,,cubists ,,and ,,post-,,impressionism ,illustration3 ,,gleizes ,man on ,balcony ,cubists and ,post-,impressionism ,,by ,,arthur ,,jerome ,,eddy ,author of 8,delight1 the ,soul of ,art10 8,recollections and ,impressions of ,james ,a4 ,mc,neill ,whistler10 etc4 ,with ,twenty-three ,reproductions in ,color of ,cubist and ,post-,impressionist ,paintings1 and ,forty-six ,half-,tone ,illustrations ,illustration ,,chicago ,a4 ,c4 ,mc,c,l,u,r,g ,,co4 #aiad ,copyright ,a4 ,c4 ,mc,clurg ,co4 #aiad ,published ,march1 #aiad ,w4 ,f4 ,,hal4 ,,printing ,,company1 ,,chicago ,,to ,,that ,,spirit the beating of whose restless wings is heard in every land ,,contents ,chapter ,page ,i4 ,a ,sensation #a ,,ii4 ,post-,impressionism #aa ,,iii4 ,les ,fauves #cc ,,iv4 ,a ,futile ,protest #ej ,v4 ,what is ,cubism8 #fj ,,vi4 ,the ,theory of ,cubism #ij ,,vii4 ,the ,new ,art in ,munich #aaj ,,viii4 ,color ,music #adj ,,ix4 ,esoragoto #adg ,x4 ,ugliness #aed ,,xi4 ,futurism #afd ,,xii4 ,virile-,impressionism #aia ,,xiii4 ,sculpture #bjb ,,xiv4 ,in ,conclusion #bjg ,appendix ,i4 ,exhibitions at #bia ,fifth ,avenue #baa ,appendix ,,ii4 ,two ,comments #bad ,bibliography #bbc ,index #bci ,,illustrations ,,page ,,balla1 ,dog and person in movement #afd ,,bechtejeff1 ,fight of the ,amazons #ec ,,bloch1 ,summer night #ib ,the duel #ic ,,boccioni1 ,head1 houses1 light #ahd ,spiral expansion of muscles in action #bjd ,,brancusi1 ,m'lle ,poganey #bjb ,,cardoza1 ,,sousa1 ,marine #d ,leap of the rabbit #hd ,stronghold #adh ,c,,zanne1 ,portrait of self #bf ,village street #bg ,still life #cf ,,chabaud1 ,the laborer #af ,cemetery gates #ajh ,,charmy1 ,landscape #bjj ,,derain1 ,forest at ,martigues #aed ,,dove1 ,based on leaf forms and spaces #dh ,,duchamp1 ,chess players #fd ,king and queen #gb ,,erbsloh1 ,young woman #bjg ,,gauguin1 ,portrait of self #abh ,farmyard #abi ,scene in ,tahiti #acb ,,girieud1 ,woman seated #ada ,,gleizes1 ,man on balcony ,frontispiece ,original drawing for man on balcony #gj ,,gris1 ,still life #acc ,,herbin1 ,landscape #if ,still life #ahf ,,jawlensky1 ,head of a girl #aeh ,,kandinsky1 ,village street #bj ,landscape with two poplars #aje ,improvisation ,no4 #bi #aaf ,improvisation ,no4 #cj #abd ,,klee1 ,house by the brook #hh ,,kroll1 ,brooklyn ,bridge #aih ,still life #baj ,,leger1 ,the chimneys #fa ,,lehmbruck1 ,kneeling woman #bjc ,,marc1 ,the steer #ajd ,,matisse1 ,the dance #dd ,woman in red madras #aab ,portrait heads #bje ,back of woman #bjf ,,metzinger1 ,the taster #fj ,m,,nter1 ,the boat ride #agb ,the white wall #agc ,,picabia1 ,dance at the spring #fh ,,picasso1 ,woman with mandolin #gd ,the poet #ge ,drawing #ajj ,old woman #adj ,,rousseau1 ,portrait of self #ab ,landscape #ac ,,russolo1 ,rebellion #agh ,,segonzac1 ,pasturage #ahb ,forest #aib ,,severini1 ,the milliner #hj ,,van ,,gogh1 ,portrait of self #dj ,cafe #ef ,woman with frying pan #abj ,chair with pipe #aba ,,van ,,rees1 ,still life #hi ,maternity #afh ,,villon1 ,young girl #cb ,,vlaminck1 ,village #acf ,,werefkin1 ,the country road #eb ,,zak1 ,the shepherd #h ,,cubists ,,and ,,post-,,impressionism ,,alas6 ,,alas66 8,it is unlikely that any painters will ever again have to face the hostility which was manifested against the ,impressionists4 ,the repetition of such a phenomenon would be impossible4 ,the case of the ,impressionists1 in which withering scorn yielded place to admiration1 has put criticism on its guard4 ,it will surely stand as a warning1 and ought to prevent the recurrence of a similar outburst of indignation against the innovators and independents whom time may yet bring forth40 --8,manet and the ,french ,impressionists10 by ,theodore ,duret1 pp4 #ahj1 #aha4 ,cubists and ,post-,impressionism ,i ,a ,,sensation ,since the exhibit at the ,columbian ,exposition 7#ahic7 nothing has happened in the world of ,american art so stimulating as the recent ,,international ,,exhibition ,,of ,,modern ,,art4 ,new ,york and ,chicago1 spring of #aiac4a 8,stimulating0 is the word1 for while the recent exhibition may have lacked some of the good1 solidly painted pictures found in the earlier1 it contained so much that was fresh1 new1 original--eccentric1 if you prefer--that it gave our art-world food for thought--and heated controversy4 99 99 99 99 99 ,art thrives on controversy--like every human endeavor4 ,the fiercer the controversy the surer1 the sounder1 the saner the outcome4 99 99 99 99 99 ,perfection is unattainable4 ,as man in his loftiest flight stretches forth his hand to seize a star he drops back to earth4 ,the finer1 the purer the development of any art the more certain the reaction1 the return to elemental conditions--to begin over again4 99 99 99 99 99 ,the young sculptor looks at the chaste perfection of ,greek sculpture and says1 8,what is the use8 ,i will do something different40 ,the young painter looks at the great painters of yesterday and exclaims1 8,what is the use8 ,i cannot excel them in their way2 ,i must do something in my own way40 ,it is the same in business2 the young merchant studies the methods of the successful men in his line and says1 8,it is idle for me to copy their methods4 ,i will do something different1 something in my own way10 and he displays his goods differently1 advertises differently1 conducts his business differently1 and if successful is hailed as a genius1 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 public4 ,painting today is a terrible problem to an absolutely sincere1 honest1 and yet ambitious mind4 ,fired to set forth something of his very own1 to avoid plagiarism and give the world something it has never yet received1 the artist1 in whatever direction he advances1 finds the horizon bounded by a great master whom he cannot hope to surpass4 ,well1 indeed1 may he ask what is the use of trying to do what ,van ,eyck1 ,botticelli1 ,vermeer1 ,rembrandt1 ,veronese1 ,michael ,angelo1 ,velasquez--nay1 even what ,constable1 ,corot1 ,claude ,monet1 and ,signac have done to perfection8 ,in despair at surpassing the limits set by the great masters of progress he harks back1 as the pre-,raphaelites did1 to the painters before ,raphael4 ,alas1 ,fra ,lippi and ,taddeo ,gaddi are soon found to be too sophisticated4 ,he goes back farther1 to ,giotto1 to ,orcagna1 even to the ,egyptians1 and with the same result4 ,at last he takes his courage in his hands and1 throwing overboard the whole cargo of art history1 ancient and modern1 he seeks to forget that picture was ever painted1 and with eyes freed from traditional vision he seeks to recreate the barbaric art of infancy4 ,call this man an extremist if you like1 but do not lightly dub him insincere and charlatan4 ,he is the counterpart in art of the extremist in politics1 the man who has no patience with palliative measures1 who demands the whole loaf and nothing but the loaf1 who kicks savagely away the fragments of bread tendered him by the moderate and respectable4 ,a dangerous man he may be1 but he is no trifler2 and1 if he succeeds in his purpose1 as extremists sometimes do1 the whipped world at his feet hails him as reformer and benefactor of humanity4#b 99 99 99 99 99 ,the ,columbian ,exposition gave ,american art a tremendous impetus forward1 but of late it has been getting a little smug2 the ,international ,exhibition came and gave our complacency a severe jolt4 ,the net result is that ,american art has received another impulse forward2 it will do bigger and finer and saner things4 ,it will not copy the eccentricities1 the exaggerations1 the morbid enthusiasms of the recent exhibition1 because ,america as yet is not given to eccentricities and morbidness--though it may be to a youthful habit of exaggeration4 ,america is essentially sane and healthful--say quite practical--in its outlook1 hence it will absorb all that is good in the extreme modern movement and reject what is bad4 ,neither our students nor our painters will be carried off their feet but they will be helped onward4 ,they will be helped in their technic1 and they will see things from new angles1 they will be more independent1 in short they will be better and bigger painters4 ,they will not be ,cubists1 ,orphists1 or ,futurists1 but they will absorb all there is of good in ,cubism1 ,orphism1 ,futurism--and other 8isms20 and bear in mind it is the ist who is always blazing a trail somewhere2 he may lose himself in the dense undergrowth of his theories but he at least marks a path others have not trodden4 ,the recent exhibition was not an isolated movement4 ,there are no isolated movements in life4 ,the ,international ,exhibition was just as inevitable as the ,progressive political convention of #aiab in ,chicago4 ,the world is filled with ferment--ferment of new ideas1 ferment of originality and individuality1 of assertion of independence4 ,this is true in religion1 science1 politics as well as in art4 ,it is true in business4 ,new thought is everywhere4 ,the most radical suggestions are debated at the dinner table4 ,in politics what would have been considered socialistic twenty years ago is accepted today as reasonable4 ,to the conservative masses these new departures may seem like a wild overturning of all that is sacred1 but there is no need for fear2 all that is really sound will gain in the end4 99 99 99 99 99 ,neither ,cubism1 ,futurism nor any other 8ism0 troubles the really great painter2 it is the little fellow who fumes and swears4 ,the poise of the great man is not at all disturbed by the eccentric and the bizarre2 on the contrary he looks with a curious eye to see if something of value may not be found4 ,whistler would not have painted ,cubist pictures1 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 painter4 ,it is characteristic of the little man to ridicule or resent everything he does not understand2 it is characteristic of the great man to be silent in the presence of what he does not understand4 99 99 99 99 99 ,just now the older men are violently opposed to the newer2 there is no attempt at understanding and there is abundant ridicule instead of sympathy4 ,illustration3 ,,sousa ,,cardoza ,marine ,this is inevitable and quite in accord with human nature1 but it is a pity4 ,the old and the new are not rivals2 the new is simply a departure from the old1 simply an attempt to do something different with line and color4 ,the older men should watch the younger with keenest interest2 they may feel sure the new is foredoomed to failure1 but that is no cause for rejoicing2 on the contrary the older man should always be sorry to see the soaring flights of youth come to grief4 99 99 99 99 99 ,because a man buys a few ,cubist pictures it must not be assumed he is a believer in ,cubism4 ,because a man has a few books on socialism or anarchism in his library we do not assume he is a socialist1 or an anarchist2 on the contrary it is commonly assumed he is simply broadly and sanely interested in social and political theories4 ,the radical may not convince me he is right1 but he may show me ,i am wrong4 ,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 men1 unreceptive1 unresponsive2 many intelligent in their narrow way1 but bigoted4 ,to most men a new idea is a greater shock than a cold plunge in winter4 ,personally ,i have no more interest in ,cubism than in any other 8ism10 but failure to react to new impressions is a sure sign of age4 ,i would hate to be so old that a new picture or a new idea would frighten me4 ,i would like to own ,raphaels and ,titians and ,rembrandts and ,velasquezes1 but ,i can't afford it4 ,i say ,i would like to own them2 no1 ,i would not1 for ,i have the conviction that no man has the right to appropriate to himself the work of the great masters4 ,their paintings belong to the world and should be in public places for the enjoyment and instruction of all4 ,it is the high privilege of the private buyer to buy the works of new men1 and by encouraging them disclose a ,rembrandt1 a ,hals1 a ,millet1 a ,corot1 a ,manet1 but when the public begins to want the pictures the private buyer1 instead of bidding against the public1 should step one side2 his task is done1 his opportunity has passed4 99 99 99 99 99 ,most men buy pictures not because they want them1 but because some one else wants them4 ,the man who gives half a million for a ,rembrandt does so not because he knows or cares anything about the picture1 but solely because he is made to believe some one else wants it #dej1jjj worth4 ,read this3 ,the crowning event of the day was the sale of ,rembrandt's 8,bathsheba40 ,the bidding started at #aej1jjj francs and within a couple of minutes a perfect whirlwind of bids had carried the price to #ejj1jjj francs offered by a dealer1 ,mr4 ,trotti4 ,already the smaller fry among the bidders had been eliminated and the contest was circumscribed to a small group1 ,messrs4 ,duveen1 ,wildenstein1 ,tedesco1 ,muller and ,trotti being the most ardent in the battle4 8,six hundred thousand60 cried ,mr4 ,duveen4 8,six hundred and fifty thousand10 said ,mr4 ,wildenstein4 ,mr4 ,duveen replied with a nod which meant the addition of another #ej1jjj4 ,then with bids of #aj1jjj and #be1jjj the price mounted1 the struggle developing into a duel between ,mr4 ,wildenstein and ,mr4 ,duveen4 ,eight hundred thousand francs was reached and left behind2 #ijj1jjj francs in turn was passed4 8,nine hundred and fifty thousand10 rapped out ,mr4 ,duveen4 8,nine hundred and sixty thousand10 responded ,mr4 ,wildenstein4 ,then came 8nine hundred and seventy thousand0 and 8nine hundred and eighty thousand40 ,by this time the entire gathering was spellbound by the spectacle of the gladiatorial contest for the picture4 8,nine hundred and ninety thousand10 said ,mr4 ,wildenstein4 ,there was an instant of silence4 8,a million60 ,every eye turned from the speaker1 ,mr4 ,duveen1 to gaze on ,mr4 ,wildenstein expectantly4 ,then there was silence1 signifying his withdrawal from the fight4 ,a mighty hubbub arose4 ,the ,rembrandt had been knocked down to ,mr4 ,duveen for a million francs1 or1 with the commission1 #a1ajj1jjj francs4 ,never has such a price been given for a ,rembrandt4 ,this is not dealing in art1 it is art on the horse-block4 ,here is the record of that one painting3 #agcd--,sold at ,antwerp for #aji #agia--,sold at ,paris for #bdj #ahad--,sold at ,london for #ebe #ahcj--,sold at ,london for #gij #ahca--,sold at ,london for #gib #ahcb--,sold at ,london for #a1bfj #ahda--,sold at ,paris for #a1egf #aiac--,sold at ,paris for #bbj1jjj 99 99 99 99 99 ,during the exhibition in ,new ,york and ,chicago the pictures were the one topic of conversation2 for the time being it was worth while to dine out2 society became almost animated4 ,i recall one delightful and irascible old gentleman1 critic and painter1 who had not had a fresh appreciation for twenty-five years4 ,for him art ended with the ,barbizon school4 ,whistler1 ,monet1 ,degas had no sure places4 99 99 99 99 99 ,we all have the courage of others' convictions4 ,the new1 however good1 is always queer2 the old1 however bad1 is never strange4 ,most people laugh at new pictures because they are afraid if they don't laugh at the pictures1 other people will laugh at them4 ,now and then a man laughs at a queer picture because he can't help it1 he is a joy4 ,laughter is the honest emotion of the child1 on the grown-up it is often a mark of ignorance4 ,it is so easy to ridicule what one does not understand and dares not like4 ,laughter never stops to think--if it did there would be less laughter4 ,if you feel like laughing at a picture1 laugh by all means1 it will do you good1 but be sure you really feel like laughing1 and to make sure ask yourself this question1 8,if that picture were the only one in the room and ,i were alone with it would it strike me as laughable80 99 99 99 99 99 ,it always takes just about so many years4 ,what happened with the ,barbizon ,school happened with ,impressionism2 what happened with ,impressionism1 will happen with ,post-,impressionism2 what will happen with ,post-,impressionism will surely happen with post-post-,impressionism1 and so on4 ,one movement follows another1 as season follows season4 ,life is rhythm4 ,each generation thinks itself unique in its experiences4 ,we go to an exhibition of cubist pictures and we think nothing like that ever happened before1 hence we feel safe in denouncing them4 ,we admit ,england was wrong when it ridiculed ,turner1 that ,france was wrong when it ridiculed ,corot1 that ,paris was wrong when it derided ,millet1 ,manet1 ,monet1 ,degas1 and a host of other great men1 but we are not wrong when we deride the new men4 ,why8 ,because we think they are newer and stranger than the men named4 ,illustration3 ,,zak ,the ,shepherd ,we accept ,wagner as a genius1 but ,strauss--oh1 no1 he is too strange1 but there are stranger composers than ,strauss already at work and we must travel fast to keep up with the procession4#c ,be very sure the ,cubists1 the ,futurists1 and all the other queer 8ists0 would not make the impression they are making if there were not a good reason for it1 if the times were not ripe for a change4 99 99 99 99 99 ,broadly speaking we are changing from the perfections of ,impressionism to the imperfections of ,post-,impressionism2 from the achievements of a school1 a movement1 that has done the best it could1 to the attempts1 the experiments1 the gropings1 of new men along new lines4 ,it is the purpose of this book to describe some of the changes that are taking place and try to explain them in plain1 every-day terms4 ,the curse of art literature and professional art criticism is art-jargon4 ,every department of human activity from sport to science1 baseball to philosophy1 speedily develops its own jargon and the tendency is for the jargon to become denser and denser and so more and more obscure its subject1 until some man with horse-sense--like ,huxley in science and ,william ,james in philosophy--restores the use of every-day ,english4 ,some jargon like that of the baseball reporter is intensely vivid and amusing1 it is language in the making1 but the jargon of the art critic is deadly1 it is neither vivid nor interesting--it is simply hypnotic4 ,it is only when the critic gets so angry he forgets his jargon that he becomes intelligible--and betrays himself4 ,the reputation of many a preacher1 many an orator1 depends wholly upon his command of jargon1 his ability to utter endless phrases which are either stock ideas1 old as the hills1 or which sound as if they meant something but on analysis prove quite barren4 ,,ii ,,post-,,impressionism ,post-,impressionism means exactly what the prefix means--the art-development following ,impressionism4 ,it does not mean a further1 or a higher1 or a more subtle form of ,impressionism1 but it means something radically different1 it means a reaction from ,impressionism4 99 99 99 99 99 ,the evolution of the new movement has been logical and inevitable4 ,after the ,barbizon school with its romantic representation of nature1 there came inevitably the realistic painters1 headed by ,courbet1 later by ,manet--men who painted things not romantically but realistically1 pitilessly1 brutally4 ,there was the same rage against these men as against the ,cubists today4 ,both ,whistler and ,manet were in the ,salon des ,refuses of #ahfd4 ,along with the men who painted things as they saw them1 came naturally men like ,monet1 ,sisley1 ,pissarro1 ,seurat1 ,signac1 who tried endless experiments in the effort to paint light as they saw it4 ,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 are4 ,after the painting of things and light one would say the art of painting had touched its limits1 that there was nothing more to do4 ,but1 no1 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 self4 ,it was while ,manet was painting things as they are1 and ,monet was painting light as it is1 that ,whistler was painting both things and light but with an entirely different object in view1 namely1 the production of color harmonies superior to either thing-effects or light-effects4 ,to the following rsum it is obvious another paragraph must be added to bring the record down to date4 99 99 99 99 99 ,painting in ,france in the nineteenth century followed a course parallel with that of the intellectual life of the country1 it adapted itself to the various changes in modes of thought1 it took upon itself a succession of forms corresponding to those which were evolved in literature4 ,at the beginning of the century1 under the ,empire1 painting was classical4 ,it was primarily engaged in rendering scenes borrowed from the antique world of ,greece and ,rome1 subjects derived from fable and mythology4 ,historical painting formed the essence of high art4 ,it was based upon the nude1 treated according to the classical model4 ,two masters--,david and ,ingress--were its loftiest expression4 ,after them classical art was continued in an enfeebled condition by painters of only secondary importance4 ,the new spirit of romanticism1 however1 which had arisen in literature1 also made its appearance in painting4 ,delacroix was the master in whom it found its most complete expression4 ,the tones of classical art1 sober1 restrained1 and often cold1 gave place in his work to warm and brilliant coloration4 ,for the nicely balanced scenes of classical antiquity1 he substituted compositions tumultuous with movement4 ,romanticism developed freedom of action and expressiveness of pose to their utmost limits4 ,painting was then conquered by realism1 which had also invaded literature4 ,courbet was its great initiator4 ,he painted the life he saw around him in a direct1 robust manner4 ,he also painted landscape with a truthfulness that was informed by a powerful emotion4 ,at the same time1 ,rousseau and ,corot had also brought landscape painting into close touch with nature4 ,they had rediscovered its soul and its charm4 ,finally1 crowning1 as it were1 the work of their predecessors1 came ,manet and the ,impressionists4#d ,illustration3 ,,rousseau ,portrait of ,self ,illustration3 ,,rousseau ,landscape ,turner was the forerunner of ,impressionism1 the father of attempts to paint brilliant light effects1 ,whistler was the forerunner of ,post-,impressionism1 the father of attempts to paint line and color compositions4 ,turner did not carry his theories to the scientific extremes of the ,impressionists and ,neo-,impressionists2 ,whistler did not carry his attempts to the abstract extremes of the ,compositionalists and the ,cubists2 but in their work are found the seeds of all there is in ,impressionism and ,post-,impressionism4 99 99 99 99 99 8,do you say that this is a correct representation of ,battersea ,bridge80 8,i did not intend it to be a #8correct' portrait of the bridge4 ,it is only a moonlight scene1 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 daylight4 ,as to what the picture represents1 that depends upon who looks at it4 ,to some persons it may represent all that is intended2 to others it may represent nothing40 8,the prevailing color is blue80 8,perhaps40 8,are those figures on the top of the bridge intended for people80 8,they are just what you like40 8,is that a barge beneath80 8,yes4 ,i am very much encouraged at your perceiving that4 ,my whole scheme was only to bring about a certain harmony of color40#e 99 99 99 99 99 ,most painters are so intent upon the subjects of their work they give little thought to color harmonies4 ,whistler was the one great modern exception2 his first thought was to produce beautiful effects in line and color1 hence his titles1 8,nocturnes10 8,symphonies10 8,arrangements10 and so on4 ,he did not like to give his portraits the names of his sitters4 ,where other painters emphasize the 8subjects0 and the 8stories0 of their pictures he tried to suppress both and direct the attention of the beholder to the painting4 ,he was the forerunner of recent attempts to do with line and color what the musician does with sound4 ,he was the leader of the revolt against the 8story-telling0 picture4 99 99 99 99 99 ,millet is a good illustration of the painter to whom 8subject0 was everything1 and technic of quite secondary importance4 ,i think it is generally conceded that as a painter1 a master of technic1 he did not rank very high1 but he had a faculty for painting subjects1 scenes from life1 that grip4 ,as a painter ,whistler was incomparably superior to ,millet1 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 