If a thing has been well done already they cannot see why it should not
-continue to be done. But the artist knows that he cannot invent again
-what has been once invented. He knows, too, that these seeming
-inventions are also discoveries of the possibilities of his art; and
-that when discovery has been carried very far in one direction it cannot
-be carried any further. The history of all arts proves this. After
-Michel Angelo no one could invent anything fresh in his manner, because
-he had discovered all that could be discovered about his method of art.
-Renaissance architecture prevailed in Europe because no new discoveries
-were possible in Gothic.<span class="pagenum"><a name="page_216" id="page_216">{216}</a></span></p>
-
-<p>“The Romantic movement changed English poetry when there was nothing
-more to be said in the manner of Pope. You may prefer the old art to the
-new, but even if you are right in preferring it, you are not therefore
-right in condemning those who practice the new art. For they have no
-alternative. Either they must be mere imitators of the great men of the
-past or they must make a new start; and the true artist can no more
-content himself with imitation than the true philosopher can content
-himself with repeating what other philosophers have said.</p>
-
-<p>“Behind all representation in the arts there is the impulse of
-expression; and that will make its discoveries wherever there is most to
-be discovered, turning naturally to those elements of the art which have
-lately been neglected. If we understand this we shall see that a new
-artistic movement, such as Post-Impressionism, is not to be judged
-merely by a few pictures or to be condemned because those pictures seem
-to us very unlike reality. Whatever may come of it, it is something that
-is happening in all the arts, because discovery is turning in a new
-direction. All the successes of the past are obstacles to new success of
-the same kind, and discovery naturally takes a line of least resistance
-away from them. For a long time, in every art, artists have been raising
-expectations which they found it difficult, if not impossible, to
-satisfy. In painting, with its effort at complete illusion, they have
-provoked comparisons with Velasquez. In music, with its elaborate forms,
-they must do as well as Beethoven if they are to succeed. The dance, as
-we are used to it, demands an easy grace in every movement, which M.
-Nijinsky himself cannot combine with novelties of expression. He has
-found that, if he is to be a discoverer in his art, he must teach his
-public not to expect this easy grace, this formal and accustomed beauty,
-from the start. And that is the purpose of Post-<span class="pagenum"><a name="page_217" id="page_217">{217}</a></span>Impressionism in all
-the arts. It is determined not to arouse expectations which it cannot
-satisfy.</p>
-
-<p>“The public may begin by thinking it all crude and ugly and childish;
-and it will be the more delighted by any beauties which it discovers
-afterwards. Hitherto the arts have promised more than they could
-possibly perform. Now they shall promise nothing, and so perform at
-least more than they promise. It is natural, perhaps, that the public
-should resent this as a kind of discourtesy. The artist who makes no
-professions seems to them lacking in respect, and they are inclined to
-hoot him as an impudent charlatan. But there are very few artists who
-wish to be hooted, and the real charlatan usually flatters his public.
-Whatever may be said against Post-Impressionists in all the arts, they
-are not flatterers.”</p>
-
-<p class="cdtts"><img src="images/dtts.png"
-width="100"
-alt="* * *"
-/></p>
-
-<p>It is a far cry from London to Reno, and the differences between the two
-places are not measured by the miles between them.</p>
-
-<p>Leading editorial from the “Journal,” Reno, July 11, 1913:</p>
-
-<h3>SIMPLE SOLOMON</h3>
-
-<p>“When Solomon staked his reputation for wisdom as well as originality on
-the assertion that there is nothing new under the sun, he did not think
-some day the Cubist painter, the Futurist artist, and the color musician
-would rise in the twentieth century and make him ridiculous. There is
-something new under the sun even in these departures, and like
-everything original since the first sin, the innovations are now roundly
-condemned.</p>
-
-<p>“It is the fashion now to condemn the Cubist and the Futurist in art,
-even as not long ago it was the fashion to condemn the realist, the
-impressionist and the Post-Impressionist; but it is a peculiar tribute
-to the authority of an innovation that it requires such a general attack
-of condemnation.<span class="pagenum"><a name="page_218" id="page_218">{218}</a></span> A trivial thing requires mere neglect; a war of
-condemnation implies some strong and virile thing to be subdued.</p>
-
-<p>“These new things have a substantial basis for existence; else they
-would not exist. Their novelty has caused some extravagant adherents to
-carry them to unreasonable excess. They have abused the discoveries, not
-used them. They will pass away but the new principles will survive.</p>
-
-<p>“The cubist takes his cue from the idea of perspective itself&mdash;carried
-to excess. No one can imagine anything but straight lines as the basis
-for ‘vanishing points.’ Curved lines, while apparent and obvious, are
-not the scientific representations of actualities. The things we see
-strike the eye on the basis of flat images and our imagination brings
-out shape and significance. It is but a simple reversal to present flat
-art and give the imagination equal play in reconstructing real images in
-the eye.</p>
-
-<p>“If we take a half-tone engraving and examine it with a magnifying glass
-we find it is a series of holes of uniform size but more or less dense
-on the surface according to the requirements of light, shade and line.
-Magnify a half-tone 100 times and we have a large grating of black and
-white circles or squares. That is cubist art. It requires a slight shift
-in the point of view, a little development and stimulation of the
-imagination&mdash;nothing more.</p>
-
-<p>“When Gulliver visited the Brobdingnagians and viewed the complexions of
-their women at close range, it almost made him sick&mdash;yet they were noted
-beauties. He looked too close. When they looked at him they observed no
-complexion&mdash;they looked too far. Yet each had a concrete complexion and
-the only trouble was the point of view and the shock of comparison.</p>
-
-<p>“The futurists have a very novel and, at this time, an outlandish art.
-One of them has a full page picture used as an<span class="pagenum"><a name="page_219" id="page_219">{219}</a></span> advertisement of the
-peculiar sound of a horn. It is a picture of a sound that saws its way
-through other sounds. There is a straight, fan-like picture for a
-constant, augmenting note, rising in scale. It is gray. There is a black
-ellipse for a loud varying noise of fairly regular variation of note,
-and so on. The foreign noise of the horn is shown as utterly unlike in
-form, intensity, regularity or harmony, any other sound.</p>
-
-<p>“If one has a diagram one can understand the futurist art and, when one
-understands, he approves. The new arts are simply aids to comparison,
-discrimination and inspiration. They have all the delights of
-wine-tasting or salad-judging&mdash;and some salads are vile.</p>
-
-<p>“The color musician has developed only another exercise in
-discrimination. If we were to make mathematics of music we would find
-that there is an exact relation between the number of vibrations of
-notes an octave apart; a constant relation between the vibrations in the
-natural and the sharp; a direct ratio between the vibrations of the
-notes in a chord; a formula for harmony and another for discord. It is
-an interesting mathematical study, a science as well as an art, and it
-proves that our appreciation through the senses is based on natural
-mathematical sequences and on well understood ratios, seasoned for
-variety’s sake by divergences from type.</p>
-
-<p>“Now the color musician has taken the spectrum and made notes out of it
-like the notes on the gamut. He has a color-scale and can do as much on
-it for the delight of the eye as a musician can with the musical scale
-for the ear. He merely brings out an extra way of enjoying distinctions
-and of enjoying that most restful of enjoyable things&mdash;conventionality.
-The certainty and the satisfaction of the conventional is about the most
-assuring thing in all experience. There is no more steadying feeling in
-all the world than to<span class="pagenum"><a name="page_220" id="page_220">{220}</a></span> know that two and two make four, and that c-a-t
-spells cat. The more ways by which we can be assured of the belief we
-hold by faith, that there is an uniform, unchanging, all-pervading rule
-in the world, arguing an individual, mastering central consciousness and
-direction, the happier we are.</p>
-
-<p>“The cubists and the futurists and the color musicians may be faddists,
-but they help to drive out old Solomon’s pessimism. They help us to
-understand by purely human experience how it is that there may be some
-things which even humans cannot understand&mdash;but which are.<span class="pagenum"><a name="page_221" id="page_221">{221}</a></span>”</p>
-
-<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span>&nbsp; </p>
-
-<h2><a name="BIBLIOGRAPHY" id="BIBLIOGRAPHY"></a>BIBLIOGRAPHY</h2>
-
-<h3><a name="ENGLISH" id="ENGLISH"></a>ENGLISH</h3>
-
-<div class="blockquot"><p>In attempting this bibliography of the modern movement in art, the
-search in periodical literature in England, France, and Germany has
-been carried back no farther than 1908.</p></div>
-
-<div class="blockquott"><p><span class="smcap">Is Art a Failure?</span> by Robert Fowler. Nineteenth Century, July, 1912.</p>
-
-<p><span class="smcap">Art, A New Venture in.</span> <i>Exhibition at the Omega Workshops.</i> Times,
-July 9, 1913.</p>
-
-<p><span class="smcap">Bakst, Leon</span>. <i>Art Exhibitions. A Great Designer.</i> Times, June 17,
-1912. Morning Post, June 18, 1912.</p>
-
-<p><span class="smcap">Bakst, Leon.</span> <i>Exhibition.</i> Athenaeum, July 6, 1912.</p>
-
-<p><span class="smcap">Berlin Secession.</span> For short notices on see “Studio”: LI, p. 241;
-LI, p. 328; LII, p. 68; LII, p. 153; LII, p. 240; LIII, p. 324;
-LIV, p. 84; LV, p. 59; LV, p. 249; LVI, p. 241.</p>
-
-<p><span class="smcap">Cézanne</span>. <i>Article by Maurice Denis.</i> Burlington Magazine, XVI Part
-I, p. 207; Part II, p. 275.</p>
-
-<p><i>Cézanne</i>. <i>Manet and the French Impressionists. Pissaro&mdash;Claude
-Monet&mdash;Sisley&mdash;Rénoir&mdash;Berthe Morisot&mdash;Cézanne&mdash;Guillaume.</i>
-Translated by J. E. Crawford Flitch. Illustrated with 34 etchings,
-4 wood engravings, and 32 reproductions in half-tone No. 9 by
-Theodore Duret. J. B. Lippincott &amp; Co., Philadelphia, 1910.</p>
-
-<p><span class="smcap">Cézanne.</span> <i>Cézanne and Gauguin.</i> Athenaeum, Dec. 2, 1911.</p>
-
-<p><span class="smcap">Cézanne.</span> <i>Cézanne and Gauguin.</i> London Times, Nov. 28, 1911.</p>
-
-<p><span class="smcap">Courbet.</span> <i>Exhibition.</i> Times, March 8, 1911.</p>
-
-<p><span class="smcap">Cubists.</span> <i>Cubism.</i> Albert Gleizes and Jean Metzinger. Translated
-from the French, with illustrations. T. Fisher Unwin, 1912.</p>
-
-<p><span class="smcap">Drama and Art, The New Spirit in.</span> Huntley Carter. London, Frank
-Palmer, 1912.</p>
-
-<p><span class="smcap">Futurists.</span> Athenaeum, March 9, 1912.</p>
-
-<p><span class="smcap">Futurists.</span> Spectator, March 16, 1912.</p>
-
-<p><span class="smcap">Futurists.</span> <i>The Initial Manifesto of Futurism.</i> F. T. Marinetti.
-Printed in the Catalogue of Exhibition in the Sackville Gallery,
-London, of works by the Italian Futurist painters, March, 1912.</p>
-
-<p><span class="smcap">Futurists.</span> <i>Severini (Gino).</i> Introduction to catalogue of his
-pictures on view at the Marlborough Galleries, Duke street, London,
-1913.</p>
-
-<p><span class="smcap">Gauguin.</span> <i>Cézanne and Gauguin.</i> London Times, Nov. 28, 1911.</p>
-
-<p><span class="smcap">Harrison, Frederic.</span> <i>Aischro Latreia&mdash;The Cult of the Foul.</i>
-Nineteenth Century, February, 1912.</p>
-
-<p><span class="smcap">Hind, C. Lewis.</span> <i>The Consolations of a Critic.</i> London, A. and C.
-Black, 1911.</p>
-
-<p><span class="smcap">Hourticg, Louis.</span> <i>Art in France.</i> London, Heinemann, 1911.</p>
-
-<p><span class="smcap">Huneker, James.</span> <i>Promenades of an Impressionist.</i></p>
-
-<p><span class="smcap">Impressionists.</span> <i>The Post Impressionists.</i> Article by Clutton-Brock
-(A), Burlington Magazine, XVIII, p. 216.</p>
-
-<p><span class="smcap">International Society.</span> <i>Exhibitions.</i> Times, April 8, 1911;
-Spectator, April 15, 1911.<span class="pagenum"><a name="page_224" id="page_224">{224}</a></span></p>
-
-<p><span class="smcap">London Salon.</span> See Times July 8, 1911; July 30, 1912, <i>Effects of
-Artistic Freedom</i>; July 7, 1913.</p>
-
-<p><span class="smcap">MacColl, D. S.</span> <i>Ugliness, Beauty and Mr. Frederic Harrison.</i>
-Nineteenth Century, March, 1912.</p>
-
-<p><span class="smcap">Maillol.</span> <i>The Sculpture of Maillol.</i> Roger Fry. Burlington
-Magazine, XVII, p. 26.</p>
-
-<p><span class="smcap">Meier-Graefe, Alfred Julius.</span> <i>Modern Art, Being a Contribution to a
-New System of Aesthetics.</i> Translated from the German by Florence
-Simmons and George W. Chrystal. 2 vols. London, 1908.</p>
-
-<p><span class="smcap">Munich Neue Vereinigung.</span> Studio, LIII, p. 320.</p>
-
-<p><span class="smcap">New English Art Club Exhibition.</span> Spectator, Nov. 30, 1912.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>The Post Impressionists.</i> C. Lewis Hind.
-London, Methuen &amp; Co., 1911.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>Review of Mr. Hind’s Book.</i> Athenaeum, July
-8, 1911.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>Notes on the Post Impressionist Painters at
-the Grafton Galleries.</i> C. J. Holmes. 1910-1911.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>On Post Impressionism.</i> Sir William Richmond.
-Times, Jan. 10, 1911.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>Pages on Art.</i> Charles Ricketts. Containing
-article on <i>Post-Impressionism at the Grafton Gallery</i>. London,
-Constable &amp; Co., 1913.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>French Artists of Today.</i> London, Heinemann,
-1912.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>From Impressionism to the Spectral Palette.</i>
-H. P. H. Friswell. Saturday Review, Feb. 23, 1901.</p>
-
-<p><span class="smcap">Post Impressionists.</span> Foreword to catalogue of exhibition by Frank
-Rutter. Doré Galleries, London.</p>
-
-<p><span class="smcap">Post Impressionists.</span> Letter on <i>The Post Impressionists at the
-Grafton Gallery</i>. A. Warren Dow. Spectator, Oct. 12, 1912.</p>
-
-<p><span class="smcap">Post Impressionists.</span> Athenaeum, Jan. 7, 1911; December, 1911.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>A Year of Post-Impressionism.</i> D. S. MacColl.
-Nineteenth Century, February, 1912; “The Spectral Palette,”
-Saturday Review, Feb. 9, 1901.</p>
-
-<p><span class="smcap">Post Impressionists.</span> <i>The Post Impressionist and Others.</i> Yoshio
-Markino. Nineteenth Century, February, 1913.</p>
-
-<p><span class="smcap">Revolution in Art.</span> Athenaeum, Feb. 4, 1911.</p>
-
-<p><span class="smcap">Rodin, Auguste.</span> <i>Art.</i> From the French of Paul Gsell. London,
-Hodder &amp; Stoughton.</p>
-
-<p><span class="smcap">Sculpture.</span> <i>Gills, Eric.</i> Times, Jan. 27, 1911.</p>
-
-<p><span class="smcap">Sculpture.</span> <i>Post Impressionist Sculptures.</i> Athenaeum, Jan. 28,
-1911.</p>
-
-<p><span class="smcap">Sculpture.</span> <i>The Sculpture of Maillol.</i> Roger Fry. Burlington
-Magazine, XVII, p. 26.</p>
-
-<p><span class="smcap">Van Gogh.</span> <i>The Letters of a Post Impressionist, Being the Familiar
-Correspondence of Vincent Van Gogh.</i> Translated from the German by
-Anthony M. Ludovici. London, Constable &amp; Co., 1912.</p>
-
-<p><span class="smcap">Van Gogh.</span> <i>Review of V. Van Gogh’s Letters.</i> Athenaeum, Dec. 21,
-1912.</p>
-
-<p><span class="smcap">Van Gogh.</span> <i>Riefstahl</i>, R. Meyer. Part I, <i>Vincent Van Gogh</i>,
-Burlington Magazine, XVIII, p. 91; Part II, <i>Van Gogh’s Style in
-Relation to Nature</i>, Burlington Magazine, XVIII, p. 155.</p>
-
-<p><span class="smcap">Van Gogh.</span> <i>The Letters of Vincent Van Gogh.</i> F. Melian Stawell
-(review) Burlington Magazine, XVIX, p. 152.</p></div><p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span></p>
-
-<h3><a name="FRENCH" id="FRENCH"></a>FRENCH</h3>
-
-<div class="blockquott"><p><span class="smcap">Apollinaire, Guillaume.</span> <i>Meditations esthétiques. Les peintres
-cubistes.</i> 1ère série: Pablo Picasso, Georges Braque, Jean
-Metzinger, Albert Gleizes, Juan Gris, Mlle. Marie Laurencin,
-Fernand Léger, Francis Picabia, Marcel Duchamp, Duchamp Villon.