popular4#f 99 99 99 99 99 ,there are many actions and reactions in art1 many evolutions and involutions1 but the great rhythmical sweep of the pendulum is from1 let us say1 studio-art to nature-art1 and back from nature-art to studio-art4 ,from works of observation to works of imagination1 and back from the use of the imagination to the use of observation4 ,for a time men work feverishly in the seclusion of their closets painting1 writing1 modelling1 composing beautiful things1 pure products of their imaginations1 then comes the reaction and they feel the need of renewing their vigor by touching heel to earth4 ,they draw aside their curtains1 throw open their doors and go out into the sunlight to breathe the fresh air and gain new inspirations from contact with nature4 ,that is what happens in art once in so often4 ,the ,barbizon school was a studio school4 ,it walked the streets and the fields2 it looked at men and women at work and at play1 but when it came to paint it did not paint outdoors with object and easel in close contact2 it retired within its doors and transformed life and nature as great romantic story-tellers translate their impressions into fairy-tales and romances4 99 99 99 99 99 ,it seems a far cry from ,millet to ,chabaud but in some aspects of their attitude toward art they are nearly akin4 ,between the two there intervened ,impressionism1 that is all4 ,millet painted labor4 ,and what is the painting by ,chabaud1 8,the ,laborer10 but a more elemental ,millet8 ,it lacks the romantic1 the poetic qualities of ,millet's 8,labor10 for instance1 or his 8,sower0--paintings famous in prints and reproductions1 but it is none the less a vivid representation of labor4 ,to the admirers of ,millet it may seem sacrilegious to even mention ,chabaud in comparison1 but1 confining our attention to the one painting reproduced herein1 there is no question that in its elemental strength1 its simplicity1 it possesses a quality1 a certain bald dramatic quality that ,millet lacks1 though ,millet's 8,sower0 may possess qualities you like more4 ,however it is with no intention to make a comparison between two men so very different1 that ,i mention them1 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 see4 ,this is the way ,millet worked4 8,he himself went about ,barbizon like a peasant4 ,and he might have been seen wandering over the woods and fields with an old1 red cloak1 wooden shoes1 and a weather-beaten straw hat4 ,he rose at sunrise1 and wandered about the country as his parents had done4 ,he guarded no flocks1 drove no cows1 and no yokes of oxen or horses2 he carried neither mattock nor spade but rested on his stick2 he was equipped with only the faculty of observation and poetic intention 444 he leant on the garden wall with his arms crossed on his breast1 and looked into the setting sun as it threw a rosy veil over field and forest4 ,he heard the chime of vesper bells1 watched the people pray and then return home4 ,and he returned also1 and read the ,bible by lamplight1 while his wife sewed and the children slept4 ,when all was quiet he closed the book and began to dream4444 ,on the morrow he painted40#g ,this is the method of all the very great art the world has ever known--first to see2 and then to dream and then on the morrow to paint4 ,impressionism cut out the dreams--it painted what it saw4 ,there were never in the world peasants such as ,millet painted1 or woods such as ,daubigny painted4 ,people thought there were until the ,impressionists came and turned on the light4 ,corot's silvery glades have a closer relationship to nature4 ,he felt the reaction that was in the air4 ,he was almost an ,illustration3 ,,chabaud ,the ,laborer ,impressionist but not quite4 ,one feels the poetic1 the imaginative--that is1 the studio quality in his work4 ,he sought nature but not in the spirit displayed by the ,impressionists4 99 99 99 99 99 ,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 them1 and he did not try to see interesting people and things1 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 technic2 that the worth of a painting is to be found in the painting and not in the object that happens to be painted4 99 99 99 99 99 ,manet painted very few pictures outdoors4 ,in the literal sense he did not belong to the plein air school4 ,almost all his work was done indoors4 ,but it was in no sense studio-art as we have used the term4 ,he painted in his studio as directly as ,monet painted outdoors4 ,he painted a sitter with the same realism that ,monet painted a haystack2 and if he painted a bull fight from memory or from a sketch1 he did it with the intention to reproduce the scene literally4 ,whistler had his literal moods1 so to speak2 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 nature1 transcripts so faithful that ,monet's at their best pale in comparison4 ,i recall three exquisite marines which were painted in a boat1 the canvases propped against a seat4 ,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 nature1 just as the musician seeks to compose harmonies more beautiful than any sounds found in nature4 ,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 ,monet1 but in his search after color and line music1 in his attempts to do things beyond and above nature1 he was a ,post-,impressionist4 99 99 99 99 99 ,from a psychological point of view it is not difficult to see how these movements come about4 ,given exhibitions year after year filled with paintings of the imagination1 with idealized peasants such as ,millet's1 and idealized landscapes such as ,rousseau's1 it is morally certain the younger painters will feel a restless longing to return to the realities of life1 just as the reading or theater going public after being fed too long on fairy-tales and romances demand more realistic representations of life4 ,every man who reads much has his fairy-tale period and his romantic period followed by a strong taste for realism1 which in turn is followed by a new and finer appreciation of purely imaginative literature4 ,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 manhood1 thence to the profounder philosophy and mystical speculations of riper age4 ,the old1 old conflict between materialism and idealism1 between seeing-knowing and thinking-feeling1 between the cruder actualities of the senses and the finer actualities of the imagination6 ,it is not that all men at a given time are idealists and at another realists1 any more than all painters in one decade are ,impressionists1 in another ,post-,impressionists4 ,life does not move that way4 99 99 99 99 99 ,between #ahgd and #aijj ,impressionism forged to the front and monopolized the attention of the art world1 yet during that period there were painted more pictures of the ,pre-,impressionist schools than ever before4 ,the ,impressionists made all the noise1 the ,pre-,impressionists did most of the work4 ,the net result was a large amount of absorption by the older schools of the good things in ,impressionism1 and a noticeable improvement in painting generally4 ,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 exist1 that everything once considered good in art is being relegated to the storehouse4 ,again1 as a matter of fact1 with all the noise made by the ,post-,impressionists1 it is beyond question true that never before were so many ,impressionist and ,pre-,impressionist pictures painted as now4 ,the stream of ,pre-,impressionist and ,impressionist pictures goes right on and in time history will repeat itself1 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-impressionist1 with as many more prefixes as the ingenuity of the artist can devise to describe his vagaries4 99 99 99 99 99 ,painters are a good deal like inventors1 each of whom thinks his invention sure to revolutionize the world1 to find in the end that his supposed invention is either not new or if new not valuable4 ,now and then a painter like an inventor does do something that is revolutionary1 but these geniuses are not common1 and with even them critical research invariably finds they have simply built upon the labors of others4 ,an ,edison1 a ,bell1 a ,marconi appears only when electrical science has reached a stage where the inventions rather than the men are inevitable4 ,all this is statistically demonstrated in the records of patent offices4 99 99 99 99 99 ,we talk of this and that 8period0 in the work of a painter1 a poet1 a sculptor4 ,often the changes in mood and technic are marked and the transitions sharply defined4 ,for the most part they are the turning from the imagination to observation and vice versa4 ,the brain is not unlike a factory2 when filled to overflowing with raw material it must close its doors and work up its stock2 when it has exhausted its store of impressions it must open its five senses to receive new4 99 99 99 99 99 ,according to ,hegel1 the great ,german philosopher1 there are three movements of the historical pendulum2 for example1 we have an age of materialism followed by an age whose sole interest is in psychical phenomena2 this followed by an age which extracts the truth from both of these opposite hypotheses1 the golden mean4 ,thus1 in art1 we have the classical spirit for the thesis1 the modern art movement1 its antithesis1 and we may confidently expect and hope for an age which shall select the bold1 fresh spirit of the modern movement and infuse it into the proportion of classical art1 which shall be the great synthesis of the artistic future4 ,thus the extravagant and apparently insane movement of the ,futurist and ,cubist will be of the greatest value in reviving art1 putting red blood into art again4#h ,illustration3 ,,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 events1 the clearer his understanding of present4 ,space does not permit the printing in detail the ridicule that greeted ,turner1 ,millet1 ,corot1 ,courbet1 but it is important to open the eyes of the reader to the fact that men whose pictures are considered masterpieces today1 and command fabulous sums1 were met with the same scorn and derision that the new men of today meet4 ,history repeats itself--we accept as fine what our fathers laughed at2 our sons will accept as fine what we laugh at1 and so on to the end of time4 ,you readers and especially you museums1 who are paying tens of thousands for pictures by ,manet1 ,monet1 ,renoir and a host of other innovators1 take to heart what follows4 99 99 99 99 99 ,in #ahgd the ,impressionists held their first exhibition in a room rented from a photographer1 #ce ,boulevard des ,capucines1 ,paris4 ,they called themselves1 ,socit anonyme1 des ,artistes1 ,peintres1 ,sculpteurs et ,graveurs4 ,there were about thirty exhibitors in all2 among them1 ,pissarro1 ,monet1 ,sisley1 ,renoir1 ,berthe ,morisot1 ,czanne1 ,guillaumin1 who might be called the extremists2 ,degas1 ,bracquemond de ,nittis1 ,brandon1 ,boudin1 ,cals1 ,gustave ,collin1 ,labouche1 ,lpine1 ,rouart1 and others were invited to take the edge off the novelties of the first named4#i ,monet exhibited a picture named 8,impression2 soleil levant40 ,in derision ,louis ,leroy called an article on the exhibition in 8,charivari0#aj 8,exposition des ,impressionists10 and in spite of the protests of the painters themselves the name stuck--just as the name ,cubists1 derisively applied by ,matisse1 has stuck4 99 99 99 99 99 ,this exhibition1 which marked an epoch in ,french art1 was a failure so far as immediate results went4 ,the ridicule was such that the better known artists1 ashamed of being caught in the company of the new men1 8took good care not to run the risk a second time40 ,the pictures were subjected to all sorts of petty insults1 8such as the placing of small coins upon the frames in derision1 and jokes and jibes40 99 99 99 99 99 ,the next year the ,impressionists held no exhibition1 but under dire need had a sale at the ,hotel ,drouot4 ,claude ,monet1 ,sisley1 ,renoir1 ,berthe ,morisot1 ,cals1 ,czanne1 ,degas1 ,guillaumin1 de ,nittis1 and ,pissarro were represented4 ,there were some seventy pictures4 ,the pictures were disliked and for some unknown reason the artists were considered as hardened members of the community4 ,they only received laughable prices4 ,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 way1 and withdrawn4 ,including these mistakes and the real sales they realized not much more than #b1jjj4 ,in this sale of #ahge1 ,renoir's 8,avant le bain0 brought #bh2 8,la ,source10 #bb 7afterwards sold for #ad1jjj72 8,une vue du ,pont neuf0 brought all of #fj2 ,claude ,monet's twenty pictures averaged from #dj to #fj each4 ,the writer was offered 8,avant le bain0 in #ahid for #a1bjj2 it has since sold for #be1jjj4 ,in a recent letter from ,m4 ,george ,durand-,ruel he says3 ,all the fine works of the ,masters of the ,modern ,french ,school have advanced very much in value4 ,the 8,portrait of the ,charpentier ,family10 which is now in the ,metropolitan ,museum1 was ordered from ,renoir for three hundred francs2 8,la ,source10 also by ,renoir1 was sold in a sale in #ahgh for #aaj francs4 ,it has been since bought by the ,prince de ,wagram for #ge1jjj francs1 and would be worth today double the amount4 ,the 8,port de ,boulogne10 by ,manet1 was bought from ,manet by my father for #hjj francs and sold to ,faure1 who later on sold it to ,comte de ,camondo for #gj1jjj francs4 ,it would be worth today about #bej1jjj francs4 8,le ,djeuner dans l',atelier10 which my father bought from ,manet and which we had on exhibition at #chi ,fifth ,avenue in #ahie1 asking price at that time #g1jjj1 was sold afterwards to ,m4 ,pellerin and bought two years ago for the ,munich ,museum for #fj1jjj4 ,daubigny was one of the few men who appreciated ,monet2 he bought his pictures and urged others to buy4 ,when he died in #ahgh a sale of his effects was held4 ,duret says3 ,i knew the 8,canal ,saardam10 which seemed to me one of the most beautiful things ,monet had painted2 ,i made up my mind to go to the auction and try to buy it4 ,the sale took place but the picture was not put up4 ,i supposed that the heirs had decided to keep it as a work they understood and appreciated4 ,one ,sunday1 fifteen days later1 happening by chance in ,l',htel ,drouot ,i went into a room filled with unfinished works1 old and grimy canvases1 and a mass of stuff--in a word1 all the worthless debris of a studio--and there at one side the 8,canal ,saardam0 of ,claude ,monet4444 ,i inquired and learned that the room contained the scourings of ,daubigny's studio1 sent in for sale anonymously4 ,it was there the heirs had sent the picture of ,monet1 excluding it from the regular sale because they thought it would bring discredit4 ,it was knocked down to me at the auction for #af4 ,in #ahid1 when my collection was sold1 the picture was bought by ,m4 ,durand-,ruel for #a1ajj4 ,in #aija it was withdrawn from a sale at the price of #f1jjj4 99 99 99 99 99 ,the second exhibition was held in #ahgf in the galleries of ,durand-,ruel4 ,in passing1 tribute should be paid to this great dealer and remarkable man who backed his belief in the new men with all he possessed1 to the jeopardizing of his business1 and who1 happily1 still lives to enjoy the confirmation of his judgment4 ,of this exhibition ,albert ,wolff1 in 8,figaro10 said3 ,the ,rue ,peletier is unfortunate4 ,following upon the burning of the ,opera ,house1 a new disaster has fallen upon the quarter4 ,there has just been opened at ,durand-,ruel's an exhibition of what is said to be painting4 ,the innocent passerby enters1 and a cruel spectacle meets his terrified gaze4 ,here five or six lunatics1 of whom one is a woman 7,berthe ,morisot7 have chosen to exhibit their works4 ,there are people who burst out into laughter in front of these objects4 ,personally ,i am saddened by them4 ,these so-called artists style themselves ,intransigeants1 ,impressionists4 ,they take paint1 brushes and canvases2 they throw a few colors on to the canvas at random1 and then they sign the lot4 ,in the same way the inmates of a madhouse pick up the stones on the road and believe they have found diamonds4 ,all of which recalls what ,ruskin said of ,whistler1 and the following choice bits about ,turner4 ,they 7referring to two of his famous pictures7 8mean nothing4 ,they are produced as if by throwing handfuls of white and blue and red at the canvas1 letting what chanced to stick1 stick1 and then shadowing in some forms to make the appearance of a picture40 ,another picture 8only excites ridicule40 8,no4 #cec caps all for absurdity1 without even any of the redeeming qualities of the rest40 444 8the whole thing is truly ludicrous40#aa ,again of ,turner1 8,this gentleman has on former occasions chosen to paint with cream1 or chocolate1 yolk of egg1 or currant jelly--there he uses his whole array of kitchen-stuff4444 ,we cannot fancy the state of eye which will permit anyone cognizant of art to treat these rhapsodies as ,lord ,byron treated 8,christabel20 neither can we believe in any future revolution which shall bring the world round to the opinion of the worshipper1 if worshippers such frenzies still possess40#ab ,in #ahgg the ,impressionists held their third exhibition1 again in ,durand-,ruel's galleries4 ,this proved more audacious than the first4 8,it gave rise to an extraordinary outburst of laughter1 contempt1 indignation1 and disgust4 ,it became a notable event in ,parisian life4 ,it was talked about in the cafs of the boulevards1 in clubs1 and in drawing rooms1 as some remarkable phenomenon4 ,numbers of people went to see it4 ,they were not attracted by any sort of artistic interest2 they simply went in order to give themselves that unpleasant thrill which is produced by the sight of anything eccentric and extravagant4 ,hence there was much laughter and gesticulation on the part of the visitors4 ,they went in a mood of hilarity2 they began to laugh while still in the street2 they laughed as they were going up the stairs2 they were convulsed with laughter the first moment they cast their eyes upon the pictures40 ,a critic in 8,la ,chronique0 said3 ,they provoke laughter1 and yet they are lamentable4 ,they display the profoundest ignorance of drawing1 of composition1 and of color4 ,when children amuse themselves with a box of colors and a piece of paper they do better4 ,czanne was the one among them who both now and for a long time afterwards excited the most detestation4 ,it is not too much to say that he was regarded almost as something monstrous and inhuman4 ,after the close of the exhibition a sale was had at the ,hotel ,drouot4 8,forty-five canvases of ,caillebotte1 ,pissarro1 ,sisley1 and ,renoir realized only #a1ebb--;an average of less than #cd each4 ,the sale took place in the presence of an amused and contemptuous public1 who received the pictures1 as they were put up at auction1 with groans4 ,they amused themselves with passing several of them round from hand to hand1 turned upside down40 ,sixteen ,renoirs brought #djj4 ,the next year 8le ,pont de ,chateau0 sold for #h1 8,jeune fille dans un ,jardin0 for #f1 and 8,la ,femme au ,chat0 for #af4 ,sisley sold eleven for #a1chg francs1 or #be each4 ,these prices meant disaster and the painter was in great distress4 ,in #ahgh he wrote ,theodore ,duret a pathetic letter asking if ,duret could not find some friend who would have enough confidence in his1 ,sisley's1 future to pay #ajj per month for six months and receive in return thirty pictures4 8,at the expiration of six months1 if he is not disposed to keep the thirty pictures1 he can take the chances on a sale of twenty1 get back the money he paid me1 and have ten pictures left for nothing40 99 99 99 99 99 ,during the ,new ,york ,exhibition the ,metropolitan ,museum bought a ,czanne for something like #h1jjj4 ,the price of a more important was #df1jjj4 ,in the seventies in ,paris there was a dealer in artists' materials called ,pre ,tanguy who had a little shop in rue de ,navarin4 ,in #ahgi when ,czanne left ,paris for the country he left his pictures for ,pre ,tanguy to sell4 ,duret went there to buy some4 ,he found them stacked against the wall1 piled according to their dimensions1 the small ones #h each1 the large ones #bj4 99 99 99 99 99 ,this is an old1 old story--the story of nearly every great artist of whom we have any knowledge4 ,the world seems to need perspective to appreciate a great man4 99 99 99 99 99 ,we are prone to think the great men have just passed away2 we do not realize that men just as great in one way or another are being born every day4 ,the great man usually differs from the ordinary man only in his one greatness4 ,on many sides he may be a very commonplace man1 a petty man1 but on his great side he is so far ,illustration3 ,,cezanne ,portrait of ,self ,illustration3 ,c,,zanne ,village ,street out of the ordinary that it is almost impossible to understand him close to4 ,the fact that he is doing things in an extra-ordinary way causes us instinctively to distrust and condemn him4 99 99 99 99 99 ,one of the early buyers of ,impressionist pictures was a distinguished ,chicago woman1 and her collection today contains some of the finest ,monets1 ,renoirs1 and ,degases in existence4 ,when her friends heard she had bought some forty or fifty ,monets they shook their heads in dismay at such folly4 ,this was not many years ago1 less than thirty1 and now the pictures are in demand the world over and worth ten1 fifteen1 twenty times what they cost4 ,the same ladies and gentlemen who shook their heads at the ,monets in #ahij shook their heads at the ,cubists in #aiac4 ,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 life4 99 99 99 99 99 ,neo-,impressionism was the logical outcome of ,impressionism4 ,it was simply the attempt to paint light in still more scientific fashion1 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 desired4 ,the use of small dabs or points of color instead of brush strokes gained for the movement the name 8,pointillism40 ,neo-,impressionism was not a reaction from ,impressionism but an attempt to advance still further the painting of light effects4 ,seurat and ,signac simply attempted to out-,monet ,monet4 ,they were the last word in ,impressionism4 ,after them the reaction--,post-,impressionism1 something fundamentally different from and opposed to the very theory of ,impressionism4 ,it is1 perhaps1 a national characteristic of the ,french to be intense on all they undertake1 and if there is one quality common to the generation of painters who followed the earlier impressionists it is intensity4 ,this earnest passionateness has produced developments in two main directions1 towards more intense luminosity and towards more intense simplification4 ,the first is exemplified in the work of the ,pointillists1 who carried it to its logical conclusion1 the division of tones1 and built up their pictures with points or square touches of pure colour4 ,paul ,signac1 for example1 is dazzling in his scientific presentment of the power of light4 ,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 comparison4 ,signac's method1 it may be noted in passing1 is a square touch of pure colour as opposed to the circular spots of ,seurat1 the inventor of ,pointillism1 ,theo van ,rysselberg1 and the late ,henri-,esmond ,cross4 ,if ,signac has reached the limit in intense luminosity1 ,henri ,matisse1 ,otho ,friesz1 and ,andr ,derain1 among others1 stand for intense simplification4 ,but it is still a little too early to deal with their astonishing works1 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 ,czanne and ,gauguin4 ,these two deceased painters are to their younger comrades what ,marx and ,kropotkin are to the young social reformers of today4#ac ,we are constantly led astray by words--at best they are imperfect instruments of thought4 ,as has been often noted in the literature of painting1 all art is impressionistic in the broad and fine sense of the term4 ,hence to divide painters into ,impressionists and ,non-,impressionists involves a contradiction4 ,in painting his purely imaginative creations of light effects ,turner was as much of an ,impressionist as ,monet in painting his closely observed light effects4 ,in painting his ideal peasants ,millet yielded as freely to his impressions as did ,manet in painting his bull-fighters4 ,from one point of view the difference is one of degree rather than of kind1 namely1 the degree to which the painter lets his impressions sink in and become a part of him4 ,monet attempted to paint light exactly as he saw it1 reducing the personal equation--that is1 himself--to the lowest possible significance4 ,turner painted light as he saw and imagined it2 he allowed his impressions to sink in1 to become a part of him1 then he created a picture4 ,and his pictures vary greatly in the proportion of observation to imagination2 in some he painted almost as direct and as coldly from nature as ,monet1 in others he barely used his observations as groundwork upon which to let his imagination run riot4 ,it is not strange that so erratic1 so eccentric a genius bewildered the public and the critics of his day1 for in the painting of light he was a generation ahead of his time1 and in the attempt to paint pure color harmonies he was two generations ahead4 99 99 99 99 99 ,take1 for instance1 his 8,sunrise1 with a ,sea ,monster10 and 8,sunrise1 with ,boat between ,headlands10 in the ,tate ,gallery4 ,if these pictures had been hung anonymously in the ,international ,exhibition in ,new ,york they would have excited more laughter than any of the ,cubists4 ,they are simply color schemes compared with which an 8,improvisation0 by ,kandinsky is a legible message4 ,a ,turner in the ,national or ,tate ,gallery is accepted as a masterpiece2 the same picture hung anonymously with a lot of extreme ,post-,impressionists in the ,grafton ,gallery would be the occasion of much hilarity4 99 99 99 99 99 ,while all painting is more or less impressionistic1 in the art literature of the day the term 8,impressionists0 is appropriated to the school of men who paint in the open direct from nature1 and who attempt to record faithfully1 many almost mechanically1 their visual impressions of objects and light-effects4 ,hence the term ,post-,impressionism means not an accentuation or a further development of ,impressionism such as ,neo-,impressionism or 8pointillism10 but a reaction4 ,when ,impressionism has had its day and done its best1 then something different must come1 and logically that something different is a return to the art that is the antithesis of ,impressionism--the art of the imagination--a creative art4#ad 99 99 99 99 99 ,for a generation the poetic1 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 sway4 ,then came the return to nature1 the ,impressionists1 and for a generation they held sway4 ,now1 apparently1 we are at the beginning of a new movement1 a return to imaginative art1 and the evidences of this return are seen not only in painting but in decoration1 in sculpture1 in music1 in drama1 in literature1 in fiction1 in philosophy1 in medicine1 in business1 in politics4 ,there is a demand for ideals as distinguished from results4 99 99 99 99 99 ,we have learned that the proper end of poetry is the expression of emotion1 to which all reasoning and statement of fact should be subsidiary2 but we have not learned that painting should have the same end1 using representation only as a means to that end1 and representing only those facts of reality which have emotional associations for the painter4 ,in primitive pictures1 it is true1 we look for the expression of emotion rather than for illusion1 and that is the reason why so many people get a real pleasure from primitive art4 ,they judge it by the right standard1 and ask of it what it offers to them4 ,but from modern pictures they demand illusion--that is to say1 the kind of representation they are used to2 and when they do not get it they accuse the artist of incompetence4#ae 99 99 99 99 99 ,in painting this reaction1 this tendency--call it what you please--has taken many forms1 one of which is ,cubism4 ,while this book devotes much space to ,cubism1 it is solely because in its extreme development it is1 from a coldly critical point of view1 the most abstract word yet uttered in painting1 it is the farthest removed from impressionism1 and therefore serves admirably to illustrate a discussion of the philosophy of ,post-,impressionism4 ,in a book like this1 written as an off-hand comment upon what is now going on in the world of art--in the world generally1 for that matter--it would be quite impracticable to follow the development of even the principal lines of human activity2#af 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 seem1 but are1 in fact1 only an illustration of what is going on in the minds of men generally4 ,if the painter who laughs at a ,cubist painting and denounces it will only stop to think he will find one of two things true1 he himself is either advancing in his art or he is not4 ,if he is not1 there is nothing further to be said1 his attitude toward the ,cubist painting is quite consistent2 but if he is advancing1 if his style1 his technic1 his point of view are changing1 however slightly1 from year to year1 then he should be exceedingly cautious how he ridicules or condemns1 for without knowing it he may be traveling the highroad1 one of the interesting byways of which is ,cubism4 ,most painters of sixty who are now ,impressionists and who ridicule ,cubists1 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 masters4 99 99 99 99 99 ,in the course of our discussion we shall have occasion to speak of the ,futurists and other extremists1 for they all are part of the one big reaction1 they are all ,post-,impressionists1 and all have something to say worth hearing1 but the ,cubists serve our purpose best because their pictures1 from an argumentative point of view1 are more tangible1 and their theories have been worked out in print in plain terms4 ,illustration3 ,,villon ,young ,girl ,,iii ,,les ,,fauves ,every development bears within the seeds of its dissolution and the germs of its succession4 ,the seeds of the dissolution and the germs of the succession of ,impressionism were ,les ,fauves--the ,savages1 the ,wild ,ones1 as you please4 ,the philosophical student of the history of art has no trouble in tracing at any time the following currents3 ,a4 ,the main stream which includes all art developments from the profoundest and most permanent to the most fleeting and superficial1 from the soberest to the most extravagant4 ,b4 ,b4 4 ,within the main current lesser currents of such magnitude that they frequently seem to dominate--and often do obscure the direction of--the main current2 as1 for instance1 ,impressionism dominated the art of ,france and influenced the art of the entire western world in the final years of the last century4 ,these lesser currents have their effect on the main current1 though their ultimate effect is never so revolutionary as their enthusiasts believe2 the good in them is absorbed1 the meretricious rejected4 ,c4 ,c4 ,c4 4 ,surface manifestations of all kinds1 often so violent they disguise not only the main current1 but the important subsidiary currents1 and lead men to believe for the moment that art is reversing itself1 that all that has been done is being undone1 that chaos is taking the place of order4 ,these subsidiary movements are with us always1 evident in every exhibition2 they are the experiments1 the extravagances of each generation1 of each decade1 of each year4 ,some of them contain so much of truth they develop into ,b4--larger currents--8movements20 others are of such ephemeral importance they cause their sensations of the hour and pass away1 leaving behind scarce distinguishable traces4 ,it is these last movements which1 because they are new and strange1 so impress critics and public that observation loses its sense of proportion2 the force of the main current 7,a47 is lost sight of1 and the strength of subsidiary currents 7,b4 ,b4 7 is overlooked4 ,the newest movements 7,c4 ,c4 ,c4 7 are usually either too bitterly denounced or too widely praised1 their true relationship is not perceived2 all sense of perspective is lost in the immediate presence of the startling4 ,there are no hard and fast lines dividing any of these currents and movements4 ,when and where they begin no one can say2 when and where they end no one can tell4 99 99 99 99 99 ,impressionism is identified with ,monet more than any other painter1 because all his life long he has been the steadfast and consistent exponent of extreme theories regarding the painting of light effects4 ,but ,impressionism1 even the painting of light effects1 had its beginning long before ,monet2 with the beginning of painting itself1 the germs were there4 ,likewise the germs of every other movement1 however extravagant and superficial1 could probably be found in the work of some man or men in another age and country4 ,what happens is that a combination of favoring conditions at a given time concentrates human efforts and human attention upon a particular mode1 technic1 or theory and brings it to the fore4 ,the names of ,turner1 ,manet1 ,whistler1 have been cited as illustrations of geniuses so comprehensive they link several movements1 several decades1 together4 ,to these should be added the name of ,degas in painting and that of ,rodin in sculpture4 ,these men have done things far ahead of their own times1 they have done things their own times not only did not understand1 but ridiculed and decried4 ,it was only a few years ago that ,paris--yes1 ,paris--rejected ,rodin's ,balzac1 by many considered the greatest of his works4 ,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 succession4 ,a movement may seem so dominating1 so strong1 so true1 that people exclaim1 8,it is the final word1 it will last forever10 but at the very moment somewhere1 in obscurity1 there will be men doing things that are diametrically opposed to the prevailing current1 things that are destined to be the masterpieces of a new development4 99 99 99 99 99 ,czanne exhibited with the ,impressionists in #ahgd and was counted one of them2 yet in a profound sense he was the first of the ,post-,impressionists4 ,while he was classed with the ,impressionists he had little in common with them1 practically nothing in common with ,monet4 ,all his life ,monet has been busy with the surface of things2 all his life ,czanne was busy with the substance of things4 ,when ,monet paints a landscape he paints the grass and the flowers and the trees one sees bathed in sunlight2 when ,czanne painted a landscape it was an elemental presentment of nature herself4 ,czanne was born in ,aix in #ahci and died in the same place in #aije4 ,having inherited just sufficient to live very modestly1 he devoted his entire life to trying to fathom the secrets of nature and paint her innermost truths4 ,the fact that his pictures did not sell1 that even his friends did not understand him1 did not swerve him a hair's breadth from the path he had chosen--to paint1 to learn how to paint1 simpler and truer interpretations4 ,he lived so isolated from his neighbors that a visitor to ,aix in #aijd had great difficulty in finding his residence2 was obliged1 in fact1 to resort to the list of voters at the town hall4 ,in the eccentricities of his daily life he was not unlike ,turner1 but in his art he indulged no such brilliant fancies4 ,he was a consistent painter4 ,he never permitted his imagination to run away with him2 he constantly checked his work by the closest and most penetrating observation of nature4 ,his manner of work is described by a devoted follower3#ag ,he was working on a canvas showing three decapitated heads on an ,oriental carpet4 ,he had worked a month every morning from six o'clock until half past ten4 ,his daily routine was1 rise very early1 paint in his studio from six to ten-thirty1 breakfast1 and go out immediately into the surrounding country to study nature until five4 ,on his return he had supper and went at once to bed4 ,i have seen him so exhausted by his day's work that he could neither talk nor listen4 8,what is lacking10 he said to me while contemplating the three heads1 8is the realisation4 ,perhaps ,i shall get it1 but ,i am old and it may be that ,i shall die without having reached the highest point3 ,to realise6 like the ,venetians40 ,not unlike the lament of ,hokusai at seventy over his imperfections as a draftsman4 ,illustration3 ,c,,zanne ,still ,life ,one's first impression from even half-tone reproductions of his paintings is a feeling of construction4 ,i have before me a still-life--the fruit1 the bowl1 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 there4 ,it is just the same with his portraits1 his figure pieces and his landscapes2 one cannot escape the sense of the substance1 the fundamental reality4 ,and to attain it all he used the simplest and most direct technic1 not a brush-stroke1 not a line1 not a spot of color wasted4 ,it was these characteristics which made him a profound ,impressionist1 in the wider significance of the term1 but also the first of the ,fauves1 the father of the revolt from ,impressionism in its more superficial significance4 99 99 99 99 99 ,with the name of ,czanne are associated the names of two men whose work shows his influence1 ,van,gogh and ,gauguin1 and one whose work is wholly different1 ,henri ,rousseau1 the custom house employee who painted without instruction2 later1 but also conspicuously1 ,henri ,matisse4 ,these are the leaders of ,fauvism4 99 99 99 99 99 ,at the exhibition in ,new ,york one had the unusual opportunity of seeing in close contact many works of all four4 ,it would be difficult to imagine paintings more different in inspiration and technic4 ,they had but one thing in common--a pronounced reaction from1 not to say revolt against1 ,impressionism1 evidenced particularly in the use of color constructively and decoratively rather than imitatively4 ,color force is a feature of the new inspiration4 ,the painters of today have discovered anew the world's coloring4 ,we now recognize everywhere the power and vivaciousness1 the thousandfold freshness1 and the infinite changefulness of color4 ,to us colors now talk directly2 they are not drowned by covering tints1 not hide-bound by a preconceived harmony4 ,an instrument has thus been given1 wherein innumerable melodies still slumber4 ,color is a means of representation not only of what is colored1 but also of the thick and the thin2 of the solid and the liquid2 of the light and of the heavy2 of the hard and of the soft2 of the corporeal and of the spacious4 ,czanne models with color2 with tinted color surfaces he builds a landscape4 ,the proper couching of colored planes can force upon us the impression of depth2 colored transitions call forth the impression of ascent and of motion2 spots scattered here and there give the impression of sprightly vivaciousness4 ,color is a means of expression talking directly to the soul4 ,deep mourning and soft glowing1 warmth of heart and cold clarity1 confused dumbness1 flames of passion1 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 eye8 ,as tones draw us with them without our will and without meeting resistance1 so does color subjugate us3 now it fills us with deepest sorrow1 then again we are all glowing under its influence4 ,color is a means of composition4 ,the force of sensuous designation1 the expressive power of the soul1 both must combine and make for an always new1 always original1 and always unique harmony4 ,the law of color beauty has not as yet been fathomed by the intellect4 ,it is being created by feeling and by subconscious experience4#ah 99 99 99 99 99 8,czanne1 ,gauguin1 and ,van,gogh were men of very different minds2 but they were alike in this1 that they all attempted to subordinate representation to expression1 and were all determined to express only their own emotional experience4 ,czanne could not content himself with impressionist triumphs of representation4 ,above all1 he revolted from the ,impressionist insistence on the momentary aspect of reality4 ,he was1 so to speak1 a kind of ,plato among the artists of his time1 believing that in reality there is a permanent order1 a design which reveals itself to the eye and mind of the artist1 and which it is his business to expose in his work4 ,but this design he was determined to discover in reality itself1 not in the works of other artists4 ,his task was enormously difficult because he would take nothing whatever at second hand4 ,nature must tell him all her own secrets2 and he would not listen even to her when she told him commonplaces4 ,he was not interested1 so to speak1 in her caprices1 in her chance effects of beauty that anyone can see4 ,he painted landscape as ,titian or ,rembrandt painted portraits2 searching always for the permanent character of the place1 for that which1 independent of weather or time1 distinguished it from other places4 ,this permanent element he found in structure and mass1 but1 like ,titian and ,rembrandt1 he would not abstract these from color4 ,for him1 as for these masters1 structure and mass revealed themselves in color1 and all these must be verified by incessant observation4444 ,for him a hill is not a screen for the play of light2 it is built up of earth and rock4 ,nor is a tree a mere rippling surface1 but a living thing with the structure of its growth4 ,everywhere he looks for character2 yet he subordinates the character of details to the character of the whole4 ,and the character of the whole means for him its permanent character1 which he expresses in a design not imposed upon it but discovered in it1 as ,michael ,angelo discovered the statue in the block of marble4 8,if ,czanne1 ,gauguin1 and ,van,gogh were charlatans1 they were like no other charlatans that ever lived4 ,if their aim was notoriety1 it is strange that they should have spent solitary lives of penury and toil4 ,if they were incompetents1 they were curiously intent upon the most difficult problems of their art4 ,the kind of simplification which they attempted is not easy1 nor1 if accomplished1 does it make a picture look better than it is4 ,the better their pictures are1 the more they look as if any one could have painted them2 in fact1 they look just as easy as the lyrical poems of ,wordsworth or ,blake40#ai ,for a glimpse of ,van,gogh's life and aspirations1 see his letters published in ,english under the title1 8,letters of a ,post-,impressionist10 written mostly to his brother--simple1 pathetic documents1 showing the eager1 earnest striving of a man who finally went insane and shot himself4 ,critics and opponents of his work have seized upon his madness as proof of lack of sanity in what he painted--perhaps1 but then is dullness the only proof positive of sanity8 99 99 99 99 99 ,gauguin1 half ,breton1 half ,peruvian ,creole1 was a restless spirit4 8,more than once he circumnavigated the globe1 and all his life he was at recurring intervals a victim to wander-thirst4 ,in early manhood he returned to ,paris and made an heroic attempt to settle down4 ,he entered a bank1 and got on there very well4 8,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 tropics4 ,he sought out the painters ,pissarro and ,guillaumin1 and began painting at the age of thirty4 ,two years later1 in #ahhj1 he exhibited two landscapes in the manner of ,pissarro4 8,degas made the decisive impression on him1 by his systematic division of large planes of color1 and above all1 by his strong drawing40#bj ,illustration3 ,,van ,,gogh ,portrait of ,self 8,gauguin was as singular in his way as ,van,gogh in his4 ,he did not 8go mad10 but he withdrew from civilized society1 buried himself in ,tahiti and painted the natives1 firmly convinced that only amidst primitive conditions could be found the inspiration of pure art4 8,his combative disposition impelled him to fight against painters1 critics1 dealers1 buyers1 and against established institutions and conventions4 ,one would say fate pursued him4 ,in #ahid at ,concarneau in a quarrel with some boatmen who had insulted him1 his ankle was broken by a sabot kick1 leaving a painful injury from which he suffered until his death 7in #aijc740ba ,of his aims he said in a letter to a friend3 ,physics1 chemistry1 and1 above all1 the study of nature1 have produced an epoch of confusion in art1 and it may be truly said that artists1 robbed of all their savagery1 have wandered into all kinds of paths in search of the productive element which they no longer possess4 ,they now act only in disorderly groups1 and are terrified as if lost when they find themselves alone4 ,solitude is not to be recommended to any one1 for a man must have strength to bear it alone4 ,all ,i have learnt from others has been an impediment to me4 ,it is true that ,i know little1 but what ,i do know is my own4 ,every human work is a revelation of the individual4 ,hence1 there are two kinds of beauty2 one comes from instinct1 the other from labor4 ,the union of the two--with the modification resulting therefrom--produces great and very complicated richness4444 ,raphael's great science does not for a moment prevent me from discovering the instinct of the beautiful in him as the essential quality4 99 99 99 99 99 ,in #ahie there was a sale of ,gauguin's works at the ,hotel ,drouot4 ,strindberg was asked to write a preface to the catalogue4 ,in declining1 he admitted his own 8immense yearning to become a savage and create a new world10 but said of ,gauguin's world1 8it is too sunny for me1 the lover of chiaroscuro4 ,and in your ,eden dwells an ,eve1 who is not my ideal--for indeed1 ,i too1 have a feminine ideal1 or two40 ,gauguin answered1 ,your civilization is your disease1 my barbarism is my restoration to health4 ,the ,eve of your civilized conception makes us nearly all misogynists4 ,the old ,eve1 who shocked you in my studio1 will perhaps seem less odious to you some day4 ,i have perhaps been unable to do more than suggest my world1 which seems unreal to you4 ,it is a far cry from the sketch to the realisation of the dream4 ,but even the suggestion of the happiness is like a foretaste of ,nirvana--only the ,eve ,i have painted can stand naked before us4 ,yours would always be shameless in the natural state1 and1 if beautiful1 the source of pain and evil4#bb ,he had a profound admiration for ,czanne1 and was often charged with imitating him1 and in some of his pictures there is a certain resemblance in construction1 but two painters could scarce be less alike in the handling of color4 ,gauguin handled color for the pure joy of it4#bc ,czanne used color as a mason uses bricks4 ,gauguin's admiration for ,czanne was not reciprocated4 8,gauguin likes your work immensely1 and imitates you10 a friend once said to ,czanne4 8,eh6 he does not understand me10 was the angry response4 8,i never have and never will accept a lack of modelling or graduation2 that is nonsense4 ,gauguin is not a painter2 he produces simply ,chinese figures40 99 99 99 99 99 ,gauguin was a dreamer2 ,czanne1 in his way1 was quite an exact thinker1 for instance1 he explained his ideas of form and color as follows3 ,everything in nature is modelled on the lines of the sphere1 the cone1 and the cylinder1 and one must understand how to paint these simple figures1 one can then paint anything4 ,design and color are not distinct2 to precisely the extent that one paints1 one draws2 the more the color harmonizes1 the clearer and purer the design4 ,when the color is at its finest1 the form also attains its perfection4 ,contrasts and harmonies of tones--that is the secret of drawing and modelling4#bd ,in the suggestion of the lines of the sphere1 the cone1 and the cylinder1 as the elements of all art1 one recognizes the alphabet of cubism4 ,but in reducing drawing to these elements ,czanne1 without knowing it1 simply repeated what ,albert ,durer printed in book form nearly four hundred years ago1 and what the ,chinese and ,japanese had discovered centuries earlier4#be ,the fact that the work of four men so different1 ,czanne1 ,henri ,rousseau1 ,van,gogh1 ,gauguin1 began to be appreciated about the same time1 shows how ripe the ,paris art world was for the reaction from ,impressionism--for a great movement in creative and decorative art4 99 99 99 99 99 ,matisse taught drawing and for a time--from #ahie to #ahii--painted along conventional lines4 ,influenced by ,czanne he then broke with the academic and sought new light effects1 effects quite different from those of the ,impressionists4 ,he sought to break with all ancient laws1 and his use of color became and still is largely his own4#bf ,while his coloring is always interesting and his drawing facile1 there is at times something about his work that is not satisfying1 an atmosphere