-Paris, Eug. Figuière, 1913. In-40, 84 p. et 46 planches,
-reproductions.</p>
-
-<p><span class="smcap">Bernard, Emile.</span> <i>Souvenirs sur P. Cézanne.</i> Paris, office central
-de librairie, 5 rue Palatine, 1908. In-12.</p>
-
-<p><span class="smcap">Buzzi, Paolo.</span> <i>Aeroplani.</i> Canti alati di Paolo Buzzi. Col. IIe
-Proclama futurista di F. T. Marinetti. Milano, edizione di
-<i>Poesia</i>, 1909. In-16, 282 p.</p>
-
-<p><span class="smcap">Denis, Maurice.</span> <i>Théories 1890-1910.</i> <i>Du symbolisme et de Gauguin
-vers un nouvel ordre classique.</i> Paris, Bibliothèque de l’occident,
-17 rue Eble, 1912. In-80, 272 p.</p>
-
-<p><span class="smcap">Duhem, Henri.</span> <i>Impressions d’art contemporain.</i> Paris, Eug.
-Figuière, 1913. In-120, 382 p.</p>
-
-<p><span class="smcap">Gleizes, Albert et Metzinger, Jean.</span> <i>Du cubisme.</i> Paris, Eug.
-Figuière, 1912. In-40, 80, 44 p., et 30 pl., reproductions.</p>
-
-<p><span class="smcap">Guy, Michel.</span> <i>Le dernier état de la peinture.</i> Paris, Union
-française d’édition, Le Feu, 1911. In-16, plaquette.</p>
-
-<p><span class="smcap">Letalle, Abel.</span> <i>Idées et figurations d’art.</i> Paris, E. Sansot,
-1911. In-160.</p>
-
-<p><span class="smcap">Marinetti, F. T.</span> <i>Le futurisme.</i> Paris, E. Sansot, 1911. In-12, 240
-p. La <small>I</small>ere édition italienne est de.</p>
-
-<p><span class="smcap">Marinetti, F. T.</span> <i>Coupées électriques.</i> Drama en trois actes avec
-une préface sur le futurisme. Paris, E. Sansot, 1909. In-12, 194 p.</p>
-
-<p><span class="smcap">Marinetti, F. T.</span> <i>Le monoplan du pape, roman politique en vers
-libres.</i> Paris, E. Sansot, 1913. In-16, 349 p.</p>
-
-<p><i>Les peintres futuristes italiens.</i> Exposition du Lundi 5, au Mardi
-24 Février 1912. Paris, Bernheim, Jeune, 1912. Oct. In-16, 32 p., 8
-fig. ou reproductions.</p>
-
-<p><i>Catalogues des peintres futuristes et sculpteurs</i>. Paris,
-Bernheim-Jeune, 1912. In-16. Même opuscule que le précédent à peu
-de chose près 3 éditions: en français, en anglais, en italien.</p>
-
-<p><span class="smcap">Mellerio, André.</span> <i>Le mouvement idéaliste en peinture.</i> Paris, H.
-Floury, 1896. In-80, 75 p.</p>
-
-<p><span class="smcap">Mellerio, André.</span> <i>L’Exposition de 1900 et l’impressionnisme.</i>
-Paris, H. Floury, 1900. In-80, 48 p.</p>
-
-<p><span class="smcap">Nocq, Henry.</span> <i>Tendances nouvelles. Enquête sur l’évolution des
-industries d’art.</i> Paris, H. Floury, 1896. In-80, 204 p.</p>
-
-<p><span class="smcap">Salmon, André.</span> <i>La jeune peinture française.</i> Paris, Société des
-Trente. Albert Messein, 1910. In-80, 124 p.</p></div>
-
-<p>Lors paraître prochainement du même auteur:</p>
-
-<div class="blockquot"><p><span class="smcap">Salmon, André.</span> <i>La jeune sculpture française.</i> Paris, Société des
-Trente. Albert Messein, 1912. In-80.</p>
-
-<p><span class="smcap">Signac, Paul.</span> <i>D’Eugène Delacroix au néo-impressionnisme.</i> Paris,
-Floury, 1911. In-80, 120 p. (nouvelle édition) La <small>I</small>ere édition en
-1899.</p>
-
-<p><span class="smcap">Uhde, J. B.</span> <i>Henri Rousseau</i>, (dit Rousseau le Douanier) Paris,
-Eug. Figuière, 1913. In-40, avec reproductions.</p></div>
-
-<p class="c">EN PRÉPARATION.</p>
-
-<div class="blockquot"><p><span class="smcap">Morisse, Charles.</span> <i>Gauguin.</i> In-80. Chez l’éditeur H. Floury,
-Boulevard des Capucines, Paris.</p></div><p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span></p>
-
-<p>A noter pour paraître prochainement sous la direction de Guillaume
-Apollinaire, à la librairie Eugène Figuière à Paris, 7 rue Corneille;
-Une volume sur Cézanne, sur Seurat, sur Dégas, sur Rénois, par des
-auteurs différents. Une volume également sur <i>Les peintres orphiques</i>
-par Guillaume Apollinaire lui-même.</p>
-
-<p>À noter aussi l’ouvrage suivant:</p>
-
-<div class="blockquot"><p><span class="smcap">Rénoir.</span> <i>Album de quarante reproductions dont 4 fac-similés en
-couleur et 36 phototypes.</i> Préface d’Octave Mirebeau. Texte des
-plus notoires écrivains de tous les pays. Paris, chez
-Bernheim-Jeune, 28 boulevard de la Madeleine, 1913. In folio.</p></div>
-
-<p class="c">ARTICLES.</p>
-
-<div class="blockquott"><p><span class="smcap">Alexandre, Arsène.</span> <i>Maurice Denis.</i> Signé: Arsène Alexandre. In-40,
-6 pages, 5 reproductions. L’art et les artistes. Tome VIII,
-Janvier, 1909.</p>
-
-<p><span class="smcap">Apollinaire, Guillaume.</span> <i>Henri Matisse.</i> Signé: Guillaume
-Apollinaire. In-80, 5 pages, et 3 reproductions. La Phalange. No.
-du 15 Décembre, 1907.</p>
-
-<p><span class="smcap">Aurel.</span> <i>L’Ensiegnement d’Emile-Antoine Bourdelle.</i> Signé: Aurel.
-In-80, 14 p. La Phalange. No. du 20 Mars, 1912.</p>
-
-<p><span class="smcap">Bertaux, Emile.</span> <i>Notes sur le Gréco.</i> I. <i>Les Portraits</i>. II.
-<i>L’Italienne</i>. III. <i>Le Byzantisme</i>. 3 articles dans de <i>revue de
-l’art ancien et moderne</i>, Années: 1911, Juin; 1912, Décembre et
-1913, Janvier. Nombreuses reproductions et planches hors texte.</p>
-
-<p><span class="smcap">Besson, Georges.</span> <i>Le grand palais aux bestiaux.</i> Signé: Georges
-Besson. In-80, 5 pages. La Phalange. No. du 20 Décembre, 1912.</p>
-
-<p><span class="smcap">Bricaut, Jean.</span> <i>Essai sur la couleur.</i> Signé: Jean Bricaut. In-80,
-5 pages. La Phalange. No. du 20 Avril, 1913.</p>
-
-<p><span class="smcap">Cornu, Paul.</span> <i>Bernard Naudin, dessinateur et graveur.</i> Signé: Paul
-Cornu. Les Cahiers du Centre. 40 Série, Mars, 1913.</p></div>
-
-<p>A noter dans cette même revue; La Phalange&mdash;Léon Werth puis Georges
-Besson rédigent le mois du peintre donnet à propos des différentes
-expositions à la galerie Bernheim-Jeune, à la Galerie Volard et autres,
-des aperçus et des considerations souvent fort intéressants sur le
-cubisme et le néo-impressionisme et sur de nombreux artistes tels que
-Cézanne, Gauguin, Van Gogh, Rénois, Cissaro, Seurat, etc.</p>
-
-<p>Dans de Mercure de France, Charles Morisse, puis Gustave Kahn, font le
-même sous la rubrique <i>Art et art moderne</i>.</p>
-
-<div class="blockquot"><p><span class="smcap">Cousturier, Lucie.</span> <i>Georges Seurat.</i> (1889-1891.) Signé: Lucie
-Cousturier. In-40, 16 pages, 15 reproductions. Art décoratif. Revue
-de l’art ancien et de la vie artistique moderne. No. 174, 20 Juin,
-1912.</p>
-
-<p><span class="smcap">Cousturier, Lucie.</span> <i>Pierre Bonnard.</i> Signé: Lucie Cousturier.
-In-40, 16 pages, 16 reproductions. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 186, 20 Décembre, 1912.</p>
-
-<p><span class="smcap">Cousturier, Lucie.</span> <i>Henri-Edmond Cross.</i> Signé: Lucie Cousturier.
-In-40, 16 pages, 15 reproductions. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 189, Mars, 1913.</p>
-
-<p><span class="smcap">Cousturier, Lucie.</span> <i>Maurice Denis.</i> Signé: Lucie Cousturier. In-40,
-16 pages, 16 reproductions. Art décoratif. Revue de l’art ancien et
-de la vie artistique moderne. No. 191, Mai, 1913.</p>
-
-<p><span class="smcap">Denis, Maurice</span>. <i>Maillol.</i> (Aristide.) Signé: Maurice Denis. In-40,
-6 p., 5 reproductions. L’art et les artistes. Tome VIII, Janvier,
-1909.<span class="pagenum"><a name="page_227" id="page_227">{227}</a></span></p>
-
-<p><span class="smcap">Deverin, Edouard</span>. <i>Paul-Emile Colin.</i> Signé: Edouard Deverin.
-In-40, 8 pages, 7 reproductions. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 190, Avril, 1913.</p>
-
-<p><span class="smcap">Faure, Elie.</span> <i>Paul Cézanne.</i> Signé: Elie Faure. In-40, 16 pages, 17
-reproductions dont 1 en couleur. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 157, Octobre, 1911.</p>
-
-<p><span class="smcap">Faure, Elie.</span> <i>Francisco Iturino.</i> Signé: Elie Faure. In-40, 4 p., 3
-reproductions. Art décoratif. Revue de l’art ancien et de la vie
-artistique moderne. No. 178, 20 Août, 1912.</p>
-
-<p><span class="smcap">Godet, Pierre.</span> <i>Vincent Van Gogh.</i> Signé: Pierre Godet. In-40, 16
-p., 14 reproductions dont une en couleur. Art décoratif. Revue de
-l’art ancien et de la vie artistique moderne. No. 156, Septembre,
-1911.</p>
-
-<p><span class="smcap">Godet, Pierre.</span> <i>Puvis de Chavannes et la peinture d’aujourd’hui.</i>
-Signé: Pierre Godet. In-40, 16 pages, 13 reproductions. Art
-décoratif. Revue de l’art ancien et de la vie artistique moderne.
-No. 164, Janvier, 1912.</p>
-
-<p><span class="smcap">Godet, Pierre.</span> <i>Un peintre suisse.</i> Cuno Amiet. Signé: Pierre
-Godet. In-40, 10 pages, 11 reproductions. Art décoratif. Revue de
-l’art ancien et de la vie artistique moderne. No. 171, 5 Mai, 1912.</p>
-
-<p><span class="smcap">Guy, Michel.</span> <i>Paul Gauguin.</i> Signé: Michel Guy. In-40, 16 pages, 13
-reproductions. Art décoratif. Revue de l’art ancien et de la vie
-artistique moderne. No. 151, Avril, 1911.</p>
-
-<p><span class="smcap">Guy, Michel.</span> <i>Les Fauves.</i> Signé: Michel Guy. In-89, 9 pages. La
-Phalange. No. du 15, Septembre, 1907.</p>
-
-<p><span class="smcap">Guy, Michel,</span> <i>van Gogh.</i> Signé: Michel Guy. In-80. La Phalange. No.
-du 15, Février, 1908.</p>
-
-<p><span class="smcap">Henri, Frantz.</span> <i>La Collection Henri Rouart.</i> Signé: Henri Frantz.
-In-40, 31 pages et 32 reproductions. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 185, 5 Décembre, 1912.
-Contient de nombreux aperçus sur des œuvres des peintres
-impressionistes tels que Cézanne, Rénoir, Monet, Degois, etc.</p>
-
-<p><span class="smcap">Laenen, Jean.</span> <i>Jacob Smits.</i> Signé: Jean Laenen. In-40, 9 pages, 8
-reproductions. Art décoratif. Revue de l’art ancien et de la vie
-artistique moderne. No. 121, Octobre, 1908.</p>
-
-<p><span class="smcap">Marval, Jacqueline,</span> <i>Les danseurs de Flandrin.</i> Signé: Jacqueline
-Marval. In-40, 12 pages, 12 reproductions. Art décoratif. Revue de
-l’art ancien et de la vie artistique moderne. No. 190, Avril, 1913.</p>
-
-<p><span class="smcap">Mauclain, Camille.</span> <i>Gaston Crunier.</i> Signé: Camille Mauclain.
-In-40, 12 pages, 14 reproductions et 1 planche en couleur hors
-texte. Art décoratif. Revue de l’art ancien et de la vie artistique
-moderne. No. 139, Avril, 1910.</p>
-
-<p><span class="smcap">Meier-Graefe, J.</span> <i>Grêco peintre baroque.</i> Signé: J. Meier-Graefe.
-Trav. de l’allemand par Pierre Godet. In-40, 36 pages, 35
-reproductions. Art décoratif. Revue de l’art ancien et de la vie
-artistique moderne. No. 182, 20 Octobre, 1912.</p>
-
-<p><span class="smcap">Ritter, William.</span> <i>Frank Brangwyn.</i> Signé: William Ritter. In-40, 14
-p., 14 reproductions. L’art décoratif, revue de l’art ancien et de
-la vie artistique moderne. No. 144, Septembre, 1910.</p>
-
-<p><span class="smcap">Rivière, Jacques.</span> <i>Coussin et la peinture contemporaine.</i> Signé:
-Jacques Rivière. In-40, 16 pages, 14 reproductions. Art décoratif.
-Revue de l’art ancien et de la vie artistique moderne. No. 167,
-Mars, 1912.</p>
-
-<p><span class="smcap">Salmon, André.</span> <i>Odilon Rédon.</i> Signé: André Salmon. In-40, 16
-pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
-la vie artistique moderne. No. 187, Janvier, 1913.<span class="pagenum"><a name="page_228" id="page_228">{228}</a></span></p>
-
-<p><span class="smcap">Salmon, André.</span> <i>Marie Laurencin.</i> Signé: André Salmon. In-40, 6
-pages, et 6 reproductions. Art décoratif. Revue de l’art ancien et
-de la vie artistique moderne. Nos. 194-198, Août-Septembre, 1913.</p>
-
-<p><i>Tougendhold, Jacques.</i> <i>Borissoff Moussatoff.</i> Signé: Jacques
-Tougendhold. In-40, 12 pages, 13 reproductions. Art décoratif.
-Revue de l’art ancien et de la vie artistique moderne. No. 188,
-Février, 1913.</p>
-
-<p><i>Vauxcelles, Louis.</i> <i>A propos des bois sculptes de Paul Gauguin.</i>
-In-160, 2 pages, 3 reproductions. Art décoratif. Revue de l’art
-ancien et de la vie artistique moderne. No. 148, Janvier, 1911.</p>
-
-<p><i>Werth, Léon.</i> <i>Aristide Maillol.</i> Signé: Léon Werth. In-40, 16
-pages, 16 reproductions. Art décoratif. Revue de l’art ancien et de
-la vie artistique moderne. No. 188, Février, 1913.</p></div>
-
-<h3>GERMAN</h3>
-
-<div class="blockquott"><p>Acht Jahre Secession v. Ludwig Hevesi, Wien 1906. The
-Post-Impressionist, by Lewis Hind, London (p. 412-417 Die
-Nach-Impressionisten).</p>
-
-<p>Aus der Correspondenz, Kunst u. Künstler, II. p. 264, 417, 462,
-493. 1904.</p>
-
-<p>Aus der Correspondenz, Kunst u. Künstler, III, p. 39-40, 86, 120,
-169, 214-217, 261-262, 298-300, 347-348, 391-392, 436-438, 479-480
-u. 528. 1905.</p>
-
-<p>Ausstellung b. Cassirer von H. Rosenhagen, Kunst für Alle, XIX. p.
-401-403, 1913-14.</p>
-
-<p>Ausstellung der Kubisten in dem Moderne Kunstkring, zu Amsterdam,
-p. 137-140, Kunstchr, XXIII.</p>
-
-<p>Ausstellung in Berlin, Kunstchr, 09. XX. p. 238.</p>
-
-<p>Ausstellung in Köln v. G. E. Lüthgen, Deutsche Kunst u. Dekoration,
-XXXII. p. 179-182.</p>
-
-<p>Ausstellung in München, Kunst für Alle, XXVI. p. 21-22, 1910-11.</p>
-
-<p>Biermann, Georg, Bernhard Hoetger, ein deutscher Bildauer der
-Gegenwart, München, H. Goltz, 1914.</p>
-
-<p>Briefe von E. Schur, Kunst für Alle, 08, XXIII. p. 562-670.</p>
-
-<p>Cato, Die Schweizer Abteilung der internationalen Kunstausstellung
-München, München, 1913.</p>
-
-<p>Cézanne u. Hodler, Einführung in die Probleme der Malerei der
-Gegenwart von Fritz Burger, 1913, Delphin Verlag, München, Text und
-Tafelband.</p>
-
-<p>Coellen, Ludwig, Die neue Malerei: Der Impressionismus; Van Gogh
-und Cézanne; Die Romantik der neuen Malerei; Gauguin und Matisse,
-Picasso u. der Kubismus; Die Expressionisten, München, 1912; E. W.
-Bonsels &amp; Co., 2d edition.</p>
-
-<p>Cohen-Gotschalk Zeitschrift für bildende Kunst, XIX. p. 225-235.
-1907-08.</p>
-
-<p>Das Erwachen des Geistes von Wilhelm Michel, Deutsche Kunst u.
-Dekoration, XXXII. p. 9-11.</p>
-
-<p>Das Kolorit i. d. Zeitgenössischen deutschen Malerei. Ein Mahnwort
-von A. Giesecke. p. 41-43, Kunstnachrichten, Beiblatt der
-Kunstwelt. II. Jahrgang No. 6 März 1913.</p>
-
-<p>Der Blaue Reiter, herausgegeben von Kandinsky, München, 1912.</p>
-
-<p>Der Blaue Reiter von Hans Titeze, Kunst für Alle, XXVII. p.
-543-550.</p>
-
-<p>Der Kubismus i. d. französischen Kammer, Kunstchr, XXIV. p. 176.</p>
-
-<p>Der Moderne Impressionismus von Meier-Graefe. Die Kunst
-Herausgegeben von Richard Muther, Verlag Julius Bard, Berlin.<span class="pagenum"><a name="page_229" id="page_229">{229}</a></span></p>
-
-<p>Der Sturm Veranstaltete bisher folgende Ausstellungen in Berlin W.
-9. Potsdamerstr. 134 a.</p>
-
-<p>1. Der Blaue Reiter, Oskar, Kokoschka.</p>
-
-<p>2. Die Futuristen: Boccioni, Carra, Russolo, Severini.</p>
-
-<p>3. Französische Graphik, Pablo Picasso.</p>
-
-<p>4. Deutsche Expressionisten: Campemdonk, Bloch, Jawlensky,
-Kandinsky, Marc, Münter.</p>
-
-<p>5. Französische Expressionisten: Braque, Derain, Othon, Friess,
-Herbin Marie Laurencin, de Vlaminck.</p>
-
-<p>6. Jungbelgische Künstler.</p>
-
-<p>7. Kandinsky.</p>
-
-<p>8. Die Pathetiker: Ludwig Meider, Jacob Steinhardt.</p>
-
-<p>9. Egon Adler, Van Gauguin, Arthur Segal.</p>
-
-<p>10. Die Neue Secession.</p>
-
-<p>11. Gabriele Münter.</p>
-
-<p>12. Robert Delaunay, Ardengo Soffici.</p>
-
-<p>13. Alfred Reth.</p>
-
-<p>14. Franz Marc.</p>
-
-<p>15. Der Moderne Bund, Schweiz.</p>
-
-<p>16. Gino Severini.</p>
-
-<p>Deri, Max, Die neue Malerei: Impressionismus, Pointillismus, Futuristen,
-die grossen Uebergangsmeister, Kubisten, Expressionismus, Absolute
-Malerei, München; Piper, 1913; with illustrations.</p>
-
-<p>Die Ausstellung von Werken Zurückgewiessener der Berliner Secession
-1910, Neue Secession, p. 440-441, Kunstchr, XXI.</p>
-
-<p>Die Französischen Bilder der Sammlung Kohner von Hugo Haberfeld mit
-Abbildung Gauguin, Cézanne, Gogh, etc., Der Cicerone, III. p. 579-589.
-1911.</p>
-
-<p>Die Frühbilder, von H. Hildebrandt, p. 376-378, Kunst u. Künstler, XI.
-1913.</p>
-
-<p>Die Futuristen in Rom, Kunstnachrichten, Beiblatt der Kunstwelt, II. p.
-48, Jahrg. No. 6. März 1913.</p>
-
-<p>Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag von Emil Utitz,
-Verlag v. Ferd. Enke, Stuttgart 1913.</p>
-
-<p>Die Hauptströmungen des XIX Jahrhunderts von Julius Leisching.</p>
-
-<p>Die Impressionisten von Heilbut, E., Berlin, Cassierer.</p>
-
-<p>Die Impressionistenausstellung der Secession von E. Heilbut, Kunst u.
-Künstler, I. p. 169-207.</p>
-
-<p>Die Internationale Ausstellung des Sonderbundes v. A. Fortlage, Köln,
-Der Cicerone, IV. p. 547-556. 1912 (mit abbildung van Gogh, Cézanne,
-Gauguin, Picasso).</p>
-
-<p>Die Jungmodernen, Neue Secession, Brücke, p. 443-444, Kunstchr, XXIII.</p>
-
-<p>Die Jüngsten von Karl Scheffler, Kunst und Künstler, XI. S. 391-409.</p>
-
-<p>Die Neue Kunst in Wien Salon Miethke, Kunstchr, XXIV. p. 286-287.</p>
-
-<p>Die neue Malerei von L. Coellen. Der Impressionismus von Gogh u.
-Cézanne, Gauguin u. Mattise, Picasso u. d. Kubismus. Verlag E. W. Bonsch
-&amp; Co., München.</p>
-
-<p>Die Persönlichen Erinnerungen N. B. Mendes da Costa’s an seinen
-Lateinschüler&mdash;mitgeteilt v. Max Eisler, Kunst u. Künstler, X. p.
-98-104.</p>
-
-<p>Die Secession von R. Klein, Moderne Zeitfragen, Nr. 9 Herausgegeben von
-Dr. Hans Landsberg, Pan-Verlag.</p>
-
-<p>Die XXVI Ausstellung der Berliner Secession, Deutsche Kunst u.
-Dekoration, XXXII, p. 239-245, Darmstadt.<span class="pagenum"><a name="page_230" id="page_230">{230}</a></span></p>
-
-<p>Die Zurückgewiessen auf der Berliner Secession, Kunstchr, XXIV. p.
-480-482.</p>
-
-<p>Du Quesne, Persönliche Erinnerungen an Vincent Van Gogh, München, 1913;
-R. Piper &amp; Co., 3d ed.; 24 plates.</p>
-
-<p>Entwickelung des Impressionismus in Malerei u. Plastik v. Meier-Graefe,
-Secession Wien.</p>
-
-<p>Entwickelungsgeschichte der Modernen Kunst von J. Meier-Graefe I.-III.
-(III. Band Abbildungen), Verlag Jul Hoffmann, Stuttgart.</p>
-
-<p>Erinnerungen an&mdash;von Emile Bernard, Kunst u. Künstler, VI, p. 421-429,
-p. 475-480, p. 521-527. 1908.</p>
-
-<p>Erster Deutscher Herbstsalon Berlin 1913, Der Sturm, Berlin W. 9,
-Potsdamerstrasse 134a, mit einer Vorrede von Herwarth Walden.</p>
-
-<p>Fischer, Otto, Das neue Bild, published by the New München Artists’
-League; München, 1912; Delphin Verlag; 4°, with 36 art plates.</p>
-
-<p>Französisch Importen von Felix Lorenz, Die Kunstwelt, III. p. 700-701.
-1912.</p>
-
-<p>Friedrich, Hans, Hodler, die Schweiz und Deutschland, München; James
-Verlag, 1913.</p>
-
-<p>Futuristen und Genossen bei der Arbeit, Die Kunstwelt, II. 3. p.
-189-191, 1912.</p>
-
-<p>Futuristen v. Rud. Klein, Berlin, Deutsche Kunst u. Dekoration, XXX. p.
-274-277, 1912, Darmstadt.</p>
-
-<p>Gauguin, Paul, Noa-Noa, Berlin, Cassirer, 1911, 2d ed.</p>
-
-<p>Gogh, V. Von, Briefe deutsche Ausgabe besorgt von M. Mauthner, II.
-Auflage, Bruno Cassierer, Berlin.</p>
-
-<p>Gott schütz die Kunst, von Terentius, Die Kunstwelt, II. p. 353-360.
-1912.</p>
-
-<p>Hausenstein, Wilh., Die Neue Kunst; Zur Naturgeschichte der Kritik, In
-Katalog der II, Gesamtausstellung Neue Kunst, Hans Goltz, München, 1913;
-illustrated.</p>
-
-<p>Hausenstein, W., Die bildende Kunst der Gegenwart, Stuttgart, Deutsche
-Verlagsanstalt, 1914.</p>
-
-<p>Hermann, Curt, Der Kampf um den Stil. Probleme der modernen Malerei,
-with 8 autotypes; Berlin, Ed. Reiss’ Verlag, 1911; 8°.</p>
-
-<p>Hildebrand, Hans, Adolph Stölzel als Zeichner, Stuttgart, Deutsche
-Verlagsanstalt, 1913; 8°.</p>
-
-<p>Impressionismus. Ein Problem der Malerei i. d. Antike und Neuzeit von
-Werner Weisbach I., Berlin 1910, II. 1911.</p>
-
-<p>Impressionismus v. Laforgue, Kunst u. Künstler, III. p. 501-506.</p>
-
-<p>Impressionisten Gugs-Maud van Gogh, Pissarro-Cézanne, II, Aufl. München
-u. Leipzig 1907.</p>
-
-<p>Impressionistische Weltanschauung v. Scheffler, K., Zukunft, XLV. p.
-138-147.</p>
-
-<p>Jacob, Les oeuvres burlesques et mystiques de Frère Natorel mort au
-Couvent, illustrated with wood cuts by André Dérain; Paris, 1912.</p>
-
-<p>Jacob, Saint Natorel, illustrated with water colors by Pablo Picasso,
-Paris, 1911.</p>
-
-<p>Kampf, Im-um die Kunst, Reply to the “Protest by German Artists,”
-München, R. Piper &amp; Co., 1911; 8°.</p>
-
-<p>Kandinsky über das Geistige in der Kunst, München 1912, Verlag Piper &amp;
-Co.</p>
-
-<p>Kandinsky, Ueber das Geistige in der Kunst, insbesondere in der Malerei,
-München, R. Piper &amp; Co., 1912; 8°.</p>
-
-<p>Katalog der Sonderausstellung v. V. van Gogh, Amsterdam, Städt. Museum
-1905.<span class="pagenum"><a name="page_231" id="page_231">{231}</a></span></p>
-
-<p>Kritik seiner Arbeiten, Pariser Herbstsalon. S. 47-48, Zeitschrift für
-Bildende Kunst, XVII. 1906-07.</p>
-
-<p>Kubisten u. Nazarener, Künstchr., XXIV. p. 113-115.</p>
-
-<p>Kunst, Deutsche und französische, A symposium of German artists, gallery
-directors, collectors and authors; München, R. Piper &amp; Co., 1913; 8^o.</p>
-
-<p>Kunst und Künstler, V. p. 339-359, 1907.</p>
-
-<p>Kunst und Künstler, VI. p. 355-376, 1908.</p>
-
-<p>Kunstchr., Zeitschrift für bildende Kunst, XIV. p. 420. 1902-03.</p>
-
-<p>Le Fauconnier, Die Auffassung unserer Zeit und das Gemälde, translated
-by Gertrude Osthaus in connection with the exposition at the Folkwang
-museum in Hagen, Westphalia, München, 1913; 8^o.</p>
-
-<p>Malerische Impressions und Koloristische Rythmus, Beobachtungen über
-Malerei der Gegenwart von Wilh. Neimeyer. Sonderbund Ausstellung 1910,
-Düsseldorf, mit Abbildungen unter anderen von A. v. Jawlensky, Henri
-Matisse, W. Kandinsky.</p>
-
-<p>Marinetti, F. P., Le Futurisme, Tours, 1911; E. Arrauset Cie.</p>
-
-<p>Meier-Graefe, Paul Cézanne, München, 1910, R. Piper &amp; Co.; 4th-6th ed.,
-1913.</p>
-
-<p>Neue Kunst, Katalog der II. Gesamtausstellung August-September, 1913.
-Hans Goltz, München, Odeonsplatz 1 (mit Abbildungen von Picasso,
-Matisse, Kandinsky, Jawlensky).</p>
-
-<p>Noa-Noa-Tagebuch, p. 78-81, p. 125-127, Kunst u. Künstler, VI. p.
-160-164, 1908.</p>
-
-<p>Noa-Noa von P. Fechter-Aufenthalt in Tahiti, Kunst für Alle, 08. XXIII.
-S. 250-255.</p>
-
-<p>Notiz über Kandinsky, p. 434. Kunst für Alle XXVII.</p>
-
-<p>Notizen eines Malers, Kunst u. Künstler, VII. p. 335-347, 1909.</p>
-
-<p>Paris auf der Juryfreien Kunstchau in Berlin v. J. v. Bülow, Kunstchr.,
-XXIV. p. 249-254.</p>
-
-<p>Paul Cézanne v. Julius Meier-Graefe München, 1910, Verlag R. Piper &amp; Co.</p>
-
-<p>Paul Gauguin, Gallerie Miethke, Katalog mit Biogr. von Rudolf Adalbert
-Meyer, März-April 1907.</p>
-
-<p>Paul Gauguin, 1847-1903, par Jean de Rotonchamp, Paris chez. Ed. Druet.</p>
-
-<p>Paul Gauguin, v. Dr. Meyer Riefstal, Paris, p. 109-116. Deutsche Kunst
-u. Dekoration XXVII, Darmstadt.</p>
-
-<p>Persönliche Erinnerungen an V. van Gogh, E. H. du Quesne, München Piper
-1911.</p>
-
-<p>Pratella, Franc, Balita, Musica Futurista per Ontesta, Bologna, F.
-Bongiovanni, 1913.</p>
-
-<p>Raphael, Max, Von Monet zu Picasso; Grundzüge einer Aesthetik und
-Entwickelung der modernen Malerei, München, Delphin Verlag, 1913; 8^o.</p>
-
-<p>Reiter, Der blaue, Ein Dokument des Expressionismus. Herausgeber:
-Kandinsky und Franz Marc, München, R. Piper &amp; Co., 1912; with 34 plates.</p>
-
-<p>Soffici, Ardenzo, Cubismo e oltre, Florence, Libreria della Voce, 1913.</p>
-
-<p>Sydow, Eckart v., Cuno Amiet. Eine Einführung in ein nationales Werk. In
-“Kunstgeschichte des Auslandes,” issue 106, Strassburg, 1913; with 11
-plates; 4^o.</p>
-
-<p>Ueber Impressionismus von J. Meier-Graefe, p. 145-162, Kunst für Alle,
-XXV. 1909 u. 10.</p>
-
-<p>Utitz, Die Grundlagen der jüngsten Kunstbewegung. Ein Vortrag,
-Stuttgart, Enke, 1913; 8^o.</p>
-
-<p class="nind">v. Meyer Riefstahl, Burlington Magazine, XVIII. p. 91-99. 155-162.<span class="pagenum"><a name="page_232" id="page_232">{232}</a></span></p>
-
-<p>Van Gogh, Vinc., Briefe. Deutsch von N. Mauthner, Berlin, P. Cassirer,
-1911; 4th ed.; with 15 drawings; 8^o.</p>
-
-<p>Vincent Van Gogh, München, 1910, R. Piper &amp; Co.; 4th-6th ed., 1912.</p>
-
-<p>Vincent Van Gogh u. Gauguin zum Klassizismus, Kunst u. Künstler, 09,
-VIII. p. 86-101.</p>
-
-<p>Vincent Van Gogh von Julius Meier-Graefe, München 1910.</p>
-
-<p>Vom Wert des Neo-Impressionismus von A. L. Plehn, Kunst für Alle, XIX.
-p. 514-522.</p>
-
-<p>Von Eugen Delacroix zum Neo-Impressionismus. Einzige deutsche
-autorisierte Uebersetzung, Krefeld, 1903, Rheinischer Verlag G. A. Hohns
-Söhne.</p>
-
-<p>Von Impressionismus zum Neo-Impressionismus. Autoris. Uebersetzung,
-Berlin, Verlag. K. Schnabel.</p>
-
-<p>Von P. Gauguin, Kunst u. Künstler, VIII. p. 579-586.</p>
-
-<p>Von Paul Gauguin, Kunst u. Künstler, VIII. p. 579-586. 1910.</p>
-
-<p>Was ist uns impressionistische Malerei von A. Gold, Deutschland, III. p.