of superficiality4 ,he is described1 however1 by those who know him as a painter of almost bourgeois earnestness and sincerity1 taking himself and his work most seriously4 ,at the same time many of his canvasses give the impression of having been executed in a spirit of sheer audacity4 99 99 99 99 99 ,to be sure1 there is a rhythm and swing to some of his moving figures that is delightful1 delightful in the elemental simplicity of the drawing and the seemingly--but only seemingly--naive coloring4 ,yet even with these canvases there is often the feeling1 8,with so much skill1 why did he not do better80--a feeling of disappointment1 of dissatisfaction4 ,one is disposed to agree with the opinion that ,matisse's 8true gifts are those of address1 of souplesse1 of quick assimilation1 of limited but easily acquired knowledge--essentially feminine gifts40,a 8,on a beaucoup vant le got d',henri ,matisse4 ,il n'est pas niable1 mais d'une qualit secondaire4 ,c'est le got d'une modiste2 son amour de la conleur vaut un amour du chiffon40 ,he lives in a simple country house in a suburb out of ,paris4 ,his studio is painted white1 within and without1 with immense windows4#bg ,i found not a long-haired1 slovenly-dressed1 eccentric man1 as ,i had imagined1 but a fresh1 healthy1 robust1 blonde gentleman1 who looked even more ,german than ,french1 and whose simple and unaffected cordiality put me directly at my ease4 ,concerning his early experiences1 ,matisse said3 8,i began at the ,ecole des ,beaux ,arts4 ,when ,i opened my studio1 years after1 for some time ,i painted just like any one else4 ,but things didn't go at all1 and ,i was very unhappy4 ,then1 little by little1 ,i began to paint as ,i felt4 ,one cannot do successful work which has much feeling unless one sees the subject very simply1 and one must do this in order to express one's self as clearly as possible4 ,illustration3 ,,matisse ,the ,dance 8,i studied in the schools mornings1 and ,i copied at the ,louvre in the afternoons for ten years4 ,i made copies for the ,government1 but when ,i introduced some of my own emotional impressions1 or personal translations of the pictures1 the ,government did not care to buy2 it only wanted a photographic copy40 ,of his present methods he said3 8,i certainly do think of harmony and color1 and of composition1 too4 ,drawing is for me the art of being able to express myself with line4 ,when an artist or student draws a nude figure with painstaking care1 the result is drawing1 and not emotion4 ,a true artist cannot see color which is not harmonious4 ,otherwise it is a moyen1 or recipe4 ,an artist should express his feeling with the harmony or idea of color which he possesses naturally4 ,he should not copy the walls1 or objects on a table1 but he should1 above all1 express a vision of color1 the harmony of which corresponds to his feeling4 ,and1 above all1 one must be honest with one's self4 8,if one feels no emotion1 one should not paint4 ,when ,i came in here to work this morning ,i had no emotion1 so ,i took a horseback ride4 ,when ,i returned ,i felt like painting1 and had all the emotion ,i wanted4 8,i never use pastels or water colors1 and ,i only make studies from models1 not to use in a picture--mais pour me nourrir--to strengthen my knowledge2 and ,i never work from a previous sketch or study1 but from memory4 ,i now draw with feeling1 and not anatomically4 ,i know how to draw correctly1 having studied form so long4 8,i always use a preliminary canvas the same size for a sketch as for a finished picture1 and ,i always begin with color4 ,with large canvases this is more fatiguing1 but more logical4 ,i may have the same sentiment ,i obtained in the first1 but this lacks solidity1 and a decorative sense4 ,i never retouch a sketch2 ,i take a new canvas the same size1 as ,i may change the composition somewhat4 ,but ,i always strive to give the same feeling1 while carrying it on further4 ,a picture should1 for me1 always be decorative4 ,while working ,i never try to think1 only to feel4 8,i have a class of sixty pupils and make them draw accurately1 as a student always should do at the beginning4 ,i do not encourage them to work as ,i do now40 ,when asked about a clay model of a nude woman with abnormal legs1 he picked up a small ,javanese statue with a head all out of proportion to the body and asked3 8,is not that beautiful80 ,his interviewer answered1 8,i see no beauty where there is lack of proportion4 ,to my mind no sculpture has ever equaled that of the ,greeks1 unless it be ,michael ,angelo's40 ,he replied3 8,but there you are1 back to the classic1 the formal4 ,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 ago4 ,the ,greek sculptors always followed a set1 fixed form1 and never showed any sentiment4 ,the very early ,greeks and the ,primitives only worked from the basis of emotion1 but this grew cold1 and disappeared in the following centuries4 ,it makes no difference what are the proportions1 if there is feeling4 ,and if the sculptor who modeled this makes me think only of a dwarf1 then he has failed to express the beauty which should overpower all lack of proportion1 and this is only done through or by means of his emotions4 8,my favorite masters are ,goya1 ,durer1 ,rembrandt1 ,corot1 and ,manet4 ,i often go to the ,louvre1 and there ,i study ,chardin's work more than any other2 ,i go there to study his technic40 ,his palette was a large one1 and so chaotic and disorderly were the vivid colors on it that a close resemblance could be traced to some of his pictures4 8,i never mix much2 ,i use small brushes and never more than twelve colors4 ,i use black to cool the blue4 8,i seldom paint portraits2 and1 if ,i do1 only in a decorative manner4 ,i can see them in no other way40 ,one's ideas of the man and of his work are entirely opposed to each other3 ,the latter abnormal to the last degree1 and the man an ordinary1 healthy individual1 such as one meets by the dozen every day4 ,on this point ,matisse showed some emotion4 8,oh1 do tell the ,american people that ,i am a normal man2 that ,i am a devoted husband and father2 that ,i have three fine children2 that ,i go to the theater1 ride horseback1 have a comfortable home1 a fine garden that ,i love1 flowers1 etc41 just like any man40 ,as if to bear out this description of himself1 he took me to the salon in his perfectly normal house1 to see a normal copy which he had made at the ,louvre1 and he bade me good-by and invited me to call again like a perfectly normal gentleman4#bh ,matisse differs from ,czanne1 ,van,gogh1 ,gauguin1 in the accentuation of feeling as distinguished from observation4 ,while the three last named sought fresh inspiration from close and ever closer contact with nature1 he seeks his inspiration in his own emotions4 ,it is this trait that makes him one of the leaders of ,post-,impressionism1 as well as a ,fauve4 99 99 99 99 99 ,from the foregoing it is clear that ,fauvism does not mean a particular mode or technic1 like ,classicism1 ,romanticism1 ,realism1 ,impressionism1 etc41 etc4 ,it means a mood rather than a mode4 ,every painter in revolt against prevailing taste and standards was and is a ,fauve4 ,not all ,post-,impressionists are ,fauves1 but many are so called1 for instance1 the following3#bi ,odilon ,redon1 ,othon ,friez1 ,picasso 7the founder of ,cubism71 ,van ,dongen1 ,andr ,derain1 ,vlaminck1 ,marquet1 ,george ,braque1 ,raoul ,dufy1 ,robert ,delauney1 ,m'lle ,laurencin1 ,jean ,metzinger1 ,pierre ,girieud1 ,verhoeven4 ,of the above four are well known ,cubists2 ,redon is a poetic personality quite apart2 while the others exhibit marked individualities in their work4 ,les ,fauves in ,germany are 8,die ,wilden10 embracing the 8,brcke0 of ,dresden1 the 8,neue ,sezession0 of ,berlin1 the 8,neue ,vereinigung0 of ,munich4#cj ,those of ,russia are ,larionoff1 ,p4 ,kuznezoff1 ,sarjan1 ,denissow1 ,kantsch1 ,schalowsky1 ,maschkoff1 ,frau ,gontscharof1 von ,wisen1 ,w4 and ,d4 ,burljuk1 ,kanabe1 ,jakulof2 and others who live in foreign countries1 such as ,schereczowa1 ,paris2 ,kandinsky ,werefkina1 ,jawlensky1 ,bechteyeff1 ,genin in ,munich4#ca ,among the best known ,english artists who might fairly be classed as 8,fauves0 are ,ferguson1 ,peploe1 ,lewis1 ,wyndhover ,lewis1 ,duncan ,grant1 ,mrs4 ,bell1 ,frederic ,etchells1 ,miss ,etchells1 ,eric ,gill1 ,spencer ,f4 ,gore1 and a man who has done heroic service for the new movement1 ,roger ,fry4 ,there are1 however1 comparatively speaking1 so few 8,fauves0 in ,england that the guns of the critics rust on the racks2 while in ,america they are so scattered they have as yet attracted no attention by concerted action4 ,almost the only man in this country who has persistently painted in ,cubist fashion for any length of time is ,arthur ,dove1 one of whose pictures is reproduced4 ,when asked how he came to paint as he does ,dove said3 ,after having come to the conclusion that there were a few principles existent in all good art from the earliest examples we have1 through the ,masters to the present1 ,i set about it to analyze these principles as they are found in works of art and in nature4 ,one of these principles which seemed most evident was the choice of the simple motif4 ,this same law held in nature1 a few forms and a few colors sufficed for the creation of an object4 ,consequently ,i gave up my more disorderly methods 7impressionism72 in other words1 ,i gave up trying to express an idea by stating innumerable little facts1 the statement of facts having no more to do with the art of painting than statistics with literature4 ,he then refers to 8that perfect sense of order which exists in the early ,chinese painting10 and goes on3 ,the first step was to choose from nature a motif in color1 and with that motif to paint from nature1 the form still being objective4 ,the second step was to apply this same principle to form1 the actual dependence upon the object 7literal to representation7 disappearing1 and the means of expression becoming purely subjective4 ,after working for sometime in this way1 ,i no longer observed in the old way1 and not only began to think subjectively1 but also to remember certain sensations purely through their form and color1 that is by certain shapes1 planes1 light1 or character lines determined by the meeting of such planes4 ,with the introduction of the line motif the expression grew more plastic1 and the struggle with the means became less evident4 ,illustration3 ,,dove ,based on ,leaf ,forms and ,spaces ,referring to the painting reproduced he said3 ,it is a choice of three colors1 red1 yellow1 and green1 and three forms selected from trees and the spaces between them that to me were expressive of the movement of the thing which ,i felt4 ,as to going further and explaining what ,i felt1 that would be quite as stupid as to play on an instrument before deaf persons4 ,the deaf person is simply not sensitive to sound and cannot appreciate2 and a person who is not sensitive to form and color as such would be quite as helpless4 ,the majority of people seem to be in the position of deaf persons4 ,they see others listening intently1 and apparently enjoying something1 and because they fail to hear1 they at once draw the false conclusion that the trouble is with the instrument or the performers4 ,in ,november last a group of young ,americans held an exhibition of very modern work in ,the ,mac,dowell ,club in ,new ,york4 ,the exhibitors were ,oliver ,chaffee1 ,konrad ,cramer1 ,andrew ,dasburg1 ,grace ,johnson1 ,arthur ,lee1 ,henry ,l4 ,mc,fee1 ,paul ,rohland1 ,william ,zorach4 ,,iv ,a ,,futile ,,protest ,the ,cubist pictures in the ,salon d',automne1 #aiab1 was the occasion of the following letter from ,m4 ,lempu1 painter and doyen du ,conseil municipal de la ,ville de ,paris1 addressed ,m4 ,brard1 ,sous-,secrtaire d',etat des ,beaux-,arts4#cb ,if the voice of a municipal counsellor could reach you1 ,i would beg you1 would pray you to go and take a turn around the ,autumn ,salon4 ,go there1 sir1 and although you are a minister1 ,i trust that you will come away as much disgusted as are many people whom ,i know1 and ,i hope1 also1 that you will say to yourself in an undertone3 8,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 life80 ,you will ask yourself1 ,mr4 ,minister1 in leaving the place1 if nature and the human form have ever before suffered such outrages2 you will admit with regret that in this ,salon the most trivial uglinesses and vulgarities that can be imagined are there displayed and accumulated2 and you will again ask yourself1 ,mr4 ,minister1 if the dignity of the ,government of which you form part is not injured1 inasmuch as it appears to take under its protection such a scandal by sheltering horrors like these in a national building4 ,the ,government of the ,republic1 as it seems to me1 ought to be more careful and more respectful of the artistic dignity of ,france4 ,a year ago1 and for another reason1 ,i wrote to your predecessor1 who1 by the way1 took no notice of my letter2 but what is astonishing--does he not let everybody think that he is a meridional1 whereas he was born nowhere else than at ,montmartre8 ,a friend whispers to me that you are from ,orthez2 we are1 therefore1 fellow-townsmen1 for that is almost as if you came from ,montrejeau2 so then1 8,dious bibant60 7,dieu vivant67 it will not be long before you will make known to the ,belgian1 ,frantz ,jourdain1 who has very modestly set for himself the mission of reforming ,french art1 and who1 in order to thoroughly demonstrate his ability to do so1 has deposited--,i will not say offal--but the store of 8,la ,samaritaine0 almost opposite the ,louvre1 which fact is a sure proof of the superiority of his monstrosity of a structure over the beautiful architecture of the ,renaissance4 ,please1 therefore1 make known to this architect that in the future he may locate his reforms and his reformers where he pleases1 but not again in a public building1 and for so doing1 all those who have taste and love for beautiful things will applaud you4 ,please accept1 ,mr4 ,minister1 the assurance of my highest regards4 ,lempu4 99 99 99 99 99 ,the ,committee of the ,autumn ,salon1 in reply1 made the following statement3 ,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 it3 8,to admit all efforts of conscientious art1 whatever they may be1 however personal1 and however strange they may seem to the ancient formulae40 ,the ,autumn ,salon is not and does not wish to be the conservator of a school with a fixed formula2 it wishes1 rather1 to remain the ground of generous combat and of the emulation necessary in a country like ours1 in order to bring out and fructify both artists and works of art4 ,the ,government1 whose rle is not to direct1 but to encourage the artistic effort of the nation1 can consider only in the most kindly way a ,salon which has been the first to give reception to many artists now celebrated1 which has given a place hitherto unknown to decorative art1 and which1 before all other expositions1 has placed music and literature on a par with painting and sculpture4 99 99 99 99 99 ,then the newspapers published the following item of news3 ,m4 ,j4 ,l4 ,breton1 deputy from ,cherbourg1 proposes to put to the ,assistant-,secretary of ,state for the ,beaux ,arts1 in the course of the next discussion of his budget1 a question regarding the 8scandal0 of the ,autumn ,salon1 and to ask him not to allow the use of the ,grand ,palais for such manifestations1 which discredit ,french art in our national palaces4 ,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 #aiac4 ,m4 ,pascal1 of the ,institute1 who presented the question1 concluded unfavorably4 ,after a long and lively discussion1 the commission ranged itself by a large majority on the side of the proponent4 ,let us recall the protests that have been addressed to the ,autumn ,salon4 ,they were the subject1 a few weeks ago1 of a letter from ,mr4 ,lampu1 dean of the municipal council1 who protested against the invasion of cubism into the galleries of the palace of expositions4 ,it is now up to ,m4 ,lon ,brard1 ,assistant-,secretary of ,state for the ,beaux ,arts1 to take final action4 99 99 99 99 99 ,on varnishing day1 ,mr4 ,gabriel ,mourey wrote in the ,journal3 8,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 mind4 ,these painters are the advance-guard artists and the ,cubists40 ,m4 ,mourey neglected to tell us if the legal action which he proposes to us would be civil or penal4 ,in our opinion1 it would be necessary to make a distinction3 ,the rich painters might be condemned to pay a penalty1 and1 so that the ,government might not be liable to lose its rights where there is nothing1 the poor painters might be hung up high and short4 ,oh1 tolerance6 oh1 progress6 oh1 the twentieth century6 ,in connection with the controversy 8,l',art ,dcoratif0 quoted the following letter from ,boucher to his pupil ,fragonard3 8,my dear ,fragonard3 ,you are going to see in ,italy the works of ,raphael1 ,michael ,angelo1 and their imitators2 ,i say to you in confidence and as a friend1 if you take these people seriously you are lost40 99 99 99 99 99 ,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 bloc4 ,illustration3 ,,werefkin ,the ,country ,road ,illustration3 ,,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 things4 99 99 99 99 99 8,oh6 tolerance1 oh6 progress6 ,oh6 twentieth century60 99 99 99 99 99 ,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 equation4 ,to say certain pictures are worthless is a matter of individual taste and judgment2 they may be worthless to me and not to you1 just as clothes one man likes another would refuse to wear4 ,but to say a school or a movement1 irrespective of particular works1 is a worthless movement involves not one's taste but one's philosophy of life2 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 contradiction4 ,cubism has produced a lot of inane1 uninteresting1 and ugly pictures1 pictures hopelessly bad in both line and color1 but it has also produced pictures that are fine in line and color2 but whether a particular picture is good or bad is of no importance whatsoever in comparison with the larger and more vital question3 ,what is the relation of ,cubism to the art of today and tomorrow8 99 99 99 99 99 ,when the ,socit ,nationale des ,beaux-,arts was founded in #ahij in a spirit of revolt against the old ,salon ,socit des ,artistes ,franais--which dates its expositions from #afgc--the schism was complete and the movement was denounced as revolutionary4 ,the art world was divided into two bitterly hostile camps4 ,the two ,salons seemed absolutely irreconcilable4 ,now they exhibit side by side in practically the same building4 ,the visitor can stand in the main gallery of the one and gaze into the galleries of the other4 ,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 other4 99 99 99 99 99 ,passing from the old ,salon to the newer1 one still has--to a slight degree--the feeling of passing from older and more conservative pictures to a newer1 lighter1 and somewhat more modern collection4 ,and there is a difference but it is so slight that casual visitors do not notice it4 ,in fact nine out of ten who visit the two ,salons would think they were in but one exhibition1 selected and arranged by the same committee1 were it not for the additional fee and the two catalogues4 ,there is no reason today why the two ,salons should not coalesce and make one exhibition4 ,in less than twenty-five years the older has absorbed much of what was good in the revolutionary force of the younger1 and so much of the revolutionary enthusiasm of the younger has subsided that the members of the new ,socit fight side by side with the members of the old against the two more radical exhibitions1 the ,salon d',automne1 organized in #aijc1 and the ,socit des ,artistes ,independents1 organized in #ahhd4 99 99 99 99 99 ,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 older4 ,what is happening in ,paris has happened in ,munich4 ,the ,munich ,secessionists1 once denounced as aesthetic anarchists1 have so far subsided that they exhibit with the academic painters1 retaining a faint show of identity by having the word 8,secessionist0 over the doors of the few rooms they fill4 ,the old ,secession having subsided1 the 8,neue ,sezession0 has been organized by 8,die ,wilden0 of ,munich and that is now rampant2 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 progress1 for progress depends upon new and newer and ever newer departures4 ,already there is a division in the ,new ,secession2 the 8,blue ,riders0 have withdrawn4 99 99 99 99 99 ,months after the above was written the ,london correspondent of the 8,chicago ,tribune0--,nov4 #b1 #aiac--wrote as follows about the post-impressionist exhibition in the ,grafton ,galleries3 ,many of the pictures which would have provoked happy laughter three years ago now look quite ordinary4 ,the public is inured to them as much as it is inured to ,whistler or ,degas1 and in a little time some of them will be dealers' pictures1 just like the works of the ,barbizon school4 ,there is1 for instance1 nothing extraordinary about the 8,interior of a ,caf10 by ,van,gogh1 except its quiet excellence4 ,it is all seen as justly and yea as newly as a character in one of ,tolstoi's novels4 ,one feels that any one could have painted it who had had the luck to see it so4 ,the 8,boats at ,anchor10 also by ,van,gogh1 is merely a sound but not very interesting impressionist picture1 and his flower piece is even academic in a delightful way4 ,czanne's 8,boys ,bathing0 is one of those works on which the art of modern painters like ,m4 ,friesz is based4 ,it looks like a representation of something seen instantaneously1 and yet at the same time it is all designed like a work of ,nicholas ,poussin's4 ,m4 ,matisse's 8,joaquina0 is timidly skied1 but it is not in the least infuriating1 like his famous gentleman in pajamas4 ,indeed1 his method here justifies itself at first sight1 for by no other means1 one feels1 could he have expressed the vitality of his sitter so simply and intensely4 ,m4 ,friesz's 8,garden at ,coimbra0 is one of the pictures that would have astonished us all three or four years ago1 but which now looks only pleasant and simple4 ,so are the works of ,m4 ,marquet and ,m4 ,doucet1 and even ,m4 ,herbin no longer seems a bad joker4 ,the 8,polka0 and 8,waltz0 of ,mr4 ,severini1 the futurist1 are quite agreeable to the eye1 if it refuses to allow itself to be puzzled by the mind2 but1 if futurist paintings can be academic1 they are a little academic1 or at least systematic4 ,one feels that any one could be taught to do them pretty well in a studio4 ,among the water colors there are some pleasant works by ,m4 ,doucet and some remarkable experiments by ,m4 ,pechstein4 ,the color prints of ,m4 ,manzana are more ,chinese than ,japanese in spirit1 especially the print of horses2 and the lithographs of ,m4 ,matisse may help some earnest beginners to see some merit in his painting4 ,at any rate1 any one who looks at them must see that he can draw4 ,the exhibition contains a good deal of rubbish1 but far less than most exhibitions of what is considered orthodox art4 99 99 99 99 99 ,the ,salon d',independants tends to remain radical notwithstanding it was founded so long ago as #ahhd because it has but one article in its creed1 8the suppression of juries of admission and permission to artists to exhibit freely their works to the judgment of the public40 ,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 pleases1 irrespective of their merit4 ,as a result1 each exhibition contains original1 revolutionary and radical work mixed with an immense amount of painting and sculpture that is hopelessly bad and some positively objectionable4 ,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 work4 ,illustration3 ,,van ,,gogh ,caf ,the three other ,salons grow conservative in the natural ageing of their management2 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 and1 naturally1 they admit only those newcomers whose work does not detract or distract from their own4 ,that is the history of the ,royal ,academy in ,london1 of the ,national ,academy in ,new ,york1 and of every organization the management of which has the right to hang their own and reject the works of others4 99 99 99 99 99 ,in the development of art all these exhibitions have their values4 ,they are not unlike an army in a campaign1 with its scouts1 its skirmishers1 its advance guard1 and its more slowly moving main body--in the end it is the main body that does the most work4 ,the value of every new movement lies in the possibility of its ultimately contributing something to the mass1 not in the possibility of its destroying what has been done4 99 99 99 99 99 ,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 official2 in fact1 wherever there is an official exhibition there should be an un-official1 or independent1 as a natural complement1 otherwise the opportunity of the public to see for itself is limited by official discretion4 99 99 99 99 99 ,for instance1 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 merits4 ,as the space is limited the chance for new men is small indeed4 ,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 own1 hence the more radical1 the more novel1 the more interesting the picture the less chance it has of being accepted4 ,this is both a fault and a virtue in the ,academy--the fault and the virtue of extreme conservatism4 ,to correct the fault other exhibitions1 held under freer conditions1 are absolutely necessary not only to the progress of artists1 young and old1 but to stimulate interest in the public1 to make the public feel that it is something more than a passive spectator with nothing to say1 but on the contrary its sympathetic cooperation and final verdict of approval are desired4 99 99 99 99 99 ,nothing is more deadly to the art of a country than a single annual official exhibition such1 for instance1 as that of the ,royal ,academy in ,london1 or the old ,salon as it was thirty years ago in ,paris4 ,the interest of the public is not aroused4 ,the official selection is accepted as a matter of course4 ,what is in the exhibitions is supposed to be good1 what is not accepted is supposed to be bad4 ,as a result1 the really good pictures in such exhibitions are not appreciated at their true value1 while the poor are bought simply because they are there4 ,the truth is it requires the new salons1 the independent exhibitions to give vitality to the old1 to teach the public to appreciate the good in the old4 ,good art1 like everything else good1 springs from controversy1 from the assertion of the individual1 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 men4 99 99 99 99 99 ,that is just what the new men are striving to do now--each is trying to convince the world he is right1 that his methods1 his departures1 his theories are true4 ,the ,cubist does not admit much of value in the ,futurist1 while the latter see nothing at all in ,cubism4 ,in short the 8isms0 are more at war among themselves than with the older schools4 ,out of the seething conflict of forces good is sure to come2 the amount of good depending directly upon the sharpness of the conflict4 ,v ,,what ,,is ,,cubism8 ,what is 8,cubism80 ,one more name added to the long roll of 8movements0 in art4 ,within the memory of living men we have had 8,classicists10 8,romanticists10 8,idealists10 8,naturalists10 8,realists10 8,pre-,raphaelites10 and many more4 ,today we have the 8,neo-,impressionists10 the 8,pointilists10 the 8,luminists10 the 8,futurists10 the 8,orphists10 the 8,sensationalists10 the 8,compositionalists10 the 8,synchronists10 the 8,cubists0--tomorrow8 ,new and ever new departures1 experiments1 achievements4 ,all of which goes to prove that art is living1 for the sign of life is flux4 99 99 99 99 99 ,the other day ,i saw three well-known ,american painters standing before a cubist picture laughing2 painters of forty years ago would have laughed quite as heartily at the works of each of the three4 ,the innovation of today is the conventional of tomorrow4 ,because the names of ,rembrandt and ,hals are now household words in art we are quick to assume their pictures were always considered great4 ,not so4 ,just now it is a fad of millionaires to own ,rembrandts2 consequently he is over-appreciated and ridiculously overpriced4 99 99 99 99 99 ,the bare thought of the scorn that greeted ,wagner's operas1 the poems of ,browning1 and ,whitman1 sends a cold ,illustration3 ,,metzinger ,the ,taster ,illustration3 ,,leger ,the ,chimneys chill down our backs1 makes us pause in our headlong criticism lest we1 too1 pillory ourselves4 ,violent judgments are good fun1 but they often come back to plague us4 ,of ,wagner's 8,meistersinger0 ,ruskin said3 ,of all the bte1 clumsy1 blundering1 boggling1 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 affected1 sapless1 soul-less1 beginningless1 endless1 topless1 bottomless1 topsiturviest1 tuneless1 scrannelpipiest1 tongs and boniest doggerel of sounds ,i ever endured the deadliness of1 that eternity of nothing was the deadliest as far as its sound went4 ,i never was so relieved1 so far as ,i can remember1 in my life by the stopping of any sound1 not excepting railroad whistles1 as ,i was by the cessation of the cobbler's bellowing2 even the serenader's caricatured twangle was a rest after4 ,as for the great 8,lied10 ,i never made out where it began or where it ended except by the fellow's coming off the horse block4 ,from which the inference is not unwarranted that ,wagner did not please ,ruskin6 99 99 99 99 99 ,opposed to all movements in art and life is the academic mind1 fed on learning1 steeped in tradition1 hence conservative4 ,the term is not here used in a reproachful sense2 on the contrary1 the philosopher lays stress upon the value of the academic in progress2 it is the element that preserves2 it is the mass upon which humanity rests2 it is the old and stable2 it is the past upon which the future is built2 it is the essential groundwork of new thought and new effort4 99 99 99 99 99 ,the life of the individual passes from the enthusiasms1 the radicalisms of youth to the serene and self-satisfied outlook of old age which instinctively opposes novelty and change--the academic attitude4 ,youth makes friends with every chance acquaintance1 age shuns the strange4 ,we are all ,impressionists and ,futurists at some times in our lives1 but we tend to petrify4 ,sclerosis of the arteries is bad1 but nothing compared with sclerosis of the emotions4 ,we not only tend to become petrified as we grow older1 but even in our youth we have our petrified sides1 our hard spots4 ,however progressive we may be in certain directions we are sure to be stubbornly conservative in others4 ,the man who laughs at a cubist picture may be a cubist--that is1 an innovator--in his profession or business4 ,the man who is a conservative in religion may be a radical in politics1 and vice versa4 ,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 ,scriptures1 while most of the hide-bound conservatives are exceedingly tolerant toward 8modernism0 and 8higher criticism0 in the church4 ,so it goes4 ,the merchant or manufacturer1 the doctor or lawyer who is up to date in business or profession1 who is keenly receptive toward the latest and most revolutionary methods1 inventions1 discoveries1 may be--usually is--a hopeless reactionary toward other lines of human endeavor1 a hopeless conservative when it comes1 for instance1 to looking at pictures4 99 99 99 99 99 ,now and then one meets a man so sympathetically observant and receptive that1 like a good rubber ball1 he is resilient at all points of contact4 ,but for the most part we are like defective balls1 resilient only in spots1 and1 like rubber1 we become less and less resilient with age4 99 99 99 99 99 ,happy the man or woman who retains until late in life the power to react to new impressions and to experience new emotions4 ,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 it4 ,if any one of us1 while alone in a museum1 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 collection4 ,on the contrary1 we would probably study it with good healthy curiosity4 ,but when the crowd is about we are afraid to express our curiosity1 we are afraid to be honestly and genuinely interested1 so we take refuge in laughter1 it is so much easier to mask our ignorance with ridicule than confess it by frankly asking for information4 ,the man who does not understand a play or a book always condemns it4 99 99 99 99 99 ,it would not be difficult to pick out among one's business acquaintances those who are conservative1 that is1 academic1 and those who are inventive1 speculative1 venturesome1 and so on to the 8wild enthusiasts10 8crazy fellows10 who are always doing the unexpected2 failing often but sometimes succeeding so brilliantly the world follows in their footsteps4 99 99 99 99 99 ,there is nothing strange about the ,cubists--except their pictures4 ,their pictures strike us as strange because we do not understand them1 but if they were simply trying to do what thousands of inventors are trying to do the world over1 namely1 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 machine4 ,there are romanticists1 realists1 impressionists1 futurists1 cubists1 in the theater4 ,the romantic play is an old1 but still delightful story4 ,we have had realism on the stage so long it has become almost academic4 ,just now there is coming from the ,scandinavian countries and from ,germany and ,russia a form of dramatic representation that is essentially ,cubist1 ,futurist1 and ,orphist in its expression4#cc ,this ferment of new ideas is very disturbing to men who are afraid of change1 who favor things as they are1 who like to go to bed at the same hour and get up at the same hour1 to do today what they did yesterday4 ,but the new ideas will not down2 they are constantly breaking out in unexpected places and while they may seem to be different ideas when expressed in music1 painting1 sculpture1 poetry1 architecture1 from those expressed in science1 religion1 politics1 social reform1 and business generally1 they are not2 they are all fundamentally the same1 namely1 they are the ideas of a progress so rapid and radical it may be revolutionary and in a measure destructive4 99 99 99 99 99 ,in the very nature of things it is not given to many men to be receptive to new ideas in many lines1 for that implies thinking for themselves in many lines4 ,the more intense and advanced a man is in one line of thought1 the more apt he is to accept ready made the ideas of others in other subjects4 ,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 so1 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 own4 ,illustration3 ,,duchamp ,chess ,players ,what has been said so far has been a plea for tolerance1 for a sober suppression of hasty judgment in the presence of the strange4 ,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 art2 but because they do seem to stand in opposition to all we have been taught to believe1 they are all the more worthy our most serious consideration4 ,it is the man who challenges and denies who stirs other men to think for themselves4 ,that is the chief value of the cubist paintings--they compel us to think for ourselves1 to take a careful inventory of our stock of stereotyped notions2 with the result that while we may not accept the theories of the ,cubists1 we cannot fail to readjust our own notions on a broader basis4 99 99 99 99 99 ,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 8ism0 in either art or life4 ,if it is a plea for anything1 it is for tolerance and intelligent receptivity1 for an attitude of sympathetic appreciation toward everything that is new and strange and revolutionary in life4 ,not that we will necessarily end by accepting the new and the strange and the revolutionary1 but we cannot get the good there may be in them unless our attitude is one of sympathetic as well as critical receptivity4 99 99 99 99 99 ,it is something more than a mere coincidence that the upheaval in the art world has paralleled the upheaval in the political world4 ,the exhibitions of extreme modern pictures were first held in ,england just when extreme radical theories were gaining the ascendency4 ,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 socialistic4 ,the artists who organized the exhibition did not realize it1 but they were animated by precisely the same motive that animated the organizers of the ,progressive party--an irresistible desire for a change4 99 99 99 99 99 ,youth gazes curiously at the experiment--painting1 poem1 play--from which age turns in anger4 ,cubist paintings interest the young2 they irritate the old4 ,nothing keeps a man young so effectually as a vivid and sympathetic interest in every new and seemingly revolutionary movement4 99 99 99 99 99 ,people who looked at the cubist paintings and laughed did so through ignorance2 the sad part was that many frankly said they did not care to understand2 not a few insisted the paintings were quite without meaning1 utterly devoid of sense4 ,in other words1 the public1 day after day and week after week1 struggled and paid to see works that were meaningless6 ,painters1 sculptors1 critics1 argued and fought over canvases devoid of significance6 ,a paradox6 ,for if devoid of significance1 why should the world of artists1 critics1 writers1 argue1 swear1 and fight over them8 ,the question answers itself2 the trouble is the works do possess a significance1 a significance far beyond the merits of any particular one1 far beyond the merits of cubism itself2 they are significant of the spirit of change that is within and about us1 the spirit of unrest1 of the striving1 of the searching for greater and more beautiful things4 ,cubism will pass away1 but the spirit of change will not pass away4 ,one enthusiasm will follow another enthusiasm so long as men possess ambition4 ,already there are signs that ,cubism is passing4 ,some of the men are calling themselves ,neo-,cubists and ,post-,cubists1 and they are painting in very different manner4 ,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 ,cubism2 what he will be doing two years hence1 no one can predict1 save that1 judging by the past1 he will not be painting ,cubist pictures4 99 99 99 99 99 ,the name 8,cubism0 was given to the new school 8in derision1 in the autumn of #aijh1 by ,henri ,matisse1 who happened to see a picture of buildings the cubical representation of which struck him forcibly40#cd ,that year ,georges ,braque exhibited a ,cubist picture in the ,salon des ,independents4 ,in #aiaj1 ,jean ,metzinger exhibited a ,cubist portrait in the ,salle d',automne1 and a number of pictures were hung in the ,salon des ,independents4 ,the first collection was gathered together in room #da at the ,salon des ,independents in #aiaa4 ,the same year the first exhibition outside of ,paris was held in ,brussels1 and there the names 8,cubism0 and 8,cubistes0 were adopted4 ,in #aiaa the exposition of the ,cubists in the ,salle d',automne caused considerable sensation4 ,gleizes1 ,metzinger1 ,leger1 and1 for the first time1 ,marcel ,duchamp and his brother1 the sculptor-architect1 ,duchamp-,villon1 exhibited4 ,other expositions were held in ,november1 #aiaa1 at the gallery d',art ,contemporaine rue ,tronchet2 in #aiab1 at the ,salon des ,independents1 where ,juan ,gris first exhibited2 in ,may of the same year1 in ,barcelona2 in ,june1 at ,rouen1 where ,picabia joined the new school4 ,the different tendencies of the movement are described as follows3#ce #a4 ,cubism scientifique is the tendency toward pure cubism2 it is the painting with elements borrowed not from the realities of vision1 but the realities of knowledge4 ,the geometrical lines1 which so impressed all who first saw their scientific works1 resulted from the attempt to paint the essential--rather than the visual--realities of things which were rendered on canvas with an abstract purity1 and in which objective realities and story-telling qualities were eliminated4 ,most of ,picasso's geometrical representations and ,duchamp's 8,king and ,queen0 are good illustrations of scientific or pure ,cubism4 #b4 ,cubism physique is painting compositions the elements of which are borrowed for the most part from realities of vision4 ,inasmuch as objective realities are more or less in evidence in these works1 they are not pure ,cubism4 ,picasso's 8,woman and the ,pot of ,mustard0 is a very striking--and indifferent--example of ,cubism physique1 which simply means cubist paintings in which figures and objects are more or less apparent to the casual observer4 ,in ,marcel ,duchamp's 8,chess ,players0 the figures are quite plain2 in ,picabia's 8,dance at the ,spring0 one figure is distinguishable at first glance1 the second is not so easily discerned1 while the spring is more obscure1 though plain enough after a little study4 ,it is under this head that some of the most interesting ,illustration3 ,,picabia ,dance at the ,spring and also some of the most exasperating cubist pictures will be found4 ,to the extent that figures and objects are blocked in in planes and masses in a big1 elemental way1 the result may be both impressive and beautiful--,derain's 8,forest at ,martigues0 is an example in point2 but in so far as the picture is a puzzle1 clear only in part1 the result is exasperating2 the observer1 however sympathetic his attitude1 is diverted from enjoying the art of the painter to the attempt to discover the hidden objects4 ,to the foregoing two divisions are added two more1 which are1 in reality1 but subdivisions or refinements of ,cubism ,scientifique4 ,there are really but the two extremes--those who represent objects more or less cubically1 i4e41 in planes and masses of line and color2 and those who compose harmonies of line and color that have no relation to figures or objects4 ,in the paintings of the one1 objects are more or less apparent2 in those of the other no object is discernible1 because none is represented or suggested4 #c4 ,cubism ,orphique is created entirely by the artist2 it takes nothing from visual1 objective realities1 but is derived wholly from the painter's imagination2 it is pure art4 #d4 ,cubism instinctive is described as the painting of compositions of color1 not based upon objective realities1 but suggested by the instinct and intentions of the artist4 ,the artist who follows his instinct1 his fancy of the moment1 though he may paint beautiful compositions1 lacks the clear comprehension of him who paints according to some well thought out1 artistic creed4 99 99 99 99 99 ,it is quite obvious that subdivisions three and four are based upon temperamental rather than logical or scientific distinctions4 ,to refer to some of the pictures reproduced3 ,there is no mystery about the 8,man on the ,balcony40 ,he is quite in evidence2 the background is a little puzzling1 yet fairly obvious4 ,the attention of the casual observer is not diverted from the mode and manner of painting--from the ,cubism of the picture1 so to speak4 ,it is not a question of 8,now ,i see it1 now ,i don't see it40 ,it is obviously the figure of a man leaning on something1 apparently a railing1 with a confused background4 ,but so far as uncertainty regarding the background and accessories is concerned1 that troubles no one1 for uncertainty in detail is6 characteristic of the backgrounds of many fine and famous portraits4 ,the point is that the 8,man on the ,balcony0 belongs to that class of ,cubist pictures wherein the object is almost as well defined as in pictures with which the public is more familiar2 whereas the 8,king and ,queen0 belongs to the extreme class wherein the objects have been reduced to symbols or abstractions4 ,the one is the painting of objects in ,cubist fashion2 the other is the painting of ideas in ,cubist fashion4 99 99 99 99 99 ,of all the ,cubist pictures exhibited1 most people liked 8,the ,man on the ,balcony0 best4 ,why8 ,because it looked like a good painting of a man in armour4 8,i like the #8,man in ,armour1'0 was an expression frequently heard4 ,all of which goes to show that appreciation is largely a matter of association rather than of knowledge and taste4 ,tell the people it is not a man in armour1 and immediately they ask1 in a tone of disgust1 8,then what is he80 and the picture they liked a moment before becomes ridiculous in their eyes4 ,illustration3 ,,gleizes ,original drawing for 8,man on ,balcony0 ,the original design is an almost academic freehand drawing of a man--artist or workman--leaning against the railing of a balcony1 with roofs of the city at his back4 ,barring the square treatment of hand and foot1 there is little to suggest ,cubism4 ,the drawing is uninteresting1 the painting is uninteresting4 ,by blocking out details1 emphasizing planes1 and laying stress on masses1 the artist made his painting incomparably more dignified and stronger than his design4 ,if he had painted an academic picture1 following the lines of his original sketch1 the painting probably would have been quite commonplace4 99 99 99 99 99 ,the 8,chess ,players0 gives one a singular impression of human absorption in a game2 it is elemental and impersonal4 ,behind the two players are onlookers1 equally intent4 ,one player is resting his chin upon his hand1 the other holds a piece apparently making a move4 ,the artist has arbitrarily placed the men and board close to the eye of the player making the move4 ,while most people might prefer lifelike portraits of two men playing chess1 is it not true that this curious reduction of the players to elemental planes and masses gives a very vivid impression of intense absorption1 and also a strange feeling of the elemental8 ,a sculptor admired this picture greatly4 99 99 99 99 99 ,two figures were the basis of the 8,king and the ,queen10 the king at the right1 and the queen at the left2 but in the finished picture these two figures were reduced to planes1 and appear as the two upright conical or cubical masses that are so evident1 and a philosophical significance was attributed to the scheme1 namely1 a representation of the static and dynamic forms of life2 the static being represented in the upright masses1 the king and queen--dynastic1 permanent--while the dynamic forces are represented in the stream of cubical forms that flow in different directions about the two more permanent masses4 ,on its technical side1 ,cubism is simply a systematic use of planes4 99 99 99 99 99 ,the power of lines is a manifestation of the new mode of representation4 ,it is not a semblance of things1 but a world of objects that the picture forces us to take in with a glance4 ,the objects may not get lost4 ,the outline is the demarcation and designation of the objects4 ,by its outer essence their inner nature is expressed4 ,the nature of objects is not fixed by a correct drawing1 but by a forceful and emotional1 intensive and pervasive outline4 ,not in their restfulness and with their details do the objects serve the picture1 but by their relations to each other1 which relations combined lead up to the climax4 ,the long lines form the structure of the picture4 ,they decide how the picture is to be constructed from its parts1 and how the parts are to be interlocked in order to become a whole4 ,the long lines define the measure and rhythm of the work4 ,lines are the vibrations of the soul2 lines are reflections of the will1 the rigidity of that which endures4 ,like currents of forces they flow against each other and unite into one4 ,the smaller ones accompany them with playful gambols1 like a multiple echo1 the sounds of which melt away in the distance4 ,the picture is not a nicely divided plane4 ,it is like a world arising from chaos4 ,its essence is the law of order working itself out4 ,the picture is an agglomeration of agitated members1 an agglomeration of planes pulsating with blood1 enlivened by breath4 ,the planes may be stratified1 parallel and similar to each other2 they may rear and pile themselves against each other1 or they may interlock like cogs4 ,they may liquefy and melt away1 or they may double up and form themselves into balls4 ,they may1 more quietly1 rest within themselves1 becoming effective through the contrast of their essence and yet maintaining themselves4 ,out of them originates the picture's spaciousness1 out of them the living force of the picture4 ,the dynamics of the planes is a manifestation of the new style4#cf ,illustration3 ,,duchamp ,king and ,queen ,passing one morning among a number of first year students drawing from casts in the ,chicago ,art ,institute1 ,i was struck by the large number who were making what would pass for ,cubist sketches2 yet not one of these young students had seen