-328-342.</p>
-
-<p>Weese, Arth., Ferdinand Hodler, Berlin, 1910; Francke.</p>
-
-<p>Worringer, Wilh., Abstraction und Einfühlung. Ein Beitrag zur
-Stilpsychologie, München, Piper, 1911; 3d ed.; 8^o.</p>
-
-<p>Zum Klassizismus von Maurice Denis, Kunst u. Künstler, VIII. p. 86-101,
-1910.</p></div>
-
-<p class="c">ARTICLES.</p>
-
-<div class="blockquott"><p>Alt, Theod., Hodler und seine Zeitgenossen, Der Thürmer, XV,
-1912-13, p. 626-37.</p>
-
-<p>Apollinaire, Guill., Réalité, peinture pure, Der Sturm, 1902, No.
-138-39.</p>
-
-<p>Apollinaire, Guill., Die moderne Malerei. Uebersetzt von Jean
-Jacques, Der Sturm, 1903, No. 148-49.</p>
-
-<p>Avenarius, Von Van Gogh, Kunstwart, XXIV, 1910, I, p. 56-59.</p>
-
-<p>Avenarius, Ferd., Futuristen, Kunstwart, XXV, 1912, III, p. 278-81.</p>
-
-<p>Beckmann, Frz., Gedanken über zeitgemässe und unzeitgemässe Kunst.
-A reply to Die neue Malerei, by Frz. Marc., Pan, II, 1, p. 499-502.</p>
-
-<p>Bahne, Adolf, Der Maler Franz Marc, Pan, III, 1913, p. 616-18.</p>
-
-<p>Bender, Ewald, Deutsche Kunst um 1913, Zeitschrift für bildende
-Kunst, new series 24, 1912-13, p. 287,302, with 1 illustration.</p>
-
-<p>Bender, Ewald, F. A. Weinzheimer, Zeitschrift f. bildende Kunst,
-new series XXIV, 1912-13, p. 305-8, with illustrations.</p>
-
-<p>Benkard, Ernst A., Ferdinand Hodler, Zur Hodlerausstellung im
-Frankfurter Kunstverein, Zeitschrift f. bildende Kunst, new series
-XXIII, 1911-12, p. 7-12, with illustrations.</p>
-
-<p>Beringer, Jos. Aug., Deutsche Kunstnöte, Süddeutsche Monatshefte,
-XI, 1913-14, p. 198-208.</p>
-
-<p>Bernard, Emile, Erinnerungen an Paul Cézanne, Kunst und Künstler,
-vol. VI, 1908, p. 421, 475, 521, with illustration.</p>
-
-<p>Biermann, Hans Georg, Bernhard Hoetger, Kunst f. Alle, XXVIII,
-1912-13, p. 385-96, with illustrations.</p>
-
-<p>Breuer, Robert, Max Pechstein, Deutsche Kunst u. Dekoration, XXIX,
-1911-12, p. 423-36, with illustrations.</p>
-
-<p>Corinth, Lovis, Die neueste Malerei, Pan, II, 1910-11, p. 432-7.</p>
-
-<p>Denis, Maurice, Von Gauguin und Van Gogh zum Klassizismus, Kunst u.
-Künstler, Berlin, VIII, 1910, p. 86-101, with illustrations.</p>
-
-<p>Denis, Maurice, Edmund Cross, Kunst u. Künstler, Berlin, IX,
-1910-11, p. 294-6.<span class="pagenum"><a name="page_233" id="page_233">{233}</a></span></p>
-
-<p>Dennert, Die Kunst der Urmenschen und der Allermodernsten, Der
-Türmer, XVI, 1913, p. 296-301.</p>
-
-<p>Dreyfus, Alb., Paul Cézanne, Zeitschrift f. bildende Kunst, new
-series XXIV, 1912-13; p. 197-206, with illustr.</p>
-
-<p>Eisler, Max, Die persönlichen Erinnerungen N. B. Mendes da Costa’s
-an seinen Lateinschüler Vincent Van Gogh, Kunst und Künstler, X,
-1911-12, p. 98-104, with illustrations.</p>
-
-<p>Fechter, Paul, Die Fortbildungen des Impressionismus, Deutsche
-Kunst u. Dekoration, XXIX, 1911-12; p. 299-304.</p>
-
-<p>Fortlage, Arnold, Die internationale Ausstellung des Sonderbundes,
-Cicerone IV, 1912, p. 547-56, with illustrations; Kunst f. Alle,
-XXVIII, 1912-13, p. 84-93, with illustrations.</p>
-
-<p>Fortlage, Arnold, Georg Minne, Kunst f. Alle, XXVIII, 1912-13; p.
-347-53, with illustrations.</p>
-
-<p>Friedeberger, Hans, Zeichnungen von Max Pechstein, with
-illustrations, Cicerone, V, 1913, p. 289-91.</p>
-
-<p>Friedrich, Hans, Eine Analyse des Futurismus, Janus (München), II,
-1, 1912-13, p. 173-7. Die Hinrichtung Paul Cézanne’s durch Max
-Beckmann, Janus, II, 1, 1912-13; p. 362-4.</p>
-
-<p>Futuristen und Genossen bei der Arbeit, Kunstwelt, II, 1912-13;
-vol. 1, p. 189-91.</p>
-
-<p>Gauguin, Paul, Vincent Van Gogh, Kunst u. Künstler, Berlin, VIII,
-1910; p. 579-86, with 6 illustrations.</p>
-
-<p>Hausenstein, Wilh., Vom Kubismus, Der Sturm, IV, 1913; p. 170-71.
-Albert Weisgerber, Zeit im Bilde, XI, 1913; p. 2641-7; with
-illustrations. Von der neuen Kunst Zum Sommerschau von 1913 im
-Kunstsalon Goltz in München, Zeit im Bild, XI, 1913; p. 2185-92;
-with illustrations.</p>
-
-<p>Holl, J. C., Après l’impressionnisme, Physionomie de l’art actuel,
-La leçon de l’impressionnisme, XX Siècle, Paris.</p>
-
-<p>Michel, Wilh., Das Weltanschauliche der neuen Malerei, Deutsche
-Kunst u. Dekoration, XVII, 1913-14; p. 33-39.</p>
-
-<p>Kandinsky, Ueber Kunstverstehen, Der Sturm, 1912, No. 129;
-illustrated.</p>
-
-<p>Kandinsky, Für., Protest, Der Sturm, 1913, Nos. 150-5.</p>
-
-<p>Kandinsky, Malerei als reine Kunst, Der Sturm, 1913; Nos. 178-9.</p>
-
-<p>Klein, Rud., Futuristen, Deutsche Kunst u. Dekoration, XXX, 1912;
-p. 274-77.</p>
-
-<p>Kuhn, Alfr., Eduard Mundt, Zeit im Bild, XI, 1903; p. 2999-3003;
-illustrated.</p>
-
-<p>Léger, Fern., Les origines de la peinture contemporaine et sa
-valeur représentative, Der Sturm, IV, 1913; Nos. 172-73.</p>
-
-<p>Märten, Lu., Vincent Van Gogh, Die Grenzboten, 72, 1913, I, p.
-237-43.</p>
-
-<p>Manifest der Futuristen, Der Sturm, 1912, No. 103.</p>
-
-<p>Marc, Franz, Die neue Malerei, Pan II, 1, 1911-12; p. 468-71.</p>
-
-<p>Die konstruktiven Ideen der neuen Malerei, Pan, p. 527-31.</p>
-
-<p>Anti-Beckmann, Pan, p. 555-6.</p>
-
-<p>Markus, S., Die Kunst der Zukunft, Kunst für Alle, XXVIII, 1912-13,
-p. 541-8; illustrated.</p>
-
-<p>Meyer-Riefstahl, Rud., Paul Gauguin, Deutsche Kunst und Dekoration,
-XXVII, 1910-11; p. 109-16; illustrated.</p>
-
-<p>Michel, Wilh., Albert Weisgerber, Deutsche Kunst und Dekoration,
-XXIX, 1911-12; p. 295-96; illustrated.</p>
-
-<p>Osborn, Max, Bernhard Hoetger, V. Collective Exhibition of Modern
-Art by Hans Goltz, Munich, 1913; with many illustrations.<span class="pagenum"><a name="page_234" id="page_234">{234}</a></span></p>
-
-<p>Pechstein, Max, Was ist mit dem Picasso?, Pan, II, i, 1912; p.
-665-9.</p>
-
-<p>Rivière, Jacques, Gauguin, translated from the French by Jean
-Jacques, Der Sturm, 1912; Nos. 134-5.</p>
-
-<p>Rote, M. K., Pablo Picasso, Kunst für Aile, XXVIII, 1912-13; p.
-377-83; illustrated.</p>
-
-<p>Bernhard Hoetger, Der Cicerone, V. 1913; p. 197-203; illustrated.</p>
-
-<p>Bewegungen in der neuen Kunst und ihre Aussichten, Kunst für Alle,
-XXVIII, 1912-13; p. 292-305; illustrated.</p>
-
-<p>Rovere, Jean, Paul Cézanne; Erinnerungen, Kunst und Künstler, X,
-1911-12; p. 477-86; illustrated.</p>
-
-<p>Salmon, André, La jeune peinture française, Paris, 1912.</p>
-
-<p>Sch., K. E., Kubisten und Nazarener, Kunstchronik, new series,
-XXIV, 1912-13; p. 113-4.</p>
-
-<p>Schaefer, W., Bernhard Hoetger, Die Rheinlande, XVII, 1909; p.
-13-14; illustrated.</p>
-
-<p>Die junge und die jüngste Malerei. (Glossen zur
-Sonderbund-Ausstellung in Köln.) Vincent Van Gogh; Cézanne; Der
-blaue Reiter, Deutsche Monatshefte, Düsseldorf, XII, 1912; p.
-284-317-355.</p>
-
-<p>Schmidt, Max, Finke, Igc., Weiss, Konr., Eine Ausstellung des
-Sonderbundes (at Düsseldorf), Hochland, XIII, 1, 1910-11; p. 245
-and 516-17.</p>
-
-<p>Schmidt, Paul Ferd., Ueber die Expressionisten, Deutsche
-Monatshefte, XI, 1911; p. 427-9.</p>
-
-<p>Die internationale Ausstellung des Sonderbundes in Köln 1912,
-Zeitschrift für bildende Kunst, new series XXIII, 1911-12; p.
-229-38; illustrated.</p>
-
-<p>Schoenlank, M. R., Brief an Pechstein, Pan, II, 2, 1912; p. 738-9.</p>
-
-<p>Schulze, Otto, Bildhauer Bernhard Hoetger, Deutsche Kunst und
-Dekoration, XXVII, 1910-11; p. 116-23; illustrated.</p>
-
-<p>Storck, Willy F., Ausstellung des deutschen Künstlerbundes in
-Mannheim 1913, Deutsche Kunst und Dekoration, XXVII, 1913-14; p.
-9-27; illustrated.</p>
-
-<p>St. K., Die Zukünftler, Der Türmer, XIV, 1912, II; p. 422-4.</p>
-
-<p>Terentius, Gott schütz’ die Kunst, Ein Faschingskapitel, Die
-Kunstwelt, I, 1912; p. 353-60; illustrated.</p>
-
-<p>Warstat, W., Die Futuristen, Die Grenzboten, 71, 1912, III; p.
-210-18.</p>
-
-<p>Walser, Rob., Zu der Arleserin von Van Gogh, Kunst und Künstler, X,
-1911-12; p. 442-5.</p>
-
-<p>Werth, Léon, Aristide Maissol, Kunst für Alle, XXVI, 1910-11; p.
-276-82; illustrated.</p>
-
-<p>Zukunft, Die, der deutschen Kunst. Eine Umfrage, Die Kunstwelt,
-vol. 3 (1913), first issue; p. 19-33. Contains the answers given by
-German artists and other well known personages to the following
-questions put to them by the editor of the Kunstwelt:</p></div>
-
-<div class="blockquott"><p>1. How are you impressed by the creations of the latest schools of
-art&mdash;the primitivists, the cubists, the futurists, the
-expressionists?</p>
-
-<p>2. Do you believe that in these directions or in one of them the
-future of German art must be looked for?</p></div>
-
-<p class="c">REPRODUCTIONS OF FUTURIST AND CUBIST PAINTERS&mdash;PORTFOLIOS:</p>
-
-<div class="blockquott"><p>Cézanne Mappe; München; R. Piper &amp; Co., 1912; 15 reprod.</p>
-
-<p>Ehrenstein, A., Tubutsch. 12 drawings by O. Kokoschka. Wien; Jokoda
-&amp; Siegel, 1911.</p>
-
-<p>Engert, Seven Drawings; H. P. S. Bachmann, 1913; 8°.</p>
-
-<p>Gauguin Mappe, München; Piper, 1913. 15 reproductions.<span class="pagenum"><a name="page_235" id="page_235">{235}</a></span></p>
-
-<p>Genin, Robert, Figürliche Kompositionen; 20 original drawings on
-stone. München, Delphin Verlag, 1912.</p>
-
-<p>Hodlermappe, München; Piper, 1913.</p>
-
-<p>Kandinsky Album, 1901-1913; 80 full page reproductions of paintings
-by Kandinsky with text written by himself. Berlin, Verlag der
-Sturm, 1914.</p>
-
-<p>Kokoschka, Oskar, Dramen und Bilder. Leipzig, Kurt Wolff, 1913.</p>
-
-<p>Kokoschka, Oskar, 20 drawings. Berlin, Verlag der Sturm, 1913.</p>
-
-<p>Reinhardt, Sig., Simson; 43 pen and ink sketches. München, 1913.</p>
-
-<p>Schwalbach, Karl, 10 original lithographic drawings. München,
-Delphin Verlag, 1913.</p>
-
-<p>Senna, 15 original lithographic drawings by the artists’
-association Senna. München, Delphin Verlag, 1912.</p>
-
-<p>Van Gogh Mappe, München; Piper, 1912.</p></div>
-
-<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span>&nbsp; </p>
-<h2><a name="INDEX" id="INDEX"></a>INDEX</h2>
-
-<p class="c"><a href="#A">A</a>,
-<a href="#B">B</a>,
-<a href="#C">C</a>,
-<a href="#D">D</a>,
-<a href="#E">E</a>,
-<a href="#F">F</a>,
-<a href="#G">G</a>,
-<a href="#H">H</a>,
-<a href="#I-i">I</a>,
-<a href="#J">J</a>,
-<a href="#K">K</a>,
-<a href="#L">L</a>,
-<a href="#M">M</a>,
-<a href="#N">N</a>,
-<a href="#O">O</a>,
-<a href="#P">P</a>,
-<a href="#R">R</a>,
-<a href="#S">S</a>,
-<a href="#T">T</a>,
-<a href="#U">U</a>,
-<a href="#V-i">V</a>,
-<a href="#W">W</a>,
-<a href="#Y">Y</a>,
-<a href="#Z">Z</a></p>
-
-<p class="nind">
-<a name="A" id="A"></a>Academic attitude, <a href="#page_61">61</a><br />
-
-Advertising, art of, <a href="#page_171">171-172</a><br />
-
-Age and new experiments, <a href="#page_66">66</a><br />
-
-Alexander and Sargent, <a href="#page_199">199</a>;<br />
-<span style="margin-left: 1em;">Van Rees, <a href="#page_199">199</a>;</span><br />
-<span style="margin-left: 1em;">post-Impressionistic, <a href="#page_199">199</a></span><br />
-
-America and virile Impressionism, <a href="#page_191">191</a>;<br />
-<span style="margin-left: 1em;">new movement in <a href="#page_48">48</a>;</span><br />
-<span style="margin-left: 1em;">what is happening in, <a href="#page_191">191</a></span><br />
-
-Americans, as dreamers, <a href="#page_192">192</a><br />
-
-Anderson, <a href="#page_1">1</a><br />
-
-Apollinaire, <a href="#page_67">67</a>, <a href="#page_81">81</a><br />
-
-Arrangements, <a href="#page_14">14</a><br />
-
-Arteries, sclerosis of, <a href="#page_62">62</a><br />
-
-Archipanko, <a href="#page_204">204</a>;<br />
-<span style="margin-left: 1em;">his Family Life, <a href="#page_205">205</a></span><br />
-
-Architecture, sky-scrapers, <a href="#page_199">199</a><br />
-
-Art, archaic and primitive, <a href="#page_78">78</a>;<br />
-<span style="margin-left: 1em;">attitude of observer and producer, <a href="#page_87">87</a>;</span><br />
-<span style="margin-left: 1em;">attitude of observer, <a href="#page_127">127</a>;</span><br />
-<span style="margin-left: 1em;">conflict between old and new, <a href="#page_156">156</a>;</span><br />
-<span style="margin-left: 1em;">continuous, <a href="#page_110">110</a>;</span><br />
-<span style="margin-left: 1em;">creative, <a href="#page_30">30</a>;</span><br />
-<span style="margin-left: 1em;">creative work by certain Americans, <a href="#page_196">196-197</a>;</span><br />
-<span style="margin-left: 1em;">criticism, professional, <a href="#page_9">9-10</a>;</span><br />
-<span style="margin-left: 1em;">currents in, <a href="#page_33">33</a>;</span><br />
-<span style="margin-left: 1em;">decorative, correspondence regarding cubist pictures, <a href="#page_50">50-52</a>;</span><br />
-<span style="margin-left: 1em;">definition of, <a href="#page_87">87-88</a>;</span><br />
-<span style="margin-left: 1em;">expression of inner self, <a href="#page_112">112</a>;</span><br />
-<span style="margin-left: 1em;">extravagances in, <a href="#page_34">34</a>;</span><br />
-<span style="margin-left: 1em;">evolution of new movement, <a href="#page_11">11</a>;</span><br />
-<span style="margin-left: 1em;">gains from controversy, <a href="#page_58">58</a>, <a href="#page_59">59</a>;</span><br />
-<span style="margin-left: 1em;">in offices, <a href="#page_161">161</a>;</span><br />
-<span style="margin-left: 1em;">is cubism art? <a href="#page_86">86-87</a>;</span><br />
-<span style="margin-left: 1em;">its relation to life, <a href="#page_198">198-199</a>;</span><br />
-<span style="margin-left: 1em;">jargon, <a href="#page_9">9-10</a>; laws of, <a href="#page_106">106</a>;</span><br />
-<span style="margin-left: 1em;">modern expression of inner self, <a href="#page_11">11</a>;</span><br />
-<span style="margin-left: 1em;">modern pictures in newspaper office, <a href="#page_160">160</a>;</span><br />
-<span style="margin-left: 1em;">movement from studio to nature and back again, <a href="#page_14">14</a>, <a href="#page_15">15</a>;</span><br />
-<span style="margin-left: 1em;">movements from perfections to imperfections, <a href="#page_9">9</a>;</span><br />
-<span style="margin-left: 1em;">movements of recent years, <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">movements in, <a href="#page_8">8</a>;</span><br />
-<span style="margin-left: 1em;">new movement a spiritual offering, <a href="#page_115">115</a>;</span><br />
-<span style="margin-left: 1em;">new movements in relation to origin of art, <a href="#page_111">111</a>;</span><br />
-<span style="margin-left: 1em;">new movements profoundly interesting, <a href="#page_108">108</a>;</span><br />
-<span style="margin-left: 1em;">objective, <a href="#page_90">90</a>;</span><br />
-<span style="margin-left: 1em;">on the horse-block, <a href="#page_7">7</a>;</span><br />
-<span style="margin-left: 1em;">part played by subject,</span> <a href="#page_159">159</a>;<br />
-<span style="margin-left: 1em;">philosophy of movements in, <a href="#page_20">20</a>;</span><br />
-<span style="margin-left: 1em;">private galleries graveyards of, <a href="#page_160">160</a>;</span><br />
-<span style="margin-left: 1em;">revolution in, <a href="#page_3">3</a>;</span><br />
-<span style="margin-left: 1em;">ridicule of great men by their own generations, <a href="#page_8">8</a>;</span><br />
-<span style="margin-left: 1em;">sign of life is flux, <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">subjective, <a href="#page_90">90</a>;</span><br />
-<span style="margin-left: 1em;">thrives on controversy, <a href="#page_1">1</a>;</span><br />
-<span style="margin-left: 1em;">ugliness in new pictures, <a href="#page_154">154</a>;</span><br />
-<span style="margin-left: 1em;">works of observation and works of imagination, <a href="#page_14">14-15</a></span><br />
-
-<br />
-<a name="B" id="B"></a>Barbizon school and later developments, <a href="#page_11">11-12</a>;<br />
-<span style="margin-left: 1em;">imaginative, <a href="#page_30">30</a>;</span><br />
-<span style="margin-left: 1em;">its method, <a href="#page_15">15</a></span><br />
-
-Barnard, <a href="#page_203">203</a><br />
-
-“Bathsheba,” record of sales, <a href="#page_6">6</a>, <a href="#page_7">7</a><br />
-
-Baum, <a href="#page_111">111</a><br />
-
-Beautiful, our notions of the, <a href="#page_155">155-156</a><br />
-<span style="margin-left: 1em;">(see also Ugliness)</span><br />
-
-Bechtejeff, <a href="#page_47">47</a>, <a href="#page_111">111</a><br />
-
-Bell, Mrs., <a href="#page_48">48</a><br />
-
-Bellows, <a href="#page_1">1</a><br />
-
-Berlin, new movement in, <a href="#page_47">47</a><br />
-
-Bernard, <a href="#page_36">36</a>, <a href="#page_43">43</a><br />
-
-Blaue Reiters, organization of, <a href="#page_112">112</a><br />
-
-Blue Riders, <a href="#page_55">55</a><br />
-
-Boccioni, <a href="#page_179">179</a>;<br />
-<span style="margin-left: 1em;">exhibition in Paris, <a href="#page_184">184-185</a></span><br />
-
-Borghlum, <a href="#page_203">203</a><br />
-
-Borgmeyer, <a href="#page_21">21</a><br />
-
-Bossi, <a href="#page_111">111</a><br />
-
-Bourget, Paul, style obsolete, <a href="#page_170">170</a><br />
-
-Bracque, <a href="#page_47">47</a>, <a href="#page_112">112</a><br />
-
-Brancusi, <a href="#page_182">182</a>, <a href="#page_204">204</a>;<br />
-<span style="margin-left: 1em;">article on his sculpture, <a href="#page_183">183</a>;</span><br />
-<span style="margin-left: 1em;">“Sleeping Muse,” <a href="#page_182">182-183</a></span><br />
-
-Bloch, <a href="#page_115">115</a><br />
-
-Books in French and German, <a href="#page_107">107</a><br />
-
-Breton, protest against Cubist pictures, <a href="#page_51">51</a><br />
-
-Brinley, <a href="#page_1">1</a><br />
-
-Browning clubs, <a href="#page_108">108</a><br />
-
-Browning, ridicule of, <a href="#page_60">60</a><br />
-
-Burljuk, <a href="#page_47">47</a>, <a href="#page_112">112</a><br />
-
-<br />
-<a name="C" id="C"></a>Cardoza, <a href="#page_200">200</a><br />
-
-<span class="pagenum"><a name="page_240" id="page_240">{240}</a></span>Carter, <a href="#page_64">64</a><br />
-
-Cézanne and Cubism, <a href="#page_43">43</a>, <a href="#page_81">81</a>;<br />
-<span style="margin-left: 1em;">and Gauguin, <a href="#page_42">42</a>;</span><br />
-<span style="margin-left: 1em;">leaders of Post-Impressionism, <a href="#page_28">28</a>;</span><br />
-<span style="margin-left: 1em;">a painter’s painter, <a href="#page_209">209</a>;</span><br />
-<span style="margin-left: 1em;">and substance of things, <a href="#page_35">35</a>;</span><br />
-<span style="margin-left: 1em;">a substantial Impressionist, <a href="#page_208">208-210</a>;</span><br />
-<span style="margin-left: 1em;">and the Impressionists, <a href="#page_35">35</a>;</span><br />
-<span style="margin-left: 1em;">career of, <a href="#page_36">36</a>;</span><br />
-<span style="margin-left: 1em;">compared with Monet, <a href="#page_195">195</a>;</span><br />
-<span style="margin-left: 1em;">method of work, <a href="#page_36">36-37</a>;</span><br />
-<span style="margin-left: 1em;">scientific theories, <a href="#page_43">43</a></span><br />
-
-Chabaud and Millet, <a href="#page_15">15</a><br />
-
-Charmy, <a href="#page_200">200</a><br />
-
-<i>Chicago Tribune</i>, article on London Exhibition, <a href="#page_55">55</a><br />
-
-Chicago Symphony Orchestra, <a href="#page_9">9</a><br />
-
-Chilton-Brock, <a href="#page_30">30</a>, <a href="#page_31">31</a>, <a href="#page_40">40</a><br />
-
-Chinanpin, <a href="#page_147">147-149</a><br />
-
-Chinese art, blue hair, <a href="#page_151">151</a>;<br />
-<span style="margin-left: 1em;">esoragoto, <a href="#page_147">147</a></span><br />
-
-Chinese painting, <a href="#page_30">30</a>;<br />
-<span style="margin-left: 1em;">four warnings, <a href="#page_153">153</a>;</span><br />
-<span style="margin-left: 1em;">perspective in, <a href="#page_78">78</a>;</span><br />
-<span style="margin-left: 1em;">principles of, <a href="#page_147">147-149</a></span><br />
-
-Cinematograph, secret of popularity, <a href="#page_170">170-171</a><br />
-
-Civilization, material and spiritual, <a href="#page_144">144</a><br />
-
-Clarke, <a href="#page_1">1</a><br />
-
-Color, compositions of, <a href="#page_91">91</a>;<br />
-<span style="margin-left: 1em;">effects in theater, <a href="#page_142">142-143</a>;</span><br />
-<span style="margin-left: 1em;">harmonies, <a href="#page_12">12</a>, <a href="#page_95">95</a>, <a href="#page_146">146</a>;</span><br />
-<span style="margin-left: 1em;">in offices, <a href="#page_162">162</a>;</span><br />
-<span style="margin-left: 1em;">music, <a href="#page_140">140-146</a> (see Music);</span><br />
-<span style="margin-left: 1em;">notes of in still lifes, <a href="#page_145">145</a></span><br />
-
-Colors used arbitrarily, <a href="#page_151">151-152</a>;<br />
-<span style="margin-left: 1em;">used constructively, <a href="#page_37">37-38</a>, <a href="#page_42">42</a>;</span><br />
-<span style="margin-left: 1em;">used decoratively, <a href="#page_93">93</a>, <a href="#page_144">144-5</a>;</span><br />
-<span style="margin-left: 1em;">used imitatively, <a href="#page_93">93</a>, <a href="#page_146">146</a></span><br />
-
-Color waves, <a href="#page_143">143</a><br />
-
-Columbian Exposition, <a href="#page_1">1</a>, <a href="#page_3">3</a><br />
-
-Compenetration of planes in Futurism, <a href="#page_185">185-186</a><br />
-
-Compositionalists, <a href="#page_13">13</a><br />
-
-Compositional painting, <a href="#page_124">124-128</a>;<br />
-<span style="margin-left: 1em;">no radical departure, <a href="#page_137">137</a></span><br />
-
-Conservative and radical tendencies in exhibitions, <a href="#page_57">57</a>, <a href="#page_58">58</a><br />
-
-Convictions, the courage of, <a href="#page_7">7-8</a><br />
-
-Corot, ridiculed in France, <a href="#page_8">8</a><br />
-
-Courbet and followers, <a href="#page_11">11-12</a>, <a href="#page_17">17</a><br />
-
-Cramer, <a href="#page_49">49</a><br />
-
-Creative art, <a href="#page_30">30</a><br />
-
-Critic, the ideal art critic, <a href="#page_134">134</a><br />
-
-Criticism of great masters, <a href="#page_155">155-156</a>;<br />
-<span style="margin-left: 1em;">rage against great painters, <a href="#page_11">11</a>, <a href="#page_12">12</a>;</span><br />
-<span style="margin-left: 1em;">two comments, <a href="#page_214">214-220</a>;</span><br />
-<span style="margin-left: 1em;">violent, <a href="#page_61">61</a></span><br />
-
-Cubism, and broad technic, <a href="#page_80">80</a>;<br />
-<span style="margin-left: 1em;">and Futurism, <a href="#page_173">173-174</a>;</span><br />
-<span style="margin-left: 1em;">and geometrical figures, <a href="#page_80">80-81</a>;</span><br />
-<span style="margin-left: 1em;">a misleading term, <a href="#page_82">82</a>;</span><br />
-<span style="margin-left: 1em;">and sincerity, <a href="#page_158">158</a>;</span><br />
-<span style="margin-left: 1em;">and the substance of things, <a href="#page_98">98</a>;</span><br />
-<span style="margin-left: 1em;">attitude of observer, <a href="#page_32">32</a>;</span><br />
-<span style="margin-left: 1em;">derivation of name, <a href="#page_67">67</a>;</span><br />
-<span style="margin-left: 1em;">development and exhibitions of, <a href="#page_67">67-68</a>;</span><br />
-<span style="margin-left: 1em;">drawings by first year art students, <a href="#page_73">73</a>;</span><br />
-<span style="margin-left: 1em;">effect on American art, <a href="#page_109">109</a>;</span><br />
-<span style="margin-left: 1em;">explanation of by Picabia, <a href="#page_95">95-98</a>;</span><br />
-<span style="margin-left: 1em;">explained by music, <a href="#page_106">106</a>;</span><br />
-<span style="margin-left: 1em;">Gleizes and Metzinger’s book, <a href="#page_103">103</a>;</span><br />
-<span style="margin-left: 1em;">is it art? <a href="#page_86">86-87</a>;</span><br />
-<span style="margin-left: 1em;">its technical side, <a href="#page_72">72</a>;</span><br />
-<span style="margin-left: 1em;">largely esoragoto, <a href="#page_158">158</a>;</span><br />
-<span style="margin-left: 1em;">no object to help out picture, <a href="#page_159">159</a>;</span><br />
-<span style="margin-left: 1em;">not a plea for, <a href="#page_65">65</a>;</span><br />
-<span style="margin-left: 1em;">“Nude Descending the Stairs,” <a href="#page_164">164</a>;</span><br />
-<span style="margin-left: 1em;">one form of prevailing reaction, <a href="#page_31">31</a>;</span><br />
-<span style="margin-left: 1em;">significance of new movement, <a href="#page_66">66</a>;</span><br />
-<span style="margin-left: 1em;">the different tendencies described, <a href="#page_68">68-70</a>;</span><br />
-<span style="margin-left: 1em;">the elemental in, <a href="#page_78">78</a>;</span><br />
-<span style="margin-left: 1em;">the theory of, <a href="#page_90">90</a>;</span><br />
-<span style="margin-left: 1em;">transparency of objects, <a href="#page_180">180-182</a>;</span><br />
-<span style="margin-left: 1em;">two extremes, <a href="#page_69">69</a>;</span><br />
-<span style="margin-left: 1em;">what is it? <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">when a puzzle, <a href="#page_69">69</a>;</span><br />
-<span style="margin-left: 1em;">will pass away,<a href="#page_67">67</a></span><br />
-
-Cubists, American, <a href="#page_48">48</a>;<br />
-<span style="margin-left: 1em;">and El Greco, <a href="#page_110">110</a>;</span><br />
-<span style="margin-left: 1em;">and certain American painters, <a href="#page_60">60</a>;</span><br />
-<span style="margin-left: 1em;">child-like faith of, <a href="#page_109">109</a>;</span><br />
-<span style="margin-left: 1em;">esoragoto, <a href="#page_147">147</a>;</span><br />
-<span style="margin-left: 1em;">free to express themselves in their own way, <a href="#page_103">103-107</a>;</span><br />
-<span style="margin-left: 1em;">getting away from cubes and angles, <a href="#page_82">82-83</a>;</span><br />
-<span style="margin-left: 1em;">impression of New York, <a href="#page_96">96-97</a>;</span><br />
-<span style="margin-left: 1em;">in business or profession, <a href="#page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">more favorably considered, <a href="#page_55">55</a>, <a href="#page_56">56</a>;</span><br />
-<span style="margin-left: 1em;">mostly young men, <a href="#page_108">108-109</a>;</span><br />
-<span style="margin-left: 1em;">named by Matisse, <a href="#page_22">22</a>;</span><br />
-<span style="margin-left: 1em;">nothing strange in their theories, <a href="#page_63">63</a>;</span><br />
-<span style="margin-left: 1em;">protest against pictures, <a href="#page_50">50</a>;</span><br />
-<span style="margin-left: 1em;">quotation from Plato, <a href="#page_102">102</a>;</span><br />
-<span style="margin-left: 1em;">see nothing in Futurism, <a href="#page_59">59</a>;</span><br />
-<span style="margin-left: 1em;">too serious, <a href="#page_158">158</a>;</span><br />
-<span style="margin-left: 1em;">understanding them, <a href="#page_83">83-85</a></span><br />
-
-<br />
-<a name="D" id="D"></a>Dabo, <a href="#page_1">1</a><br />
-
-Dasburg, <a href="#page_49">49</a><br />
-
-Davidson, <a href="#page_1">1</a>, <a href="#page_203">203</a><br />
-
-Davies, <a href="#page_1">1</a>, <a href="#page_201">201</a>;<br />
-<span style="margin-left: 0.5em;">a creative painter, <a href="#page_196">196</a></span><br />
-
-Decoration and pictures, <a href="#page_159">159</a>;<br />
-<span style="margin-left: 1em;">of offices, <a href="#page_162">162-163</a></span><br />
-
-<span class="pagenum"><a name="page_241" id="page_241">{241}</a></span>Delauney, <a href="#page_47">47</a><br />
-
-Denissow, <a href="#page_47">47</a><br />
-
-Derain, <a href="#page_28">28</a>, <a href="#page_47">47</a>, <a href="#page_112">112</a>;<br />
-<span style="margin-left: 1em;">“Forest at Martigues,” <a href="#page_69">69</a></span><br />
-
-DeZayas, <a href="#page_98">98</a><br />
-
-Dove, <a href="#page_48">48</a><br />
-
-Drawing, modern men are masters of, <a href="#page_130">130</a><br />
-
-Dresden, new movement in, <a href="#page_47">47</a><br />
-
-DuBois, <a href="#page_1">1</a><br />
-
-Duchamp, “Chess Players,” <a href="#page_68">68</a>, <a href="#page_71">71</a>;<br />
-<span style="margin-left: 1em;">“King and Queen,” <a href="#page_70">70</a>, <a href="#page_71">71</a>;</span><br />
-<span style="margin-left: 1em;">“Nude Descending the Stairs,” <a href="#page_164">164</a></span><br />
-
-Dufy, <a href="#page_47">47</a><br />
-
-Durand-Ruel, <a href="#page_22">22</a>, <a href="#page_23">23</a>, <a href="#page_24">24</a><br />
-
-Durer, elemental lines in human figure, <a href="#page_73">73-77</a><br />
-
-Duret, <a href="#page_12">12</a>, <a href="#page_21">21</a><br />
-
-<br />
-<a name="E" id="E"></a>Emotions, painting of, <a href="#page_11">11</a>, <a href="#page_92">92</a>, <a href="#page_102">102</a>;<br />
-<span style="margin-left: 1em;">sclerosis of, <a href="#page_62">62</a></span><br />
-
-England, new movement in, <a href="#page_47">47-48</a><br />
-
-Erbsloh, <a href="#page_111">111</a><br />
-
-Esoragoto, <a href="#page_147">147-153</a>;<br />
-<span style="margin-left: 1em;">all great paintings are, <a href="#page_150">150</a></span><br />
-
-Etchells, <a href="#page_48">48</a><br />
-
-Exhibitions at 291 Fifth Ave., <a href="#page_211">211-213</a>;<br />
-<span style="margin-left: 1em;">by Impressionists, <a href="#page_21">21-26</a>;</span><br />
-<span style="margin-left: 1em;">independent, <a href="#page_194">194</a>;</span><br />
-<span style="margin-left: 1em;">Morgan, pictures in Metropolitan Museum, <a href="#page_198">198-199</a></span><br />
-
-Extremists in art, <a href="#page_2">2-3</a><br />
-
-<br />
-<a name="F" id="F"></a>Fauvism, what it means, <a href="#page_47">47</a><br />
-
-Ferguson, <a href="#page_47">47</a><br />
-
-Ferment of new ideas, <a href="#page_4">4</a><br />
-
-Fiction, future development of, <a href="#page_171">171</a><br />
-
-Fischer, <a href="#page_38">38</a>, <a href="#page_72">72</a>, <a href="#page_112">112</a><br />
-
-Freedom to express one’s self, <a href="#page_103">103-107</a><br />
-
-French, <a href="#page_204">204</a><br />
-