a ,cubist picture4 ,all were simply following the regular course of instruction and drawing in planes4 ,i remember one drawing of a statue by ,michael ,angelo4 ,there was not a straight line in the statue2 there was not a curved line in the drawing2 the drawing was blocked out far more solidly and geometrically than1 for instance1 either the original design for 8,the ,man on the ,balcony0 or the finished painting4 ,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 in4 ,the lines looked exactly like the geometrical lines in a drawing by ,picasso4 ,there is1 therefore1 nothing fundamentally new or strange in the technic of the ,cubists2 it is simply a return to the use of the elemental in drawing1 of the very ,a1 ,b1 ,c of design4 ,the new and the strange lie in the fact that the ,cubists stop with planes and lines2 they do not attempt to model the surfaces of the things they paint4 99 99 99 99 99 ,not that the use of planes is all there is to the theory of ,cubism1 for the theory extends far beyond the painting of surfaces2 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 feature4 99 99 99 99 99 ,albert ,drer wrote a book on the proportions of the human figure2 it was published in #aebh1 and translated into many languages4 ,he reduced the human figure to certain elemental lines4#cg ,illustration ,applying these principles to the hand1 he gets this result3 ,illustration ,it is interesting to compare this sectional diagram of the hand with the hand of 8,the ,man on the ,balcony40 ,furthermore1 one has but to consider the elemental lines at the top of the page with the words of ,czanne1 quoted on page #dc1 and with the fundamental propositions of ,chinese and ,japanese art1 to realize that in the last analysis the ,illustration3 ,,picasso ,woman with ,mandolin ,illustration3 ,,picasso ,the ,poet minds of men in all ages and all countries follow very closely the same channels4 ,there are but two lines1 curved and straight1 and with these two lines all outward semblances of things are constructed4 ,so far as the unaided eye is concerned1 every curved line may be entirely composed of small straight lines1 the curved effect being due to a series of minute angles4 ,the following are ,durer's diagrams showing how to obtain sections and modifications3 ,illustration ,he applies these sections to the human figure as follows3 ,illustration ,illustration ,so far as the use of planes and angles is concerned1 these diagrams by ,durer should serve to disarm criticism4 ,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 paintings1 and only the authority of a great name would convince that any good could result from such an analysis4 ,suppose any one of the ,durer diagrams had been framed and hung in the ,cubist section2 would it not have been treated with ridicule8 ,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 teachings1 which would have seemed as absurd as the newest of the new pictures4 99 99 99 99 99 ,the very high aesthetic value of drawing and painting in planes1 and with small regard to the so-called laws of perspective1 is illustrated in the rare beauty of ,chinese and ,japanese paintings4 ,from the point of view of their greatest painters1 we carry perspective and imitation to extremes that destroy art4 ,one value of the ,cubist movement lies in arousing a sense of the strength possessed by the simple and elemental4 ,in oriental art1 in archaic art1 in primitive ,italian art1 in not a little modern decorative work1 we have long recognized the beauty of drawing in planes and of the use of color arbitrarily4 ,the ,cubists are showing us--perhaps too violently and imperfectly--that it is possible to paint pictures and portraits in planes and masses without imitation4 ,that it is possible we know1 for the orientals have done it for two thousand years2 nevertheless1 we stubbornly resist the attempt in western art4 ,we acknowledge the singular beauty of the ,italian primitives1 yet we demand that portraits and paintings of today shall be carefully modelled in the vain effort to accurately and mechanically copy nature4 99 99 99 99 99 ,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 original1 but which convey with tremendous power the character4 ,again1 we all know how insipid are most of the portraits that are faithfully rounded and modelled to reproduce every curve of the sitters' features4 ,the truth is there is more of ,cubism in great painting than we dream1 and the extravagances of the ,cubists may serve to open our eyes to beauties we have always felt without quite understanding4 ,take1 for instance1 the strongest things by ,winslow ,homer2 the strength lies in the big1 elemental manner in which the artist rendered his impressions in lines and masses which departed widely from photographic reproductions of scenes and people4 ,rodin's bronzes exhibit these same elemental qualities1 qualities which are pushed to violent extremes in ,cubist sculpture4 ,but may it not be profoundly true that these very extremes1 these very extravagances1 by causing us to blink and rub our eyes1 end in a finer understanding and appreciation of such work as ,rodin's8 ,his ,balzac is1 in a profound sense1 his most colossal work1 and at the same time his most elemental4 ,in its simplicity1 in its use of planes and masses1 it is--one might say1 solely for purposes of illustration--,cubist1 with none of the extravagances of ,cubism4 ,it is purely ,post-,impressionistic4 ,twenty or twenty-five years ago painters who used a broad technic1 and especially those who used the palette knife to lay the pigment in flat sweeps1 were looked upon as charlatans and sensationalists4 ,today their pictures are accepted in the most conservative exhibitions and the public passes with scarcely a comment4 ,this broad technic is simply painting in planes--in a sense1 simply modified ,cubism4 ,to illustrate3 ,the surface of an orange may be so carefully painted or modelled in clay that the effect is a perfect sphere with no straight lines2 or it may be painted or modelled in minute planes and no curved lines2 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 surfaces4 ,the fewer the planes used and the larger their size1 the nearer the substance and more obvious the representation of mass4 ,the smaller the planes and the larger their number1 the nearer the surface--the more superficial the representation4 99 99 99 99 99 ,the division of planes can be carried--geometrically--to such an extent that the unaided eye can no longer distinguish the minute flat surfaces1 and the effect is a perfect sphere4 ,what is true concerning the painting or modelling of an orange is true of the painting or modelling of all objects4 99 99 99 99 99 8,it has been charged that the new men are too much given to the geometrical4 ,but geometrical figures are the essential elements of drawing4 ,geometry1 the science which deals with extension1 its measure and its relations1 has ever been the basis of painting4 ,illustration3 ,,severini ,the ,milliner 8,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 artists4 8,geometry is to the plastic arts what grammar is to the art of the writer4 8,today philosophers do not confine their speculations to the three dimensions of ,euclid4 ,painters1 by intention1 so to speak1 have cause naturally to preoccupy themselves with these new lines of extension which1 in the language of modern studios1 are classed under the term1 fourth dimension40#ch 99 99 99 99 99 ,speaking of ,czanne1 it is said3 ,to him a sphere was not always round1 a cube always square1 or an ellipse always elliptical4 ,thus the traditional oval of the conventional face disappeared in his portraits1 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 him4 ,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 bowl1 for example1 when placed in the light of a window4 ,it will be found that certain planes are as flat as the table1 that others present the appearance of dents and hollows1 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 sight4 ,we know that1 scientifically regarded1 there is no such thing as a round surface1 that what appears to be such is simply the closely adjusted juxtaposition of infinitesimal planes that are each perfectly flat4 ,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 structure4 ,nevertheless1 both artists and laymen persist in speaking of the roundness of a torso1 for example1 when in reality1 if we could disassociate the sense of roundness from the appearance of roundness as did ,czanne1 we would find large surfaces of spheroids quite flat4 ,therein lies the real secret of the art of ,czanne who is the first of realists4 ,in a sense1 8,cubism0 is a misleading term1 for1 in the first place1 8,cubist0 pictures are not painted in cubes1 but in all sorts of angles and curves2 in the second place1 the theory does not call for angles4 ,the theory being the expression of emotion in line and color1 there is no conceivable reason why cubes and angles should be used to the exclusion of curves1 swirls1 sweeps1 dashes4 ,on the contrary1 of all forms1 cubes and angles would seem to be the most inappropriate for emotional expression1 since they are peculiarly suggestive of the geometrical and the matter-of-fact4 8,curvism0 or 8,swirlism0 would describe the movement just as well1 save that for the time being angles are very much in evidence4 ,picabia says that 8,cubism0 is a misnomer for the movement4 ,he says3 ,after impressionism1 neo-impressionism1 then cubism1 which sought a geometric third dimension in painting1 the expression of things seen in geometrical figures4 ,but a purely subjective art cannot1 of course1 be bound by any form of expression the moment that expression becomes a convention1 an established body of laws with accepted values4 ,therefore1 he has cut loose from cubism1 and is what1 again for handy classification--an evil habit from which we cannot emancipate ourselves--may perhaps best be called 8post-cubist10 with entirely unfettered1 spontaneous1 ever-varying means of expression in form and color waves1 according to the commands1 the needs1 the inspiration of the impression1 the mood received4 ,objective expression is strictly barred4 ,he even ignores form as far as possible1 seeking 8color harmonies40 ,harmony and equilibrium are his device4 99 99 99 99 99 ,but the ,cubists are rapidly getting away from the cubes and angles4 ,it is quite possible that a year or two hence we shall see no more purely ,cubist pictures4 ,that does not mean the movement will come to an end--not at all4 ,the movement toward abstract painting1 toward the use of line and paint on canvas for mere pleasure of using them1 and without copying objects in either life or nature1 is in its infancy4 99 99 99 99 99 8,but ,i don't understand them60 ,is it necessary to your enjoyment that you should8 ,do you understand what ,caruso is singing8 ,do you understand that ,french song reproduced by the phonograph8 ,do you understand what the orchestra is playing8 ,do you understand the pattern in that ,persian rug8 ,how many people who rave over ,japanese art have the remotest idea what this or that precious print or painting represents8 ,does an intricate design on a bit of ,oriental pottery please you8 ,and is your enjoyment lessened one whit by the fact it is all a mystery to you8 ,why will you accept as beautiful and buy at a high price a painting you do not understand because it is by a ,chinese artist1 and reject as ugly the painting by a ,french artist simply because you cannot see 8what he is driving at08 99 99 99 99 99 ,suppose a ,cubist picture is a beautiful scheme of color2 is it less beautiful in color because you do not understand the painter's theory8 ,his painting may be fine1 his theory absurd4 ,would your enjoyment of ,caruso be increased if he sang in ,english the ridiculous stuff he sings in ,italian8 ,fortunate it is for most grand opera that we do not understand--we are not diverted from the music by the nonsense of the libretto4 ,the enjoyment of music is a curious thing4 ,first of all1 there are all kinds of music1 from rag-time to ,beethoven1 and each kind has its following4 ,then the following of each kind breaks up into its rag-time and ,beethoven divisions4 ,that is to say1 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 it4 ,while in an audience listening to a ,beethoven symphony there are always a goodly number1 often a big majority1 who enjoy it in a rag-time way--just the emotional reaction1 without knowing a thing about the music4 ,there are two entirely distinct enjoyments of the same composition--the purely intellectual and the purely emotional4 ,there may be a mingling of the two1 but as a rule what one gains the other loses4 ,the man who follows the score1 is familiar with the different interpretations of this and that leader1 whose ear catches every failure by any part of the orchestra to respond1 and so on1 and so on--that man is constantly holding his emotional response subject to his intellectual appreciation4 ,what is a fine performance to most of the audience may be a very indifferent performance to him4 ,true1 when the performance is so fine it carries him off his feet1 then he gets an enjoyment--intellectual and emotional--far finer than the enjoyment experienced by others4 ,in a sense1 he is the one man worth playing for4 ,but while it is a fine thing to both understand and enjoy1 understanding is not essential to enjoyment in the purely emotional sense--to the enjoyment most people feel when listening to music4 ,the voice of a street singer borne in upon the night air1 even the sound of a hurdy-gurdy1 pleases1 though we do not ,illustration3 ,,sousa ,,cardoza ,leap of the ,rabbit know the song or the air4 ,there is a species of pleasure in not knowing that is dissipated when we recall or are told4 ,many of our enjoyments are more than half dreamy4 ,is it not true that the dreamy element is essential to purely emotional enjoyment8 ,i confess to a very ignorant enjoyment of music4 ,if ,i am at a concert ,i do not like to be told what it is all about4 ,i enjoy good music without knowing or caring why1 and ,i like to hear it without being seated where ,i am more than half-hypnotized by the rhythmical movements of the orchestra1 especially the fascinating bowing of the violins4 99 99 99 99 99 ,what is true of the enjoyment of music should be true of the enjoyment of painting4 ,but with painting1 most people insist upon understanding4 ,they will listen to ,patti without knowing her language1 but they will not look at a painting unless they know the painter's language4 99 99 99 99 99 ,why not accept at their face value all pictures that are beautiful in line and color1 without bothering about their meaning8 ,perhaps they have no meaning beyond the vagrant fancy of the artist4 ,take the three pictures by ,sousa ,cardoza4 ,suppose they have no more significance than so many illustrations to a fairy tale2 they are interesting in line and fascinating in color4 ,if the 8,stronghold0 had been on a ,delft platter1 or the 8,leap of the ,rabbit0 on a piece of ,persian pottery1 everyone would have lauded their beauty1 and collectors would give ten or twenty times the modest prices of the canvases4 ,when put to people in that matter-of-fact way the response is almost always favorable to the pictures4 ,in an interesting monograph entitled 8,is ,it ,art80#ci the writer says3 ,it will be seen1 therefore1 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 artist1 inasmuch as the vaguely adumbrated forms in the picture simply serve as a hint to that reality of which it is a wilfully distorted symbol1 and the discovery of the 8mustard pot0 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 pot4 ,without the intervention of the title and the association of ideas called forth thereby through the memory of past experiences with actuality1 these pictures would be totally meaningless even to the most recondite4 ,they would inevitably be reduced to a personal system of shorthand1 an individual code1 as it were1 comprehensible only to the originator4 ,regarded from that viewpoint1 these enigmatic paintings and drawings may very possibly be altogether successful4 ,at all events it is only fair to assume that these works express to the originator what he intended them to express4 ,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 shorthand1 and the appending of an objective title to what is intended as a subjective impression of the actual world hardly help him over the difficulty4 ,on the contrary it takes him just that far away from the impression the artist desires to produce1 plunging him deeper into that world of reality out of which he was to be extricated by this new art1 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 mood4 ,i think it may safely be said that in no case does this mood manifest itself to the persons to whom it is addressed1 although by a process of auto-hypnotism1 a certain few no doubt succeed in making themselves believe that they penetrate the real inwardness of these arbitrarily individual mental processes4 ,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 and1 until its working premise is made clearer1 its influence must be correspondingly limited4 ,at present it appears to me to be a too purely personal equation to be intelligible to others than the artist himself and therefore1 generally speaking1 it can not be regarded as art1 whatever else it may be4 ,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 art4 ,but that makes the attitude of the observer the test whether a given product is or is not art1 while the true test is the attitude of the producer4 ,whether a given work is or is not art is determined and forever fixed at the time of its production4 ,if art to him who creates it1 it is art to all humanity for all time2 neither a man's neighbors nor future generations can deprive it of its character4 99 99 99 99 99 ,quite a good many years ago ,i made the attempt1 in lecture and book form1 to define art4#dj ,what is ,art8 ,the question is as old as man himself1 for we have no records of men without some manifestation of the art impulse4444 ,man is the combination of thought and symbol2 thought striving to express itself1 and symbol1 the means whereby it achieves that end4 ,the symbol may be sound1 word1 or song2 or it may be line1 form1 or structure2 it matters not4 ,a cry is the language of the child2 speech is the every-day utterance of the man2 the heart of the singer bursts forth in song2 the musician speaks in harmonies1 the painter in line and color1 the sculptor in form1 the architect in structure1 the poet in rhyme and rhythm--and each is silent save in his own way4444 ,now what is the distinction between thought expression which is art and thought expression which is not art8 ,in its broadest significance1 and in its very essence1 art is delight in thought and symbol4 ,mark the union--art is delight in both the thought and the symbol4 ,without the double delight--the combination of these two quite distinct delights1 there can be no art4 ,to the writer of prose there may come a beautiful fancy2 he delights in it and hastens to record his thought4 ,he may write the most flowing1 the most perfect prose1 but as he writes he is still occupied with his thought2 his sole object is to find words which will but express it4 ,the same fancy comes to the poet2 he1 too1 delights in it1 and seeks to record it2 but when the poet touches pen to paper he is seized with a new and an entirely distinct delight1 a delight in his method of expressing his thought2 he may even permit his delight in his symbol1 the flow1 rhythm and ring of rhyme1 to sweep him onward in forgetfulness of his first fancy--literature is filled with such examples4 ,now and then a writer of prose expresses himself so finely1 writes so well1 that we feel instinctively and immediately not only the delight in the thought1 but also a certain amount of delight in the manner of expressing the thought1 in the style1 444 and to the extent of the double delight such prose is art1 for art1 as we shall see1 is by no means confined to the five so-called fine arts4 ,no hard and fast line can be drawn between that which is art and that which is not art1 the one fades imperceptibly into the other4 ,and farther on in the same little volume3#da ,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 words2 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 other2 and the time will yet be when there will be no labor without at least some art1 even as there is now and ever has been no art without at least some labor4 ,art lies not in the employment1 but in the manner of the employment of the powers of nature for an end2 not in the task1 but in the attitude of the worker towards his task4 99 99 99 99 99 ,whether a ,cubist painting is or is not art does not depend upon the opinion of either critic or multitude2 if it did it would be art to one man and not to another1 art to one generation and not to another--an illogical conclusion4 ,illustration3 ,,klee ,house by the ,brook ,illustration3 ,,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 manner4 ,it may be the manner they have chosen is so abstract1 so scientifically theoretical1 that it will in the end--if pursued--kill the imagination1 stifle all delight1 and so result in failure as art expression2 but so long as the men take sincere delight in both what they are trying to say and their manner of utterance1 it is impossible to deny the character of art to their works4 ,in proportion to their originality and daring1 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 effort4 ,in other words1 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 stagnant4 ,the vitality lies in the element of earnest striving rather than in the direction the striving takes4 ,,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 ,realist1 but no man can say just what forms this new art will assume4 ,cubism is one attempt1 ,futurism is another1 ,compositional painting is another2 there will be many more attempts before freedom of expression is attained4 ,cubism is interesting because it accentuates the value of planes and shows what can be done with elemental propositions in drawing4 ,but the student or painter who turns to ,cubism because he thinks it is to become a fad and will pay1 runs the risk of making a great mistake2 he would better stick to older methods4 99 99 99 99 99 ,the ,orphists have been mentioned2 there were no ,orphist pictures in the ,international ,exhibition4 ,the movement is based on the purely practical proposition that color in itself1 and color alone without drawing1 may be beautiful4 ,so they just place lines and masses of color on a canvas and frame the canvas4 ,it sounds absurd1 yet the theory is the very foundation of wall decoration1 of interior furnishing1 of dressmaking--the mere juxtaposition of masses of color1 with or without pattern4 ,the ,orphist 8picture0 may not be much of a picture in the accepted sense of the term1 but it may afford pleasure as a color combination and may be of very real value to the decorator1 the furnisher1 the dressmaker1 the scene-painter1 the costumer4 ,the theory is not new4 ,so long as man has loved color he has used it irrespective of pattern4 ,one part of the theory of the ,cubists is as old as that of the ,orphists4 ,it is simply that the painter can do with line and color what the composer does with sound4 ,in other words they demand the same freedom in the use of line and color that every great composer has in the use of sound4 ,if1 for instance1 a great musician composes a pastoral symphony does he imitate the mooing of cows1 the bleating of lambs1 the rippling of brooks8 ,such attempts would be recognized as cheap in the extreme4 8,very well10 the ,cubist says1 8if ,i paint a pastoral symphony why should ,i so much as suggest cows1 sheep1 landscape1 brook8 ,why should people insist upon seeing in my painting what they cannot hear in ,mozart's or ,beethoven's music80 99 99 99 99 99 ,the comparison which ,picabia is fondest of making is that with absolute music4 ,the rules of musical composition1 he points out1 are sufficiently hampering in themselves to the composer's mood1 or call it inspiration4 ,words1 as of songs1 still further confine his vision of melody1 even though they give in the beginning the impression that evokes the mood4 ,songs without words1 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 poet1 leave him far freer1 give his subjectivity far wider scope4 ,modern composers have rebelled against the old fetters2 modern painters have begun to feel the same need of a freer1 an absolute method of expression4 ,hence1 8post-impressionism10 which refuses altogether to be bound by objectivity1 by literal reproduction of the object seen1 in connection with the mood1 the after-impression1 received and fixed on the canvas4 ,a composer may be inspired by a walk in the country1 says ,m4 ,picabia1 and produce a production of the landscape scene1 of its details of form and color8 ,no2 he expresses it in sound waves1 he translates it into an expression of the impression1 the mood4 ,and as there are absolute sound waves1 so there are absolute waves of color and form4 ,modern music has won its way2 this modern painting1 too1 will find appreciation and understanding in the days to come4 99 99 99 99 99 ,the ,cubists have set themselves a hard task4 ,it is a good deal easier to sing an emotion than paint one4 ,it is a good deal easier to paint an object than sing one--therein lies the trouble4 ,yet in the beginning both music and painting were imitative4 ,music imitated natural sounds2 drawing and painting imitated natural objects4 ,but soon men began to sing for the pleasure of singing and play on instruments for the pleasure of playing1 and the imitation of natural sounds was left far behind as primitive and elemental1 and music tended to become more and more expressive of emotions1 elemental emotions at first1 finer and purer emotions later1 until in the western world abstract purity was reached in ,beethoven4 ,since ,beethoven there has been a reaction to more imitative music1 as in the operas of ,wagner4 ,while music departed farther and farther from imitation of natural sounds1 drawing and painting progressed toward the more perfect representation of natural objects4 ,or rather painting developed along two distinct lines--one the more perfect representation of objects for the sake of the representation2 the other compositions of line and color--not ,illustration3 ,,bloch ,summer ,night ,illustration3 ,,bloch ,the ,duel imitative--for the sake of the pleasure afforded by the pattern and the color scheme4 ,this second development parallels that of music--compositions of line and color1 like compositions of sound for the pleasure they give1 and not for the associations they arouse4 ,strange as it may sound1 it is nevertheless true1 that four-fifths of the pleasure we get in our daily lives out of line and color is not from the imitative development1 the picture side1 but from the non-imitative1 the abstract side4 ,our clothes1 our homes1 our public buildings1 our cities1 our landscapes are made beautiful by the use of line and color in patterns and masses--in harmonious composition4 ,it is only here and there that we come in contact with either line or color used imitatively4 ,we all know how distressingly tiresome a wall-paper becomes if it is made up of imitative scenes--that is1 a series of pictures1 and the better the pictures the sooner we tire of the paper4 ,while a paper that contains no imitative spots1 or in which the imitative features are so subdued and conventionalized we feel them rather than see them1 may be restful and pleasing2 and a wall that is a monotone if bordered by wainscoting and frieze in monotones1 may wear the best of all4 99 99 99 99 99 ,but while the great1 the practical use of line and color followed parallel lines with sound and got farther and farther away from imitative features1 the art of painting1 as it is commonly called1 developed in just the opposite direction1 it became more and more imitative1 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 effects4 ,of course the last word has not been said1 and never will be said so long as individuals are born1 but so much has been said that it is not surprising there is a reaction1 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 them1 to express and kindle pleasurable emotions4 ,in short it is not surprising that the painter of pictures should awaken to the realization of the fact that others use and have used1 from the beginning1 line and color to make delightful compositions that have no relation to natural objects1 as the musician uses sound to make delightful compositions that have no relation to natural noises4 99 99 99 99 99 ,as a rule women have a finer instinct for the use and arrangement of color than painters4 ,few wives of painters would trust their husbands to decorate their dinner tables4 ,look at the gruesome and ugly 8still lifes0 done by painters of renown4 ,i saw one the other day of some fish on a platter by an ,american painter famous for such things4 ,if his wife had found that platter of dead and clammy fish in her drawing room she would have exclaimed1 8,for goodness sake1 how did that get in here8 ,take it back to the kitchen40 99 99 99 99 99 ,look at the naive and absurd compositions of flowers and fruit that painters put together to paint2 no woman of taste would permit them on her tea table4 ,i know a charming woman whose dinner tables are a dream of beauty1 veritable compositions in which flowers and fruits and lights and every detail are far more thoughtfully considered than are the details in most pictures4 ,in short1 without knowing it she creates a work of art each time she entertains4 ,imagine what her table would be if left to an artist or a committee of artists--or her husband6 ,most painters' studios are either devoid of all color arrangement or positively ugly4 ,so far as color goes many a portrait owes its success more to the modiste than the artist4 99 99 99 99 99 ,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 emotions4 ,that is what these modern men are trying to do4 ,you may not think it is possible for them to succeed but why should you ridicule the attempt8 ,the attempt is an ambitious one1 it is an attempt to extend the sphere of painting1 and it may lead to new and beautiful things4 ,should we not watch it with interest and sympathy even if you think it foredoomed to failure8 99 99 99 99 99 ,watch a painter preparing to paint a picture of still life4 ,he takes a vase of flowers and places it on a table2 beside it he poses1 perhaps a brass bowl and some other objects1 having regard throughout for light and1 above all1 for proportion and color4 ,that is when he is really painting his picture1 when he is really composing1 receiving his impression1 creating his subjective mood4 ,the objective part of his work is done2 all that remains now is to give expression to that impression1 that mood4 ,instead of thus allowing his inspiration to gain its full value and significance1 he sits down and reproduces it with a varying degree of literalness4 ,he becomes nothing more or less than a copyist1 a photographer of his own work4 ,he kills within himself its subjective values1 or1 at best1 seeks to give them expression filtered by objectivity4 ,or1 again1 consider the case of the portrait painter4 ,he studies sitters from every point of view1 gathering impressions4 ,then he begins to experiment with poses1 draperies1 light effects1 seeking to heighten the impression already received from the sitter himself4 ,at last he is content with pose1 draperies1 background1 lights--his picture is there4 ,but why1 then1 go to the trouble of painting it1 of copying it8 ,if the work he has done1 finished in all its details1 is to benefit him1 he must proceed from it and beyond it4 ,his real work then is to communicate to others the mood awakened in him4#db 99 99 99 99 99 ,in another interview ,picabia said3 ,you of ,new ,york should be quick to understand me and my fellow painters4 ,your ,new ,york is the cubist1 the futurist city4 ,it expresses in its architecture1 its life1 its spirit1 the modern thought4 ,you have passed through all the old schools1 and are futurists in word and deed and thought4 ,you have been affected by all these schools just as we have been affected by our older schools4 ,because of your extreme modernity therefore1 you should quickly understand the studies which ,i have made since my arrival in ,new ,york4 ,they express the spirit of ,new ,york as ,i feel it1 and the crowded streets of your city as ,i feel them1 their surging1 their unrest1 their commercialism1 and their atmospheric charm4 ,you see no form8 ,no substance8 ,is it that ,i go out into your city and see nothing8 ,i see much1 much more1 perhaps1 than you who are used to it see4 ,i see your stupendous skyscrapers1 your mammoth buildings and marvellous subways1 a thousand evidences of your great wealth on all sides4 ,the tens of thousands of workers and toilers1 your alert and shrewd-looking shop girls1 all hurrying somewhere4 ,i see your theater crowds at night gleaming1 fluttering1 smilingly happy1 smartly gowned4 ,there you have the spirit of modernity again4 ,but ,i do not paint these things which my eye sees4 ,i paint that which my brain1 my soul1 sees4 ,i walk from the ,battery to ,central ,park4 ,i mingle with your workers1 and your ,fifth ,avenue mondaines4 ,my brain gets the impression of each movement2 there is the driving hurry of the former1 their breathless haste to reach the place of their work in the morning and their equal haste to reach their homes at night4 ,there is the languid grace of the latter1 emanating a subtle perfume1 a more subtle sensuousness4 ,i hear every language in the world spoken1 the staccato of the ,new ,yorker1 the soft cadences of the ,latin people1 the heavy rumble of the ,teuton1 and the ensemble remains in my soul as the ensemble of some great opera4 ,at night from your harbor ,i look at your mammoth buildings4 ,i see your city as a city of aerial lights and shadows2 the streets are your shadows4 ,your harbor in the daylight shows the shipping ,illustration3 ,,herbin ,landscape of a world1 the flags of all countries add their color to that given by your sky1 your waters1 and your painted craft of every size4 ,i absorb these impressions4 ,i am in no hurry to put them on canvas4 ,i let them remain in my brain1 and then when the spirit of creation is at flood-tide1 ,i improvise my pictures as a musician improvises music4 ,the harmonies of my studies grow and take form under my brush1 as the musician's harmonies grow under his fingers4 ,his music is from his brain and his soul just as my studies are from my brain and soul4 ,is this not clear to you8 99 99 99 99 99 ,you say all this cannot be done4 ,that is precisely the question1 and one thing certain1 it cannot and will not be done1 unless some one tries to do it4 ,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 music1 or by the use of motion as in pantomime4 ,one man says1 8,i will paint the portrait of a beautiful woman40 ,a second says1 8,i will not paint her portrait1 but ,i will put on canvas a composition of colors so joyous it will express my admiration for her40 ,a third says1 8,i will compose a sonata or a symphony or a #8song without words' to express my love for her40 ,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 harmonies4 ,why8 ,because he does not copy the features and the dress of the woman4 ,picabia again says3 ,art1 art1 what is art8 ,is it copying faithfully a person's face8 ,a landscape8 ,no1 that is machinery4 ,painting ,nature as she is1 is not art1 it is mechanical genius4 ,the old masters turned out by hand the most perfect models1 the most faithful copies of what they saw4 ,that all their paintings are not alike is due to the fact that no two men see the same things the same way4 ,those old masters were1 and their modern followers are1 faithful depicters of the actual1 but ,i do not call that art today1 because we have outgrown it4 ,it is old1 and only the new should live4 ,creating a picture without models is art4 ,they were successful1 those old masters2 they filled a place in our life that cannot be filled otherwise1 but we have outgrown them4 ,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 us4 ,their paintings are to us what the alphabet is to the child4 ,we moderns1 if so you think of us1 express the spirit of the modern time1 the twentieth century4 ,and we express it on canvas the way the great composers express it in their music4 ,there is plenty of clear expression and fine enthusiasm in those three paragraphs4 99 99 99 99 99 ,there is1 however1 another side to ,cubism and one not so easy to understand4 ,painting color harmonies for the sake of their emotional effect is easy of comprehension4 ,but when the ,cubist sets out to convey the impression1 not of the surfaces1 but of the very substance of things1 he is attempting something very different from what has heretofore been considered within the sphere of painting4 ,possibly he is attempting something painting cannot do4 ,the theory is so abstract and so scientific it comes near paralyzing the art4 ,it is too coldly logical and unemotional to produce great art1 for great art is and must be fundamentally emotional4 ,of ,picasso1 the founder and leading exponent of ,cubism1 a sympathetic writer says3 ,his whole tendency is a negation of the main tenets of the gospel of ,czanne whose conception of form he rejects1 together with ,monet's conception of light and color4 ,to him both are non-existent4 ,instead he endeavors 8to produce with his work an impression1 not with the subject1 but the manner in which he expresses it10 to quote his confrre1 ,marius ,de ,zayas1 who studied the raison d'tre of this work1 together with ,picasso4 ,describing his process of aesthetic deduction further1 ,m4 ,de ,zayas tells us that 8he 7,picasso7 receives a direct impression from external nature2 he analyzes1 develops1 and translates it1 and afterwards executes it in his own particular style1 with the intention that the picture should be the pictorial equivalent of the emotion produced by nature4 ,in presenting his work he wants the spectator to look for the emotion or idea generated from the spectacle and not the spectacle itself4 8,from this to the psychology of form there is but one step1 and the artist has given it resolutely and deliberately4 ,instead of the physical manifestation he seeks in form the psychic one1 and on account of his peculiar temperament1 his psychical manifestation inspires him with geometrical sensations4 ,when he paints he does not limit himself to taking from an object only those planes which the eye perceives1 but deals with all those which1 according to him1 constitute the individuality of form2 and with his peculiar fantasy he develops and transforms them4 8,and this suggests to him new impressions1 which he manifests with new forms1 because from the idea of the representation of a being1 a new being is born1 perhaps different from the first one1 and this becomes the represented being4 ,each one of his paintings is the coefficient of the impressions that form has performed in his spirit1 and in these paintings the public must see the realization of an artistic ideal1 and must judge them by the abstract sensation they produce1 without trying to look for the factors that entered into the composition of the final result4 8,as it is not his purpose to perpetuate on canvas an aspect of the external world1 by which to produce an artistic impression1 but to represent with the brush the impression he has directly received from nature1 synthesized by his fantasy1 he does not put on the canvas the remembrance of a past sensation1 but describes a present sensation4444 ,in his paintings perspective does not exist2 in them there are nothing but harmonies suggested by form1 and registers which succeed themselves1 to compose a general harmony which fills the rectangle that constitutes the picture4 8,following the same philosophical system in dealing with light1 as the one he follows in regard to form1 to him color does not exist1 but only the effects of light4 ,this produces in matter certain vibrations1 which produce in the individual certain impressions4 ,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 idea1 and his composition is nothing but the synthetic expression of his emotion40 ,thus it will be seen that he tries to represent in essence what seems to exist only in substance4 ,and1 inasmuch as his psychical impressions inspire in him geometrical sensations1 certain of these exhibits are in the nature of geometrical abstractions that have little or nothing in common with anything hitherto produced in art4 ,its whole tendency would appear to be away from art into the realm of metaphysics4 ,here is a design1 a pattern of triangles1 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 engineer4 ,after a little attentive study1 however1 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 sensations4 ,there is evident a method in his madness which1 after all1 may only be truth turned inside out4 ,and this is what should make one pause and investigate the matter further4 ,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 point4 ,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 perhaps1 but reaching out in new directions4 ,and it must not be forgotten that the pioneer is usually misunderstood2 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-men1 they lag so far behind the progress of new ideas4 ,czanne and ,picasso--they mark the parting of the ways3 a fulfilment and a promise4 ,quo ,vadis8#dc ,not many years ago ,picasso was painting under the influence of the pointillists4 ,almost every year he changed his style1 until he developed the pure1 the geometrical ,cubism of the drawing shown herein4 ,he had a period of painting very uninteresting blue portraits1 one of which was shown at the exhibition4 ,his 8,woman with the ,mustard ,pot0 belongs with his sculpture1 which is interesting but1 to most people1 ugly4 ,he has such phenomenal powers of absorption and his technical facility is such that he does anything he pleases ,illustration3 ,,picasso ,drawing with ease1 and what he does today is no sure indication of what he will attempt tomorrow4 ,for the moment he seems absorbed in the music of planes1 so to speak4 ,take1 for instance1 a still life wherein there seem to be a pipe1 a wall1 a musical instrument1 a glass1 something like a stairway1 street signs1 etc4 ,these may or may not have been the objects the painter had before him1 but whether they are or not it is quite clear that he was not content with dealing with superficial planes1 that is1 with the visible lines and surfaces of the objects1 but he lets the planes project and intersect very much as if the objects were semi-transparent4 ,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 transparent1 one readily understands why the essential lines of all objects in the rear show through1 and the result is a confused mass of planes with here and there more conspicuous surface indications such as the pipe1 the signs1 the glass1 etc4 ,in much of ,picasso's later work he suppresses all such surface indications1 until only a few absolutely elemental lines remain4 ,the result is a picture so scientific1 so abstract1 it appeals to but few and excites no emotion in anyone because it was not the result of emotion in the artist4 ,in short1 ,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 proposition4 ,beyond the few lines they use there is the bare canvas2 they have reached the limit and they must turn in their tracks4 ,the reaction is bound to come1 and come quickly4 ,meanwhile the ,cubists1 who have been painting along emotional1 as distinguished from the coldly scientific lines1 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 direction4 99 99 99 99 99 ,the ,cubists are fond of quoting the following from ,plato3 ,socrates3 ,what ,i am saying is not1 indeed1 directly obvious4 ,i must therefore try to make it clear4 ,for ,i will endeavor to speak of the beauty of figures1 not as the majority of persons understand them such as those of animals1 and some paintings to the life2 but as reason says1 ,i allude to something straight and round1 and the figures formed from them by the turner's lathe1 both superficial and solid and those by the plumb-line and the angle-rule1 if you understand me4 ,for these1 ,i say1 are not beautiful for a particular purpose1 as other things are2 but are by nature ever beautiful by themselves1 and possess certain peculiar pleasures1 not at all similar to those from scratching2 and colors possessing this character are beautiful and have similar pleasures4--,from 8,philebus40 99 99 99 99 99 ,every really great painter must have moments when1 as he thinks of the days and years spent painting things--just things for people to look at and see--he asks himself1 8,is it worth while to spend all one's life painting things one sees8 ,is it not possible to paint the things one feels80 99 99 99 99 99 ,sargent is tired of portrait painting--why8 ,because he longs to do something else4 ,but what he is doing is simply another form of portrait painting--and not so big4 ,he has simply turned from men and women to chairs and tables--so to speak2 that is1 from portraits of people to pictures of things--all the same art4 ,so far as any one knows he has not tried to make compositions of line and color that would be beautiful in themselves4 ,in short1 great painter as he is1 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 ,japan4 99 99 99 99 99 ,the following paragraphs from a little book on ,cubism by two well known ,cubist painters throw some light on the subject3 ,we should be the first to blame those who1 to hide their incapacity1 should attempt to fabricate puzzles4 ,systematic obscurity betrays itself by its persistence4 ,instead of a veil which the mind gradually draws aside as it adventures toward progressive wealth1 it is merely a curtain hiding a void4 ,it is not surprising that people ignorant of painting should not spontaneously share our assurance2 but nothing is more absurd than that they should be irritated thereby4 ,must the painter1 to please them1 turn back in his work1 restore things to the commonplace appearance from which it is his mission to deliver them8 ,from the fact that the object is truly transubstantiated1 so that the most accustomed eye has some difficulty in discovering it1 a great charm results4 ,the picture which only surrenders itself slowly seems always to wait until we interrogate it1 as though it reserved an infinity of replies to an infinity of questions4#dd ,by way of comment on this paragraph3 ,why should we deny to painting one of the greatest charms of poetry--elusiveness8 ,great poetry is rarely superficially plain to the casual reader4 ,great music is never superficially plain to the casual hearer4 ,but the attitude of the public is that great painting shall always be superficially plain to the casual observer4 ,a painter may paint things every one understands at a glance1 but is it not his right1 if he wishes1 to paint things no one understands but himself8 ,in other words1 what right have we to say to the poet1 8,if you don't write things we understand you are no poet10 or to the painter1 8,if you don't paint things we understand you are no painter80 ,the only difference between poet and painter is that one uses a pen1 the other a brush to express himself4 99 99 99 99 99 ,without employing any allegorical or symbolical literary artifice1 merely by inflections of lines and colors1 a painter can show1 in the same picture1 a ,chinese city1 a ,french town1 together with mountains1 oceans1 fauna1 and flora1 and nations with their histories and their desires--all that separates them in external reality4 ,distance or time1 concrete fact1 or pure conception1 nothing refuses to be uttered in the language of the painter1 as in that of the poet1 the musician1 or the scientist4 ,here is a most significant statement of a truth and an assertion of freedom4 ,we all know how the poet in a dozen lines may give us glimpses of the universe2 he may leap from flower to star1 from city to city1 nation to nation1 age to age2 nothing confines him1 he knows no restraint4 ,in one short poem he may give us glimpses of the four quarters of the globe--of ,athens1 ,london1 ,chicago1 ,pekin4 ,his imagination knows no bounds1 his art is unlimited4 ,for the first time in the history of painting painters are systematically claiming the same independence1 the same right to express themselves freely in each canvas1 to paint in the one picture