-Friesz, <a href="#page_28">28</a>, <a href="#page_47">47</a><br />
-
-Fry, Roger, <a href="#page_48">48</a>, <a href="#page_116">116</a>;<br />
-<span style="margin-left: 1em;">article on Brancusi, <a href="#page_183">183</a></span><br />
-
-Fry, S. E., <a href="#page_1">1</a><br />
-
-Futurism, <a href="#page_164">164-189</a>;<br />
-<span style="margin-left: 1em;">development of, <a href="#page_165">165</a>;</span><br />
-<span style="margin-left: 1em;">exhibition of sculpture, <a href="#page_184">184-185</a>;</span><br />
-<span style="margin-left: 1em;">first exhibition in London, <a href="#page_175">175</a>;</span><br />
-<span style="margin-left: 1em;">manifestoes of, <a href="#page_165">165-180</a>;</span><br />
-<span style="margin-left: 1em;">manifestoes not to be accepted too literally, <a href="#page_188">188-189</a>;</span><br />
-<span style="margin-left: 1em;">pictures and theories extreme, <a href="#page_166">166</a>;</span><br />
-<span style="margin-left: 1em;">sculpture, <a href="#page_182">182-186</a>;</span><br />
-<span style="margin-left: 1em;">theory of, <a href="#page_165">165</a>;</span><br />
-<span style="margin-left: 1em;">theory of literature, <a href="#page_167">167-172</a>;</span><br />
-<span style="margin-left: 1em;">theory of sculpture, <a href="#page_185">185-186</a>;</span><br />
-<span style="margin-left: 1em;">transparency of objects, <a href="#page_176">176-179</a>, <a href="#page_180">180-182</a></span><br />
-
-Futurists, and reaction, <a href="#page_32">32</a>;<br />
-<span style="margin-left: 1em;">patriotism of, <a href="#page_189">189-196</a>;</span><br />
-<span style="margin-left: 1em;">see nothing in Cubism, <a href="#page_59">59</a></span><br />
-
-<br />
-<a name="G" id="G"></a>Gauguin, <a href="#page_37">37</a>;<br />
-<span style="margin-left: 1em;">a dreamer, <a href="#page_42">42</a>;</span><br />
-<span style="margin-left: 1em;">and Strindberg, <a href="#page_41">41-42</a>;</span><br />
-<span style="margin-left: 1em;">career, <a href="#page_40">40-42</a></span><br />
-
-Genin, <a href="#page_47">47</a><br />
-
-Gill, <a href="#page_48">48</a><br />
-
-Girieud, <a href="#page_47">47</a>, <a href="#page_111">111</a><br />
-
-Glackens, <a href="#page_1">1</a><br />
-
-Gleizes and Metzinger’s book, <a href="#page_103">103</a><br />
-
-Gleizes, “Man on the Balcony,” <a href="#page_70">70</a><br />
-
-Gore, <a href="#page_48">48</a><br />
-
-Grant, <a href="#page_48">48</a><br />
-
-Graveyards of art, private galleries as, <a href="#page_160">160</a><br />
-
-Great artist, quality of, <a href="#page_26">26</a>, <a href="#page_27">27</a><br />
-
-Greek painting, portraits, <a href="#page_113">113</a><br />
-
-Greek sculpture, painted, <a href="#page_152">152</a><br />
-
-Grieg, <a href="#page_106">106-107</a><br />
-
-<br />
-<a name="H" id="H"></a>Haller, <a href="#page_112">112</a><br />
-
-Hearn collection in Metropolitan Museum, <a href="#page_198">198-199</a><br />
-
-Hegel, philosophy of art, <a href="#page_20">20</a><br />
-
-Henri, <a href="#page_1">1</a>;<br />
-<span style="margin-left: 1em;">a virile Impressionist, <a href="#page_193">193</a></span><br />
-
-Hoetger, <a href="#page_112">112</a><br />
-
-Hofer, <a href="#page_111">111</a><br />
-
-Hokusai, terra cotta horse, <a href="#page_152">152</a><br />
-
-Homer, a virile Impressionist, <a href="#page_192">192</a>;<br />
-<span style="margin-left: 1em;">absorbed his subjects, <a href="#page_149">149</a>;</span><br />
-<span style="margin-left: 1em;">his technic, <a href="#page_79">79</a>;</span><br />
-<span style="margin-left: 1em;">work compared with recent pictures, <a href="#page_198">198</a></span><br />
-
-<br />
-<a name="I-i" id="I-i"></a>Ideals, demand for, <a href="#page_31">31</a><br />
-
-Ideas, accepting ready made, <a href="#page_64">64</a><br />
-
-Imagination and observation in art, <a href="#page_14">14-15</a><br />
-
-Impressionism (see Virile Impressionism);<br />
-<span style="margin-left: 1em;">American, <a href="#page_193">193</a>;</span><br />
-<span style="margin-left: 1em;">and Monet, <a href="#page_34">34</a>;</span><br />
-<span style="margin-left: 1em;">definition of term, <a href="#page_28">28</a>;</span><br />
-<span style="margin-left: 1em;">different forms of, <a href="#page_195">195-196</a>;</span><br />
-<span style="margin-left: 1em;">growth of, <a href="#page_19">19</a>;</span><br />
-<span style="margin-left: 1em;">of Les Fauves, <a href="#page_33">33</a>;</span><br />
-<span style="margin-left: 1em;">method of, <a href="#page_16">16</a>;</span><br />
-<span style="margin-left: 1em;">realistic, and the great portrait painters, <a href="#page_208">208</a>;</span><br />
-<span style="margin-left: 1em;">realistic leads to, <a href="#page_207">207-208</a>;</span><br />
-<span style="margin-left: 1em;">substantial leads to, <a href="#page_208">208-210</a>;</span><br />
-<span style="margin-left: 1em;">substantial, leads to Post-Impressionism, <a href="#page_210">210</a>;</span><br />
-<span style="margin-left: 1em;">summing up of, <a href="#page_207">207</a>;</span><br />
-<span style="margin-left: 1em;">superficial leads to, <a href="#page_207">207</a></span><br />
-
-Impressions, reaction to, <a href="#page_62">62-63</a><br />
-
-Impressionists, <a href="#page_11">11</a>;<br />
-<span style="margin-left: 1em;">and Futurists, we all are at times, <a href="#page_62">62</a>;</span><br />
-<span style="margin-left: 1em;">derivation of name, <a href="#page_21">21</a>;</span><br />
-<span class="pagenum"><a name="page_242" id="page_242">{242}</a></span><span style="margin-left: 1em;">early exhibitions of, <a href="#page_21">21-26</a></span><br />
-
-Impressionist pictures bought by Chicago woman, <a href="#page_27">27</a><br />
-
-International Exhibition, <a href="#page_1">1</a>, <a href="#page_3">3</a>, <a href="#page_4">4</a>, <a href="#page_26">26</a>;<br />
-<span style="margin-left: 1em;">coincided with other upheavals in life, <a href="#page_65">65</a>;</span><br />
-<span style="margin-left: 1em;">effect of on society, <a href="#page_7">7</a>;</span><br />
-<span style="margin-left: 1em;">indignation of older men, <a href="#page_194">194</a>;</span><br />
-<span style="margin-left: 1em;">no Futurist pictures, <a href="#page_164">164</a>;</span><br />
-<span style="margin-left: 1em;">plenty of ugly pictures in, <a href="#page_157">157</a>;</span><br />
-<span style="margin-left: 1em;">younger men curious, <a href="#page_194">194-195</a></span><br />
-
-<br />
-<a name="J" id="J"></a>Jakulof, <a href="#page_47">47</a><br />
-
-James, Henry, style obsolete, <a href="#page_168">168</a><br />
-
-Japanese art esoragoto, <a href="#page_147">147</a>;<br />
-<span style="margin-left: 1em;">painting bamboo forest, <a href="#page_150">150</a>;</span><br />
-<span style="margin-left: 1em;">sumi, <a href="#page_150">150</a>;</span><br />
-<span style="margin-left: 1em;">perspective in, <a href="#page_78">78</a>;</span><br />
-<span style="margin-left: 1em;">principles of, <a href="#page_147">147-149</a></span><br />
-
-Jargon in art and other departments of thought, <a href="#page_10">10</a><br />
-
-Jawlensky, <a href="#page_47">47</a>, <a href="#page_110">110</a>, <a href="#page_111">111</a>, <a href="#page_113">113</a><br />
-
-Johnson, <a href="#page_49">49</a><br />
-
-<i>Journal</i>, Reno, Nevada, editorial from, <a href="#page_217">217</a><br />
-
-<br />
-<a name="K" id="K"></a>Kahler, <a href="#page_112">112</a><br />
-
-Kanabe, <a href="#page_47">47</a><br />
-
-Kandinsky, <a href="#page_111">111</a>, <a href="#page_112">112</a>;<br />
-<span style="margin-left: 1em;">and Turner, <a href="#page_29">29</a>;</span><br />
-<span style="margin-left: 1em;">article in “Der Blaue Reiter,” <a href="#page_131">131-135</a>;</span><br />
-<span style="margin-left: 1em;">estimate by other artists, <a href="#page_138">138</a>, <a href="#page_139">139</a>;</span><br />
-<span style="margin-left: 1em;">extreme in theories and work, <a href="#page_115">115</a>;</span><br />
-<span style="margin-left: 1em;">his improvisations, <a href="#page_116">116</a>;</span><br />
-<span style="margin-left: 1em;">his pictures in London exhibition, <a href="#page_116">116</a>;</span><br />
-<span style="margin-left: 1em;">his writings, <a href="#page_107">107</a>;</span><br />
-<span style="margin-left: 1em;">Improvisations, <a href="#page_124">124-128</a>;</span><br />
-<span style="margin-left: 1em;">letters from, <a href="#page_124">124-128</a>;</span><br />
-<span style="margin-left: 1em;">personal letter regarding his development, <a href="#page_135">135-137</a>;</span><br />
-<span style="margin-left: 1em;">praised by a critic, <a href="#page_116">116-117</a>;</span><br />
-<span style="margin-left: 1em;">spiritual values and necessities, <a href="#page_133">133-135</a>;</span><br />
-<span style="margin-left: 1em;">qualifications and theories, <a href="#page_117">117-128</a></span><br />
-
-Kanoldt, <a href="#page_111">111</a><br />
-
-Kantsch, <a href="#page_47">47</a><br />
-
-Koga, <a href="#page_111">111</a>, <a href="#page_114">114</a><br />
-
-Kramer, <a href="#page_1">1</a><br />
-
-Kroll, a virile Impressionist, <a href="#page_195">195</a>, <a href="#page_196">196</a><br />
-
-Kuhn, <a href="#page_1">1</a><br />
-
-Kuznezoff, <a href="#page_47">47</a><br />
-
-<br />
-<a name="L" id="L"></a>Lempué, letter from, <a href="#page_50">50</a><br />
-
-Larionoff, <a href="#page_47">47</a><br />
-
-Laurencin, <a href="#page_47">47</a><br />
-
-Laughing at what is strange, <a href="#page_63">63</a><br />
-
-Laughter at the pictures, <a href="#page_7">7-8</a><br />
-
-Laurvik, <a href="#page_86">86</a><br />
-
-Lawson, <a href="#page_1">1</a><br />
-
-Lee, <a href="#page_49">49</a><br />
-
-Le Fauconnier, <a href="#page_111">111</a><br />
-
-LeFitz Simons, <a href="#page_20">20</a><br />
-
-Lehmbruck, <a href="#page_182">182</a><br />
-
-Les Fauves, <a href="#page_33">33</a>, <a href="#page_37">37</a><br />
-
-Lewis, <a href="#page_47">47</a>, <a href="#page_48">48</a><br />
-
-Lewis, <a href="#page_48">48</a><br />
-
-Lie, <a href="#page_1">1</a><br />
-
-Life and rhythm, <a href="#page_8">8</a><br />
-
-Life, romantic and realistic periods of, <a href="#page_18">18-19</a><br />
-
-Light, painting of, <a href="#page_11">11</a><br />
-
-Light, waves, <a href="#page_143">143</a><br />
-
-Literature, objectionable books, <a href="#page_157">157</a><br />
-
-Lloyd, George, <a href="#page_62">62</a><br />
-
-London, Allied Artists’ Exhibition, <a href="#page_183">183</a>;<br />
-<span style="margin-left: 1em;">first exhibition of Futurism, <a href="#page_175">175</a></span><br />
-
-Luks, <a href="#page_1">1</a><br />
-
-<br />
-<a name="M" id="M"></a>MacMonies, <a href="#page_204">204</a><br />
-
-Manet, a realistic Impressionist, <a href="#page_207">207-210</a>;<br />
-<span style="margin-left: 1em;">and followers, <a href="#page_11">11-12</a>;</span><br />
-<span style="margin-left: 1em;">studio painter, <a href="#page_17">17</a></span><br />
-
-Marc, <a href="#page_112">112</a>, <a href="#page_115">115</a><br />
-
-Marinetti, <a href="#page_165">165</a><br />
-
-Marquet, <a href="#page_47">47</a><br />
-
-Maschkoff, <a href="#page_47">47</a><br />
-
-Materialism and idealism, <a href="#page_18">18-19</a><br />
-
-Matisse, <a href="#page_28">28</a>, <a href="#page_37">37</a>;<br />
-<span style="margin-left: 1em;">career of, <a href="#page_43">43-47</a>;</span><br />
-<span style="margin-left: 1em;">element of ugliness in, <a href="#page_157">157</a>;</span><br />
-<span style="margin-left: 1em;">inevitable after Bouguereau, <a href="#page_157">157</a>;</span><br />
-<span style="margin-left: 1em;">“Madras Rouge,” <a href="#page_113">113</a>;</span><br />
-<span style="margin-left: 1em;">sculpture, <a href="#page_202">202</a>;</span><br />
-<span style="margin-left: 1em;">theories of, <a href="#page_44">44-47</a></span><br />
-
-McFee, <a href="#page_49">49</a><br />
-
-McRae, <a href="#page_1">1</a><br />
-
-Metropolitan Museum, <a href="#page_26">26</a><br />
-
-Metzinger, <a href="#page_47">47</a><br />
-
-Millet, a subject painter, <a href="#page_14">14</a>;<br />
-<span style="margin-left: 1em;">and Chabaud, <a href="#page_15">15</a>;</span><br />
-<span style="margin-left: 1em;">and others ridiculed by Paris, <a href="#page_8">8</a>;</span><br />
-<span style="margin-left: 1em;">manner of working, <a href="#page_16">16</a></span><br />
-
-Miller, Kenneth, a creative painter, <a href="#page_196">196</a><br />
-
-Mogilewsky, <a href="#page_112">112</a><br />
-
-Monet, a superficial Impressionist, <a href="#page_207">207-210</a>;<br />
-<span style="margin-left: 1em;">and painting of light, <a href="#page_29">29</a>;</span><br />
-<span style="margin-left: 1em;">and surface of things, <a href="#page_35">35</a></span><br />
-
-Morgan Exhibition in Metropolitan Museum, <a href="#page_198">198-199</a><br />
-
-<span class="pagenum"><a name="page_243" id="page_243">{243}</a></span>Mourey, protest against Cubist pictures, <a href="#page_52">52</a><br />
-
-Movements in art, <a href="#page_8">8</a>, <a href="#page_19">19</a>;<br />
-<span style="margin-left: 1em;">never devoid of force, <a href="#page_53">53</a>;</span><br />
-<span style="margin-left: 1em;">new in music, drama, etc., <a href="#page_30">30-31</a></span><br />
-
-Munich, atmosphere of compared with that of Paris, <a href="#page_111">111</a>;<br />
-<span style="margin-left: 1em;">new movement in, <a href="#page_47">47</a>;</span><br />
-<span style="margin-left: 1em;">Secessionists, <a href="#page_55">55</a>;</span><br />
-<span style="margin-left: 1em;">the new art in, <a href="#page_110">110</a></span><br />
-
-Münter, <a href="#page_111">111</a>, <a href="#page_112">112</a>, <a href="#page_114">114</a><br />
-
-Müther, <a href="#page_16">16</a><br />
-
-Music and painting, development of, <a href="#page_92">92-94</a><br />
-
-Music, changes of appreciations in, <a href="#page_9">9</a>;<br />
-<span style="margin-left: 1em;">Chinese, <a href="#page_128">128-129</a>;</span><br />
-<span style="margin-left: 1em;">color organ, <a href="#page_140">140-146</a>;</span><br />
-<span style="margin-left: 1em;">Greek, <a href="#page_128">128-129</a>;</span><br />
-<span style="margin-left: 1em;">imitative, <a href="#page_106">106-107</a>;</span><br />
-<span style="margin-left: 1em;">in color, <a href="#page_140">140-146</a>;</span><br />
-<span style="margin-left: 1em;">of Schoenberg, <a href="#page_9">9</a>;</span><br />
-<span style="margin-left: 1em;">Oriental, <a href="#page_128">128-129</a>;</span><br />
-<span style="margin-left: 1em;">Russian Ballet, <a href="#page_9">9</a>;</span><br />
-<span style="margin-left: 1em;">sound waves, <a href="#page_143">143</a>;</span><br />
-<span style="margin-left: 1em;">understood in different ways by different hearers, <a href="#page_84">84-85</a>;</span><br />
-<span style="margin-left: 1em;">used to explain, <a href="#page_106">106-107</a></span><br />
-
-Myers, <a href="#page_1">1</a><br />
-
-<br />
-<a name="N" id="N"></a>Nankivell, <a href="#page_1">1</a><br />
-
-National Academy in New York conservative, <a href="#page_57">57</a><br />
-
-Nature is living spirit, <a href="#page_134">134</a><br />
-
-Neo-Cubists, <a href="#page_67">67</a><br />
-
-Neo-Impressionists, <a href="#page_13">13</a>;<br />
-<span style="margin-left: 1em;">logical outcome of Impressionism, <a href="#page_27">27</a></span><br />
-
-New and strange, average man bewildered by, <a href="#page_153">153</a><br />
-
-New ideas and work, <a href="#page_5">5</a><br />
-
-Newspaper, pictures in editorial room of, <a href="#page_160">160</a><br />
-
-New York, impressions by a Cubist, <a href="#page_96">96-97</a><br />
-
-Nieder, <a href="#page_112">112</a><br />
-
-Nocturnes, <a href="#page_14">14</a><br />
-
-<br />
-<a name="O" id="O"></a>Objects flow through one another (see chapter on Cubism)<br />
-
-Objective art, <a href="#page_90">90</a><br />
-
-Observation and imagination in art, <a href="#page_14">14-15</a><br />
-
-Offices, decoration of, <a href="#page_162">162</a>;<br />
-<span style="margin-left: 1em;">pictures in, <a href="#page_161">161</a></span><br />
-
-Official exhibitions and independent, value of, <a href="#page_57">57</a><br />
-
-Old and new men, <a href="#page_4">4</a>, <a href="#page_5">5</a><br />
-
-Old masters and the new art, <a href="#page_110">110</a><br />
-
-Old masters, works belong to public, <a href="#page_6">6</a><br />
-
-Opera not understood, <a href="#page_83">83-84</a><br />
-
-Orphists, <a href="#page_60">60</a>;<br />
-<span style="margin-left: 1em;">theory of, <a href="#page_90">90-91</a></span><br />
-
-Organ, for color music, <a href="#page_140">140-146</a><br />
-
-<br />
-<a name="P" id="P"></a>Pach, <a href="#page_1">1</a><br />
-
-Painters like inventors, <a href="#page_19">19-20</a><br />
-
-Painting, a terrible problem, <a href="#page_2">2</a>;<br />
-<span style="margin-left: 1em;">and music, development of, <a href="#page_92">92-94</a>;</span><br />
-<span style="margin-left: 1em;">and sculpture compared, <a href="#page_187">187-188</a>;</span><br />
-<span style="margin-left: 1em;">in France, 19th century, <a href="#page_12">12</a></span><br />
-
-Paris compared with Munich, <a href="#page_111">111</a><br />
-
-Peploe, <a href="#page_47">47</a><br />
-
-Perfections of Impressionism to imperfections of Post-Impressionism, <a href="#page_9">9</a><br />
-
-Perfection unattainable, <a href="#page_1">1</a><br />
-
-Periods in work of artist, <a href="#page_20">20</a><br />
-
-Photo-Secession Gallery, <a href="#page_1">1</a><br />
-
-Picabia, calls Cubism a misnomer, <a href="#page_82">82</a>;<br />
-<span style="margin-left: 1em;">comparison made by, <a href="#page_91">91-92</a>;</span><br />
-<span style="margin-left: 1em;">“Dance at the Spring,” <a href="#page_68">68</a>;</span><br />
-<span style="margin-left: 1em;">explanation of abstract painting, <a href="#page_95">95-97</a>;</span><br />
-<span style="margin-left: 1em;">impressions of New York, <a href="#page_96">96-97</a></span><br />
-
-Picasso, <a href="#page_47">47</a>, <a href="#page_112">112</a>;<br />
-<span style="margin-left: 1em;">changes in style, <a href="#page_67">67</a>;</span><br />
-<span style="margin-left: 1em;">his development, <a href="#page_100">100-101</a>;</span><br />
-<span style="margin-left: 1em;">his theory, <a href="#page_98">98-100</a>;</span><br />
-<span style="margin-left: 1em;">“Woman and the Pot of Mustard,” <a href="#page_68">68</a>;</span><br />
-<span style="margin-left: 1em;">“Woman with a Mandolin,” <a href="#page_123">123</a></span><br />
-
-Pictures, easel, <a href="#page_144">144</a><br />
-
-Planes, as used by Picasso, <a href="#page_101">101</a>;<br />
-<span style="margin-left: 1em;">drawing in, <a href="#page_73">73-78</a>;</span><br />
-<span style="margin-left: 1em;">illustrated in modelling an orange, <a href="#page_80">80</a></span><br />
-
-Plato, quotation from, <a href="#page_102">102</a><br />
-
-Pointillists, <a href="#page_28">28</a><br />
-
-Porter, <a href="#page_1">1</a><br />
-
-Portrait painting and cubism, <a href="#page_159">159</a>;<br />
-<span style="margin-left: 1em;">and the modistes, <a href="#page_95">95</a>;</span><br />
-<span style="margin-left: 1em;">the average, <a href="#page_159">159</a></span><br />
-
-Post-Cubists, <a href="#page_67">67</a><br />
-
-Post-Impressionism, <a href="#page_11">11</a>;<br />
-<span style="margin-left: 1em;">aim of, <a href="#page_30">30</a>;</span><br />
-<span style="margin-left: 1em;">and reaction, <a href="#page_30">30</a>;</span><br />
-<span style="margin-left: 1em;">fundamentally different from Impressionism, <a href="#page_27">27</a>, <a href="#page_28">28</a>;</span><br />
-<span style="margin-left: 1em;">what it means, <a href="#page_11">11</a>;</span><br />
-<span style="margin-left: 1em;">Exhibition in London, <a href="#page_55">55</a></span><br />
-
-Prendergast, <a href="#page_1">1</a><br />
-
-Prices, absurd for old masters, <a href="#page_6">6-7</a>;<br />
-<span style="margin-left: 1em;">of famous Impressionist pictures, <a href="#page_22">22-26</a></span><br />
-
-Private buyer, his opportunity, <a href="#page_6">6</a><br />
-
-Progressive Political Convention, <a href="#page_4">4</a><br />
-
-Progressive Political Party, <a href="#page_66">66</a><br />
-
-Protest, a futile, <a href="#page_50">50</a><br />
-
-Public instinctively feels, <a href="#page_158">158</a><br />
-
-<span class="pagenum"><a name="page_244" id="page_244">{244}</a></span>Public, normal attitude toward new pictures, <a href="#page_156">156</a><br />
-
-<a name="R" id="R"></a>Reaction in art, <a href="#page_2">2</a><br />
-
-Realism and Courbet, <a href="#page_12">12</a><br />
-
-Redon, <a href="#page_47">47</a><br />
-
-Rembrandt, sale of “Bathsheba,” <a href="#page_6">6-7</a>;<br />
-<span style="margin-left: 1em;">overpriced, <a href="#page_60">60</a></span><br />
-
-Resilient, men who are, <a href="#page_62">62</a><br />
-
-Revolutionary movements, interest in, <a href="#page_66">66</a><br />
-
-Ridicule, of famous Impressionists, <a href="#page_22">22-26</a>;<br />
-<span style="margin-left: 1em;">of the strange, <a href="#page_65">65</a>;</span><br />
-<span style="margin-left: 1em;">which greeted great masters, <a href="#page_21">21</a></span><br />
-
-Rimington, <a href="#page_140">140-146</a><br />
-
-Rodin, <a href="#page_35">35</a>, <a href="#page_182">182</a>;<br />
-<span style="margin-left: 1em;">attitude towards sculpture, <a href="#page_203">203</a>;</span><br />
-<span style="margin-left: 1em;">his Balzac purely Post-Impressionistic, <a href="#page_79">79</a>;</span><br />
-<span style="margin-left: 1em;">his technic, <a href="#page_79">79</a></span><br />
-
-Rohland, <a href="#page_49">49</a><br />
-
-Romanticism, <a href="#page_12">12</a><br />
-
-Royal Academy in London conservative, <a href="#page_57">57</a><br />
-
-Rousseau, <a href="#page_37">37</a><br />
-
-Rouault, <a href="#page_112">112</a><br />
-
-Russia, new movement in, <a href="#page_47">47</a><br />
-
-Russian Ballet, <a href="#page_9">9</a><br />
-
-Ruskin, opinion of Wagner, <a href="#page_61">61</a><br />
-
-Russolo, <a href="#page_179">179</a><br />
-
-Rutter, <a href="#page_3">3</a>, <a href="#page_28">28</a>, <a href="#page_42">42</a><br />
-
-<br />
-<a name="S" id="S"></a>Sacharoff, <a href="#page_111">111</a><br />
-
-Salmon, <a href="#page_43">43</a><br />
-
-Salon d’Automne, <a href="#page_54">54</a>;<br />
-<span style="margin-left: 1em;">exhibition 1912, <a href="#page_50">50</a></span><br />
-
-Salon des Refuses, <a href="#page_11">11</a><br />
-
-Salon d’Independants, plan of, <a href="#page_56">56</a><br />
-
-Salons grow conservative, <a href="#page_57">57</a><br />
-
-Sargent, a virile Impressionist, <a href="#page_193">193</a>;<br />
-<span style="margin-left: 1em;">and Alexander, <a href="#page_199">199</a>;</span><br />
-<span style="margin-left: 1em;">and Whistler, <a href="#page_193">193</a>;</span><br />
-<span style="margin-left: 1em;">his technic, <a href="#page_79">79</a>;</span><br />
-<span style="margin-left: 1em;">tired of portrait painting, <a href="#page_102">102</a></span><br />
-
-Sarjan, <a href="#page_47">47</a><br />
-
-Schalowsky, <a href="#page_47">47</a><br />
-
-Schereczowa, <a href="#page_47">47</a><br />
-
-Schnabel, <a href="#page_111">111</a><br />
-
-Schools, effect of, <a href="#page_137">137</a>, <a href="#page_138">138</a><br />
-
-Sculpture, <a href="#page_202">202-205</a>; (see Futurism);<br />
-<span style="margin-left: 1em;">American, <a href="#page_203">203-204</a>;</span><br />
-<span style="margin-left: 1em;">compared with painting, <a href="#page_187">187-188</a>;</span><br />
-<span style="margin-left: 1em;">creative works, <a href="#page_204">204-205</a>;</span><br />
-<span style="margin-left: 1em;">developments in, <a href="#page_202">202-203</a>;</span><br />
-<span style="margin-left: 1em;">Futurist (see Futurism);</span><br />
-<span style="margin-left: 1em;">Greek, <a href="#page_203">203</a>;</span><br />
-<span style="margin-left: 1em;">Matisse, <a href="#page_202">202</a>;</span><br />
-<span style="margin-left: 1em;">observation and imagination in, <a href="#page_204">204</a>;</span><br />
-<span style="margin-left: 1em;">painted, <a href="#page_152">152</a>;</span><br />
-<span style="margin-left: 1em;">primitive element in, <a href="#page_206">206</a>;</span><br />
-<span style="margin-left: 1em;">Rodin, <a href="#page_203">203</a>;</span><br />
-<span style="margin-left: 1em;">spiritual element in, <a href="#page_205">205</a>;</span><br />
-<span style="margin-left: 1em;">work of Brancusi and Archipanko, <a href="#page_204">204</a></span><br />
-
-Secessionists, Munich, <a href="#page_55">55</a><br />
-
-Segonzac, <a href="#page_200">200</a><br />
-
-Seguin, <a href="#page_42">42</a><br />
-
-Shaw, Bernard, a reactionary, <a href="#page_170">170</a><br />
-
-Sky-scrapers, <a href="#page_199">199</a><br />
-
-Sloan, <a href="#page_1">1</a><br />
-
-Société des Artistes Francais, <a href="#page_53">53-54</a><br />
-
-Société des Artistes Independents, <a href="#page_54">54</a><br />
-
-Société Nationale des Beaux-Arts, <a href="#page_53">53-54</a><br />
-
-Sound waves, <a href="#page_143">143</a><br />
-
-Sousa Cardoza, <a href="#page_85">85</a><br />
-
-St. Gaudens, <a href="#page_204">204</a><br />
-
-Stieglitz, <a href="#page_1">1</a>, <a href="#page_116">116</a>;<br />
-<span style="margin-left: 1em;">his exhibitions, <a href="#page_211">211-213</a></span><br />
-
-Still lifes, <a href="#page_94">94</a>, <a href="#page_145">145</a><br />
-
-Story-telling pictures, <a href="#page_14">14</a><br />
-
-Strauss and other composers, <a href="#page_9">9</a><br />
-
-Strindberg and Gauguin, <a href="#page_41">41-42</a><br />
-
-Striving as an element of vitality, <a href="#page_89">89</a><br />
-
-Studios, art and nature art, <a href="#page_14">14</a>;<br />
-<span style="margin-left: 1em;">mostly ugly, <a href="#page_95">95</a></span><br />
-
-Subjective art, <a href="#page_90">90</a><br />
-
-Subjects in painting, <a href="#page_13">13-14</a><br />
-
-Substance of things difficult to paint, <a href="#page_98">98</a><br />
-
-Sudbinin, <a href="#page_112">112</a><br />
-
-Symphonies, <a href="#page_14">14</a><br />
-
-Synchronists, <a href="#page_60">60</a><br />
-
-<br />
-<a name="T" id="T"></a>Taste, attitude of public normal, <a href="#page_156">156</a>;<br />
-<span style="margin-left: 1em;">change in public taste, <a href="#page_55">55-56</a>;</span><br />
-<span style="margin-left: 1em;">changes from decade to decade, <a href="#page_155">155-156</a></span><br />
-
-Taylor, <a href="#page_1">1</a><br />
-
-Theater, Cubists, Futurists, etc., in, <a href="#page_64">64</a>;<br />
-<span style="margin-left: 1em;">color effects in, <a href="#page_142">142-143</a>;</span><br />
-<span style="margin-left: 1em;">future development of play, <a href="#page_170">170-171</a></span><br />
-
-Things, painting of, <a href="#page_11">11</a><br />
-
-<i>Times</i>, London, editorial from, <a href="#page_214">214</a><br />
-
-Times ripe for a change in art, <a href="#page_9">9</a><br />
-
-Tolerance, a plea for, <a href="#page_65">65</a><br />
-
-<i>Tribune</i>, Chicago, article on London Exhibition, <a href="#page_55">55</a><br />
-
-Tucker, <a href="#page_1">1</a><br />
-
-Turner and light effects, <a href="#page_28">28</a>;<br />
-<span style="margin-left: 1em;">forerunner of Impressionism, <a href="#page_13">13</a>;</span><br />
-<span style="margin-left: 1em;">his strange pictures, <a href="#page_29">29</a>;</span><br />
-<span class="pagenum"><a name="page_245" id="page_245">{245}</a></span><span style="margin-left: 1em;">ridiculed in England, <a href="#page_8">8</a></span><br />
-
-<br />
-<a name="U" id="U"></a>Ugliness, <a href="#page_154">154-163</a>;<br />
-<span style="margin-left: 1em;">a matter of taste, <a href="#page_154">154-156</a>;</span><br />
-<span style="margin-left: 1em;">and superb technic, <a href="#page_156">156</a>;</span><br />
-<span style="margin-left: 1em;">a realism, <a href="#page_158">158</a>;</span><br />
-<span style="margin-left: 1em;">a touchstone for taste, <a href="#page_157">157</a>;</span><br />
-<span style="margin-left: 1em;">great masters thought ugly, <a href="#page_155">155-156</a>;</span><br />
-<span style="margin-left: 1em;">in sculpture, <a href="#page_205">205-206</a>;</span><br />
-<span style="margin-left: 1em;">Matisse, <a href="#page_157">157</a></span><br />
-
-<br />
-<a name="V-i" id="V-i"></a>Van Dongen, <a href="#page_47">47</a>, <a href="#page_112">112</a><br />
-
-Van Gogh, <a href="#page_37">37</a>;<br />
-<span style="margin-left: 1em;">letters of, <a href="#page_40">40</a></span><br />
-
-Verhoeven, <a href="#page_47">47</a><br />
-
-Virile Impressionism, <a href="#page_191">191-201</a>;<br />
-<span style="margin-left: 1em;">glorious future for, <a href="#page_209">209-210</a>;</span><br />
-<span style="margin-left: 1em;">material and practical, <a href="#page_192">192</a>;</span><br />
-<span style="margin-left: 1em;">outcome of substantial Impressionism, <a href="#page_209">209-210</a></span><br />
-
-Visual music, <a href="#page_117">117</a><br />
-
-Vitality, a new art, <a href="#page_154">154</a><br />
-
-Vlaminck, <a href="#page_47">47</a>, <a href="#page_112">112</a>, <a href="#page_200">200</a><br />
-
-<br />
-<a name="W" id="W"></a>Wagner and Ruskin, <a href="#page_61">61</a>;<br />
-<span style="margin-left: 1em;">Ruskin’s ridicule, <a href="#page_60">60</a></span><br />
-
-Werefkin, <a href="#page_47">47</a>, <a href="#page_111">111</a>, <a href="#page_114">114</a><br />
-
-Whistler, <a href="#page_4">4</a>, <a href="#page_11">11</a>;<br />
-<span style="margin-left: 1em;">as a Post-Impressionist, <a href="#page_18">18</a>;</span><br />
-<span style="margin-left: 1em;">as an Impressionist, <a href="#page_18">18</a>;</span><br />
-<span style="margin-left: 1em;">and Sargent and realistic Impressionism, <a href="#page_208">208</a>;</span><br />
-<span style="margin-left: 1em;">compared with Sargent, <a href="#page_193">193</a>;</span><br />
-<span style="margin-left: 1em;">forerunner of Post-Impressionism, <a href="#page_13">13</a>;</span><br />
-<span style="margin-left: 1em;">his literal moods, <a href="#page_17">17</a>;</span><br />
-<span style="margin-left: 1em;">master of technic, <a href="#page_14">14</a>;</span><br />
-<span style="margin-left: 1em;">on level with Chinese masters, <a href="#page_103">103</a>;</span><br />
-<span style="margin-left: 1em;">suit against Ruskin, <a href="#page_13">13</a></span><br />
-
-Whitman, ridicule of, <a href="#page_60">60</a><br />
-
-Wittenstein, <a href="#page_111">111</a><br />
-
-<br />
-<a name="Y" id="Y"></a>Young, <a href="#page_1">1</a><br />
-
-Youth, and new experiments, <a href="#page_66">66</a>;<br />
-<span style="margin-left: 1em;">radicalisms of, <a href="#page_61">61</a></span><br />
-
-<br />
-<a name="Z" id="Z"></a>Zak, <a href="#page_200">200</a><br />
-
-Zorach, <a href="#page_49">49</a><br />
-</p>
-
-<div class="footnotes"><p class="cb">FOOTNOTES:</p>
-
-<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> The names of the men who, in a spirit of disinterested
-devotion to art, organized this exhibition should not be forgotten. They
-were: Arthur B. Davies, J. Mowbray Clarke, Elmer L. McRae, Walt Kuhn,
-Karl Anderson, George Bellows, D. Putnam Brinley, Leon Dabo, Jo
-Davidson, Guy Pene DuBois, Sherry E. Fry, William J. Glackens, Robert
-Henri, E. A. Kramer, Ernest Lawson, Jonas Lie, George B. Luks, Jerome
-Myers, Frank A. Nankivell, Bruce Porter, Walter Pach, Maurice
-Prendergast, John Sloan, Henry Fitch Taylor, Allen Tucker, Mahonri
-Young.
-</p><p>
-For detailed account of earlier exhibitions held by Mr. Alfred
-Stieglitz&mdash;the real pioneer&mdash;in the Photo-Secession Gallery, 291 Fifth
-Ave., New York, see Appendix.¹</p></div>
-
-<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> “Revolution in Art,” by Frank Rutter, pp. 14, 15.</p></div>
-
-<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> Five short pieces of the music by Arnold Schoenberg were
-played for the first time in Chicago, December 31, 1913, by the Chicago
-Symphony Orchestra.
-</p><p>
-“Had Mr. Richard Swiveller been present at the performance of the new
-Stravinsky-Nijinsky ballet, ‘Le Sacre du Printemps,’ at Drury Lane on
-Friday night he would certainly have pronounced it ‘a staggerer.’ Both
-the music of M. Stravinsky and the choreography of M. Nijinsky are more
-defiantly anarchical than anything we have ever had before, and the
-purport of it all was a dark mystery, even though Mr. Edwin Evans was
-deputed to throw light on it in a long explanatory prologue. As every
-one knows by this time, M. Nijinsky is the apostle of a sort of
-‘post-impressionist’ or ‘Cubist’ revolution of the dance, in which mere
-gracefulness is ruthlessly sacrificed to significance and force of
-expression, and everything is stated in terms of symbolism, and in the
-new ballet he seems to have carried his theories into the most extreme
-practice.... M. Stravinsky seems as determined to make the hearer sit up
-as his colleague. Save that he condescends to regular rhythms, his music
-is the last word in emancipation from form and the cacophony of it is at
-times distressing.”&mdash;(London Sunday Times, July 13, 1913, from its
-article on the new Russian ballet, the sensation of the season.)</p></div>
-
-<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> “Manet and the French Impressionists,” by Theodore Duret,
-Introduction.</p></div>
-
-<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Testimony of Whistler in suit of “Whistler v. Ruskin.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> How little the world cared for Millet when he lived is a
-matter of history. He painted his greatest pictures in a room without a
-fire, in straw shoes, and with a horse blanket on his shoulders, and
-often he and his wife went without food. “All his efforts to exhibit in
-Paris were in vain. Even in 1859, ‘Death and the Woodcutter’ was
-rejected by the Salon. The public laughed, being accustomed to peasants
-in comic opera, and, at best, his pictures were honored by a caricature
-in a humorous paper.” His pictures brought from fifty to sixty dollars.</p></div>
-
-<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> “History of Modern Painting,” Richard Muther, Vol. II, pp.
-487-8.</p></div>
-
-<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> “The New Movement in Art from a Philosophical Standpoint,”
-by Theo. LeFitz Simons.</p></div>
-
-<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> See “Manet and the French Impressionists,” by Duret, p. 112
-<i>et seq.</i>, and a readable article, “The Master Impressionists,” by C. L.
-Borgmeyer, in “Fine Arts Journal” for March, 1913.</p></div>
-
-<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> April 25, 1874.</p></div>
-
-<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> “Library Gazette,” May 14, 1842, p. 331.</p></div>
-
-<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> “Athenaeum,” May 14, 1842, p. 433.</p></div>
-
-<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> “Revolution in Art,” by Frank Rutter, p. 17, 18.</p></div>
-
-<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> The interest expressed in much impressionist painting is
-only an interest of curiosity. The painter represents facts that he has
-only just noticed. He is like a clever journalist who makes an article
-out of his first observations of a new country. But the aim of the
-Post-Impressionist is to substitute the deeper and more lasting
-emotional interest for the interest of curiosity.
-</p><p>
-Like the great Chinese artists, they have tried to know thoroughly what
-they paint before they begin to paint it, and out of the fulness of
-their knowledge to choose only what has an emotional interest for them.
-Their representations have the brevity and concentrated force of the
-poet’s descriptions. He does not go out into the country with a
-note-book and then versify all that he has observed. His descriptions
-are often empty of fact, just because he only tells us what is of
-emotional interest to himself and relevant to the subject of his poem;
-and they are justified, not by the information they convey, but by the
-emotion they communicate through the rhythm of sound and words. The
-Post-Impressionists try to represent as the poet describes. They try to
-give every picture an emotional subject-matter and to make all
-representation relevant to it.
-</p><p>
-“The Post-Impressionists,” by A. Chilton-Brock, “Burlington Magazine,”
-January, 1911.</p></div>
-
-<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> “The Post-Impressionists,” by A. Chilton-Brock,
-“Burlington Magazine,” January, 1911.</p></div>
-
-<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> In another book, “The New Competition,” the writer has
-attempted this in relation to business and economics.</p></div>
-
-<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> “Souvenirs Sur Paul Cézanne,” by Emile Bernard, 1912.</p></div>
-
-<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> “Das Neue Bild,” Otto Fischer, 11-12. Several of the
-half-tone reproductions which we use are from this work on Munich art.</p></div>
-
-<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> “The Post-Impressionists,” by A. Chilton-Brock,
-“Burlington Magazine,” January, 1911.</p></div>
-
-<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> “Revolution in Art,” by Frank Rutter, p. 27.</p></div>
-
-<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> “Paul Gauguin,” by Michael Puy, “L’Art Décoratif,” April,
-1911.</p></div>
-
-<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> “Revolution in Art,” by Frank Rutter, 32-33. Now that the
-great Swedish dramatist, and pessimist, is becoming known to the
-English-speaking world, these words of Gauguin’s are singularly
-interesting&mdash;and just.</p></div>
-
-<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> See “Paul Gauguin,” by Armand Seguin, “L’Occident,” March,
-April, and May, 1903.</p></div>
-
-<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> “Souvenirs of Paul Cézanne,” by Emile Bernard, p. 36.</p></div>
-
-<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> See “Laws of Japanese Painting,” Henry P. Bowie, by long
-odds the best book in English on the subject.</p></div>
-
-<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> See “La Jeune Peinture Française,” pas. André Salmon, pp.
-18, 19.</p></div>
-
-<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> “La Jeune Peinture Française,” André Salmon, p. 19.</p></div>
-
-<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> From an article and interview by C. T. MacChesney, printed
-in the “New York Times,” March 9, 1913.</p></div>
-
-<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> See “Le Jeune Peinture Française,” André Salmon, 1912.</p></div>
-
-<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> “Der Blaue Reiter,” p. 5.</p></div>
-
-<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> See “Der Blaue Reiter,” pp. 17, 18.</p></div>
-
-<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> “L’Art Décoratif,” Nov. 1912.</p></div>
-
-<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> See “The New Spirit in Drama and Art,” by Huntley Carter.</p></div>
-
-<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> This and the following chronological information are from
-“Les Peintres ‘Cubistes,’<span class="lftspc">”</span> by Guillaume Apollinare, 22 <i>et seq.</i></p></div>
-
-<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> “Les Peintres ‘Cubistes,’<span class="lftspc">”</span> pp. 24-26.</p></div>
-
-<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> “Das Neue Bild,” Otto Fischer, pp. 12-13.</p></div>
-
-<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> See “The Mask,” Vol. VI, pp. 64-75.</p></div>
-
-<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> “Les Peintres ‘Cubistes,’<span class="lftspc">”</span> Guillaume Apollinare, p. 15.</p></div>
-
-<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> “Is It Art? Post-Impressionism, Cubism, Futurism,” by J.
-N. Laurvik. The sub-title is obviously confusing, since
-Post-Impressionism includes all the developments following
-Impressionism.</p></div>
-
-<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> “Delight; the Soul of Art,” p. 9 et seq.</p></div>
-
-<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> “Delight; the Soul of Art,” lecture V, “Delight in
-Labor.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> From “An Interview with Francois Picabia,” in the “New
-York Tribune.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> J. N. Laurvik, in “Boston Evening Transcript.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> “Cubism,” Gleizes and Metzinger (Eng. Edition).</p></div>
-
-<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> “Das Neue Bild,” by Otto Fischer, pp. 22, 23.</p></div>
-
-<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> “Das Neue Bild,” p. 34.</p></div>
-
-<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> It was purchased by Mr. Alfred Stieglitz.</p></div>
-
-<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> Roger Fry in “The Nation,” August 2, 1913.</p></div>
-
-<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> Second edition, Munich, R. Piper &amp; Co., 1912.</p></div>
-
-<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> “Der Sturm,” Berlin.</p></div>
-
-<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> See pages 87-88 for quotation from “Delight; the Soul of
-Art.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> It should be stated that the brilliant colors of the
-original are very inadequately shown in the reproduction for the reason
-the painting is so large it does not reproduce well so small.</p></div>
-
-<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> “The History of Music,” Emil Nauman, Vol. 1, p. 7 <i>et
-seq.</i></p></div>
-
-<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> See “Sensations of Tone,” Helmholtz, Eng., Edit., p. 258.</p></div>
-
-<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> Helmholtz, p. 258.</p></div>
-
-<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> Ibid., p. 265.</p></div>
-
-<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> For a scientific investigation of Siamese and Japanese
-scales, see additions to English edition of Helmholtz, “Sensation of
-Tone,” p. 556.</p></div>
-
-<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> “History of Music,” Nauman, Vol. I, p. 10.</p></div>
-
-<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Ibid., Vol. I, p. 12.</p></div>
-
-<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> By Mr. A. W. Rimington, Professor of Fine Arts at Queen’s
-College, London. See his book, “Color Music.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> “On the Laws of Japanese Painting,” by Bowie, p. 55.</p></div>
-
-<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> “On the Basis of Japanese Painting,” Bowie, pp. 77-79.</p></div>
-
-<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> Signor Marinetti is the founder of the school; he is not a
-painter, but a writer, editor of “Poesia.” He is a young man and is
-followed by a small band of young enthusiastic writers, poets,
-musicians, painters, sculptors, whose innovations strike even the
-cubists as wild extravagances. In fact, Futurism and Cubism have very
-little in common except innovation; both are revolutionary but otherwise
-diametrically opposed in many of their aims and theories.</p></div>
-
-<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> Before seeing any of the Futurist literature and
-influenced only by developments in the printing of newspapers and
-periodicals in America, the writer caused a book on an economic subject
-to be printed in such a manner that, so far as possible, each page
-displayed on its face its contents. The attempt was made to so break up
-the pages and so use italics and capitals that the task of the reader
-would be lightened. The attempt attracted the very favorable attention
-of reviewers, several remarking that “the arts of the advertiser had
-been used to display the ideas”&mdash;and that was true.</p></div>
-
-<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> From an article by Ray Nyst, a Belgian critic in “La
-Belgique Artistique et Libraire.”</p></div>
-
-<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> Writer in “The Times-Democrat,” New Orleans.</p></div>
-
-</div>
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deleted file mode 100644
index bf88c48..0000000
--- a/old/64936-h/images/i_p077.jpg
+++ /dev/null