if they see fit glimpses of different countries1 cities1 scenes1 different times as well as places2 to use them and suggest them as freely as the poet does to express a mood--and why not8 ,but the painter must be sure of his mood1 and be doubly sure that what he is trying to say requires a wealth of illustration1 otherwise his painting will be but a fantastic jumble1 ,illustration3 ,,marc ,the ,steer ,illustration3 ,,kandinsky ,landscape ,with ,two ,poplars just as many poems lose themselves in not a wealth but a confused mass of irrelevant illustrations4 99 99 99 99 99 ,the assertion of freedom is one thing1 the exercise of it is quite another4 ,the point is that1 fundamentally1 there is no reason why a painter should not show in one canvas things and events unrelated in either space or time1 leaving the observer to work out the more or less hidden meaning of it all4 ,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 pyramids1 playing children and armed battalions1 weeping women and fighting men4 ,read the foregoing lines once more4 ,eight objects are mentioned--apple1 apple tree1 temples1 pyramids1 children1 battalions1 weeping women1 fighting men--by no possibility could these strangely diverse objects be found grouped together in actual life1 yet it is safe to say that as you read them no feeling of utter incongruity was experienced4 ,on the contrary your imagination unconsciously created a picture1 vague and indistinct because fleeting1 which combined them all1 possibly a strange1 poetic scene with orchards and playing children1 temples and pyramids in the distance1 with armed battalions1 weeping women and fighting men passing by in clouds or fanciful shapes4 ,thousands of such pictures are painted every year and they are mostly rather poor works of the imagination4 ,there is1 however1 no reason why the same freedom1 the same arbitrary indifference to actualities1 should not be exercised in the painting of good pictures4 ,no reason why1 for instance1 painters should not experiment freely with all the so-called laws of art1 and that is what the ,cubists and others of the moderns are doing4 99 99 99 99 99 ,that the ultimate aim of painting is to touch the crowd we have admitted2 but painting must not address the crowd in the language of the crowd2 it must employ its own language1 in order to move1 dominate1 and direct the crowd1 not in order to be understood4 ,it is so with religions and philosophies4 ,the artist who concedes nothing1 who does not explain himself and relates nothing1 accumulates an internal strength whose radiance shines on every hand4 ,it is in consummating ourselves within ourselves that we shall purify humanity2 it is by increasing our own riches that we shall enrich others2 it is by kindling the heart of the star for our own pleasure that we shall exalt the universe4 99 99 99 99 99 ,to explain ,cubism1 or any attempt in art to suppress the objective1 one must fall back on music4 ,grieg calls a certain composition 8,in the ,hall of the ,mountain ,king40 ,not for a moment did he attempt realistically to suggest a hall1 a mountain1 a king or any object2 to have done so would have been folly4 ,and if that particular composition were played for the first time before a body of keen musicians1 no title mentioned1 and not a word said about its being a part of the ,peer ,gynt suite1 no two would agree as to what the composer had in mind1 though many might have very interesting impressions regarding the mood of the composer in writing it4 ,but once understand it is part of the ,peer ,gynt suite and once told it is 8,in the ,hall of the ,mountain ,king10 the weird and fascinating music explains itself1 it is recognized as a wonderfully successful attempt to realize an impressive scene by a combination of sounds4 99 99 99 99 99 ,the veriest tyro in music feels the cheapness of imitative music1 the imitation of the nightingale1 the ripple of notes to imitate a rippling brook1 the beating of a drum to imitate thunder1 the tremolo of violins to represent fright1 etc41 etc4 ,from such bald attempts at realism to the abstract beauty of a symphony by ,beethoven is a vast interval4 ,the severely logical composer will not name his symphony for fear of suggesting ideas that will interfere with the pure enjoyment of his abstract conception4 ,there have been painters--like ,whistler--who preferred to call their works 8,harmonies0 or 8,arrangements0 or 8,studies0 rather than subject their canvases to a clamoring horde of suggestions by choosing names that must inevitably divert the observer4 ,however at times a name helps1 it at least puts us on the right track1 it enables us to measure the piece of music or the picture by the artist's intention4 ,if it is utterly impossible for the best and most sympathetic minds after long study to find any suggestion of the title in the work1 it means either the artist has been unsuccessful in conveying his idea in sound or in line and color1 or--what often happens--he has carelessly and arbitrarily chosen a title after his work was finished1 a title that imperfectly fits his original impulse4 99 99 99 99 99 ,it is most disappointing to hear a man go into raptures over what he cannot explain4 ,the greatest enemies of the moderns are their friends4 ,but there have been published a number of books in ,german and ,french that are well worth reading if approached with an open mind4 ,if read with preconceived notions and prejudices the result will be very irritating4 ,several artists1 notably ,kandinsky1 have taken the utmost pains to explain in print what they believe and what they are trying to do4 ,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 pictures2 but this is because some of the new men carry their theories so far it is hard for the layman to follow1 however earnest and sympathetic his efforts4 ,but because we do not understand what a man says is no good reason for calling him an ignoramus4 ,the trouble may be with him1 it is probably with us4 ,at all events each re-reading1 like each re-scrutiny of the pictures1 yields clearer results4 ,to a man really and profoundly interested in art nothing has occurred in many a generation so full of significance1 so worthy one's earnest attention1 as the present new movements--all the more interesting because changing so rapidly and because some of them are certain to be so fleeting4 ,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 nature4 99 99 99 99 99 ,when a man stands before a cubist painting or an improvisation by ,kandinsky and says he sees all sorts of things in it1 do not take him too seriously2 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 dreamed4 99 99 99 99 99 ,the ,cubists and most of the moderns are very young men1 what they think is of far less interest than what they do4 ,what a young man does is often of vital importance1 what he thinks may be of no importance at all--save to himself4 ,moved by the most naive theories and enthusiasms youth ,illustration3 ,,chabaud ,cemetery ,gates will do wonderful things1 things the sober reflection of age would fear to do4 ,one of the charms of the ,cubists is their child-like faith in the absolute supremacy of their art2 this faith is interesting in them because it leads them to produce works that cause us to stop and look and think1 but when their followers indulge the same blind faith in print their utterances are mostly incoherent and boresome4 99 99 99 99 99 ,the violent partisan who sees all sorts of things in the modern painting is at one extreme1 the violent opponent who sees nothing at all is at the other--let them fight it out4 ,the truth lies midway1 that there is something worth finding in even the most extravagant attempts of the new movement no thoughtful man will deny4 ,the very fact the paintings attract such crowds and excite so much controversy proves there is something for serious investigation2 the something may not turn out to be of overwhelming importance1 but it will have its influence upon the future of art4 ,no one for a moment doubts that the exhibitions held in ,new ,york1 ,chicago1 and ,boston are destined to have a very great effect upon ,american art1 especially upon the art of the men most bitterly opposed to ,cubism1 and everything akin to ,cubism4 ,the academic has received a severe but healthful jolt4 ,whatever affects us has1 at least1 the merit of affecting us1 and whatever moves us to do better work1 whether in an old way or a new way1 has the merit of affecting us for good4 ,,vii ,,the ,,new ,,art ,,in ,,munich 8,,we cling more closely to the old masters2 what we are doing is simply the natural development of their principles and their methods10 said a well-known painter of ,munich while speaking of the ,cubists and other moderns of ,paris1 and the words had direct reference to the head of a woman1 by ,jawlenski1 reproduced herein in color4 ,it would be difficult to convince the casual observer that this head has any relationship to portraits by ,titian1 and yet-- 99 99 99 99 99 ,the ,cubists are also equally quick to demonstrate the logical connection between their works and those of the old masters1 tracing the connection through ,courbet1 ,el ,greco1 and so on4 ,the truth1 of course1 is that everything modern is a development of something ancient1 that nothing exists unrelated4 ,art is as continuous as everything else in life and nature4 ,one thing flows inevitably out of another4 99 99 99 99 99 ,sorolla and ,zoloaga are the children of ,velasquez4 ,puvis de ,chavannes may seem nearer ,raphael and the ,italian ,primitives than ,degas and ,manet1 but he is simply the fruition of one collateral line1 while ,degas is the fruition of another1 and ,manet of another--they are all painters1 and the art of painting admits endless variations in theory and technic4 99 99 99 99 99 ,it is1 therefore1 true that every modern experiment1 however strange1 may trace its genealogy to the ,old ,masters and through them to the ,primitives1 and through them to the ,cave ,painters4 ,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 art1 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 twentieth4 99 99 99 99 99 ,there is1 however1 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 ,paris1 in that most of the former paint more solidly and substantially1 while most of the latter paint more lightly and superficially--just about the difference that exists between the two cities1 the two environments4 ,the worker in ,munich cannot help being influenced by the ,german atmosphere1 the worker in ,paris cannot help being influenced by the ,french--in fact each is where he is because he finds the particular atmosphere congenial4 99 99 99 99 99 8,the ,new ,artists' ,federation10 in ,munich1 was founded in ,january1 #aiji1 by ,adolf ,erbslh1 ,alexej von ,jawlensky1 ,wassily ,kandinsky1 ,alexander ,kanoldt1 ,alfred ,kubin1 ,gabriele ,mnter1 ,marianna von ,werefkin1 ,heinrich ,schnabel1 and ,oskar ,wittenstein4 ,during the first year ,paul ,baum1 ,wladimir von ,bechtejeff1 ,erma ,bossi1 ,karl ,hofer1 ,moissey ,koga1 and ,albert ,sacharoff joined4 ,paul ,baum and ,karl ,hofer soon resigned their membership4 ,in #aiaj the ,frenchmen1 ,pierre ,girieud and ,le ,fauconnier1 became members1 and in #aiaa ,franz ,marc and ,otto ,fischer1 followed in #aiab by ,alexander ,mogilewsky4 ,the first exhibition was held in the winter of #aiji in the ,modern ,gallery1 ,munich4 ,indignation and derisive laughter1 and insults from the press were the outward result4 ,still the seed scattered was not lost4 ,similar exhibitions were held in many cities of ,germany and ,switzerland4 ,everywhere they met with opposition1 but also made some friends at each place4 ,the second exhibition1 held in the fall of the following year1 brought the members into contact with a large number of outside artists1 some of whom have become of great importance in the new art1 and most of whom were1 up to that time1 unknown in ,germany4 ,these were the ,germans1 ,hermann ,haller1 ,bernhard ,hoetger1 ,eugen ,kahler1 ,adolf ,nieder2 the ,frenchmen1 ,georges ,bracque1 ,andr ,derain1 ,kees ,van ,dongen1 ,francisco ,durio1 ,pablo ,picasso1 ,georges ,rouault1 and ,maurice de ,vlaminck2 finally1 the ,russians1 ,mogilewsky1 ,david and ,wladimir ,burljuk1 and ,seraphim ,sudbinin4 ,this was the first exhibition at which it was possible to rightly estimate the development and the international character of the new movement4 ,the preparations for the exhibition in the year #aiaa led to a split4 ,some of the members insisted that1 as regarded their works1 the custom of a jury should be dispensed with1 while others were in favor of having the entries rigidly judged in order to insure proper selection4 ,kandinsky1 ,kubin1 ,marc1 and ,gabriele ,mnter in consequence announced their withdrawal from the federation4 ,thus a difference of opinion and convictions was openly vented that had existed in secret for quite a time4 ,the members named1 under the name of 8,redaktion des ,blauen ,reiters10 opened a separate exhibition and have since continued to work under this banner4 ,the ,new ,artists' ,federation1 since its third exhibition in #aiab1 has held a series of exhibits of the works of individual artists in its rooms at ,munich1 and its members are represented at nearly all important exhibitions in ,germany and ,switzerland4#de 99 99 99 99 99 ,the key-note of the modern movement in art is expression of self2 that is1 the expression of one's inner self as distinguished from the representation of the outer world4 99 99 99 99 99 ,illustration3 ,,matisse ,woman in ,red ,madras ,i have before me six of ,jawlensky's heads1 painted a year or so apart4 ,they range from almost conventional portrait studies in strong impressionistic manner to heads very like ,matisse's 8,madras ,rouge10 thence to the head reproduced1 which was the last painted4 ,the series shows an interesting development of the painter's convictions1 his technic remains essentially the same1 facile and competent1 only the latest picture places a much greater stress upon his resources4 ,it was apparent from things in his studio1 canvases ten or twelve years old1 that he could have made a commercial success as a painter of portraits4 99 99 99 99 99 ,to say that ,jawlensky's latest heads with their strange1 expressive1 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 ago4 99 99 99 99 99 ,when asked why he preferred his latest work to the earlier1 ,jawlensky said3 8,i have put more of myself into them2 they are more expressive of what ,i feel40 ,and he went on to say the development seemed to him natural and logical4 ,he could not understand why the heads should strike others as queer or laughable since they were the products of absolute sincerity4 ,of his work a friendly critic says3 ,jawlensky1 formerly an officer in the ,russian army1 resigned a captain's commission and turned to painting4 ,today he looks back into an artistic past rich in changes and just as rich in successes achieved4 ,gauguin1 ,van,gogh and ,czanne have given much to him2 more recently1 oriental and primitive art1 ,byzantine pictures and antique ,german woodcarvings have not been without influence on him4 ,his color is peculiarly his own1 with its limpidity1 its bloom1 and bold modulations1 the spontaneous1 expressive force of which have a most refreshing effect4 ,in its soft and surprising beauty one may perhaps discover a distinctly ,russian quality4 ,it is almost an injustice toward this artist's pictures to reproduce them colorless4 ,his still-life pictures excel in composition and charm by their color effects4 ,in his landscapes a peculiar mood finds expression1 always striking1 always original1 and often with great simplicity and beauty4 ,his heads and half figures might be termed snapshots of the soul3 a pose1 a motion1 a glance of the eye1 retained by the briefest and most effective means4 ,here1 too1 a conscious simplifying and exaggeration becomes more and more evident4 ,for this artist1 art itself has the grace of a gesture2 the soul part immediately becomes expression1 and thus is shown everywhere the creative quality of an impulsive nature that owes its best to the inspiration of the moment1 and from it proceeds to work with a most happy facility4#df 99 99 99 99 99 ,marianna von ,werefkin1 a ,russian1 uses water color1 gouache1 and prefers the mystery of the night to daylight4 ,her pictures are interesting human documents4 ,she does not seek startling or novel pictured effects4 99 99 99 99 99 ,there is another and almost unknown artist1 ,p4 ,klee1 who is very highly esteemed by the most advanced men4 ,there is certainly an exquisite refinement to his line2 it is so alive it scintillates4 ,gabriele ,mnter has a vision of things quite her own1 a sense of humor and of life that penetrates beneath the surface1 and that manifests itself in a technic that is1 one might say1 almost nonchalant4 ,a4 ,bloch is a young ,american1 living in ,munich1 who has allied himself with the ,blue ,knights and made an impression by his very personal expressions4 ,he was given a one-man exhibition in ,berlin in ,december last1 and his pictures were highly praised in a well-written article in the ,berlin ,borsen-,courier4 ,absolute and unswerving fidelity to one's ideals is the only sure road to success1 and this sort of sincerity is manifest in the work of ,bloch4 ,franz ,marc is in a class by himself4 ,he is the animal painter of the ,blue ,knights1 and his pictures have a fairly steady sale notwithstanding they are extreme in conception and execution4 ,animal forms and their phases of composition seem to appeal to him1 but he often uses the forms as arbitrarily as ,matisse uses his nudes to secure an effect of life or grace4 ,his color is always delightful1 and there is a flow1 a rhythm to his pictures that is fascinating4 ,in an article in 8,der ,blaue ,reiter0 he says3 ,it is remarkable how spiritual acquisitions are valued so differently by men as compared with material4 ,if someone conquers a new colony for his country everybody applauds2 if1 however1 someone has the inspiration to give to mankind a new and purely spiritual value1 it is rejected with scorn and indignation1 the gift is suspected1 and the people try to suppress and crush it4 ,is not this a frightful condition8 ,and speaking of the new movement in art1 which he considers a spiritual offering to the public1 he says3 ,the public is against us1 with scorn and abuse it refuses our pictures2 but we may be right4 ,they may not want our gifts1 but perhaps they cannot help accepting them4 ,we have the consciousness that our world of ideas is no card house with which we play1 but it contains the vital elements of a movement the vibrations of which are felt today the world over4 ,in the orthodox sense these men may or may not be religious--,i do not know--but one thing is certain1 there is an immense amount of religious power in their propaganda4 99 99 99 99 99 ,the most extreme man not only of ,munich but of the entire modern art movement is ,wassily ,kandinsky1 also a ,russian4 ,there was one of his ,improvisations in the ,international ,exhibition4#dg ,it did not hang with the ,cubists1 not even in the large room with ,matisse and other radical men4 ,evidently those in charge of the hanging did not know what to make of it or what to do with it1 so they side-tracked it on a wall that was partly in shadow4 ,visitors who paused to look at it dismissed it as meaningless splotches of paint1 and passed on4 ,there is this to be said for the public1 that with no word of explanation one of ,kandinsky's ,improvisations does seem--at first glance--the last word in extravagance2 on fourth or fifth glance it appears to have a charm of color that is fascinating2 on study it begins to sound like color music4 99 99 99 99 99 ,there were three of his canvases in the ,london ,exhibition in ,albert ,hall in ,july1 #aiac1 8,landscape with ,two ,poplars10 8,improvisation ,no4 #bi10 and 8,improvisation ,no4 #cj10 the last reproduced herein in color4 ,of these three paintings a critic said3#dh ,by far the best pictures there seemed to me to be the three works by ,kandinsky4 ,they are of peculiar interest1 because one is a landscape in which the disposition of the forms is clearly prompted by a thing seen1 while the other two are improvisations4 ,in these the forms and colors have no possible justification1 except the rightness of their relations4 ,this1 of course1 is really true of all art1 but where representation of natural form comes in1 the senses are apt to be tricked into acquiescence by the intelligence4 ,in these improvisations1 therefore1 the form has to stand the test without any adventitious aids4 ,it seemed to me that they did this1 and established their right to be what they were4 ,in fact1 these seemed to me the most complete pictures in the exhibition1 to be those which had the most definite and coherent expressive power4 ,undoubtedly representation1 besides the evocative power which it has through association of ideas1 ,illustration3 ,,kandinsky ,improvisation ,no4 #bi has also a value in assisting us to coordinate forms1 and1 until ,picasso and ,kandinsky tried to do without it1 this function at least was always regarded as a necessity4 ,that is why of the three pictures by ,kandinsky1 the landscape strikes one most at first4 ,even if one does not recognize it as a landscape1 it is easier to find one's way about in it1 because the forms have the same sort of relations as the forms of nature1 whereas in the two others there is no reminiscence of the general structure of the visible world4 ,the landscape is easier1 but that is all4 ,as one contemplates the three1 one finds that after a time the improvisations become more definite1 more logical and more closely knit in structure1 more surprisingly beautiful in their color oppositions1 more exact in their equilibrium4 ,they are pure visual music4 ,people who do not find a picture turn away disappointed and irritated1 but many turn back to look again1 attracted by the strength and charm of the compositions1 and in the end not a few reluctantly concede1 8,yes1 they have fine color1 but--0 and then follows the old demand for some familiar object as anchorage4 99 99 99 99 99 ,of ,kandinsky's qualifications from the academic point of view let it be said he is a superb draftsman1 though he no longer attaches any importance to drawing per se2 and he is a master of color combinations4 ,one would say that the two1 mastery of drawing and mastery of color1 would make a great painter1 and so they did and do4 ,i have at hand some of his earlier work along conventional lines1 and ,i have seen tempera drawings of ,moroccan scenes that would delight a ,whistler1 they are so delicate and so filled with subtle charm4 ,then ,i have a series of sketches1 extending over a number of years1 which show the development of his later works4 99 99 99 99 99 ,he has explained his theories at length in his book1 8,ueber das ,geistege in der ,kunst10#di and in numerous articles1 notably in 8,der ,blaue ,reiter40 ,the keynote of the entire modern movement is found in the first sentence of his book1 8,every work of art is the child of its own times40 ,a man may so steep himself in history and tradition that all he does is reminiscent of the past1 but such work marks no progress and such men are negligible factors in the advancement of mankind4 ,it is the man who yields himself to his times1 who absorbs all there is of good in the life about him1 who sees everything1 feels everything1 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 fellows2 brilliant thinker1 daring adventurer1 he blazes the way for the timid to follow4 ,if we were ,greeks of the fifth century we would carve the marbles they did4 ,if we were ,romans under the ,caesars we would build the buildings they built4 ,if we were ,christians of the middle ages we would rear cathedrals4 ,if we were ,english1 ,french1 ,german1 ,chinese1 or ,japanese1 we would do the things they do1 like the things they like4 ,but we are none of these peoples2 we are ,americans living in an age of steam and electricity1 of automobiles and aeroplanes1 in an age of kaleidoscopic changes1 of marvelous and startling developments4 ,what must happen in painting1 music1 sculpture8 ,exactly what has happened in architecture4 ,painting1 music1 sculpture that will go with our mighty steel buildings1 with our factories and railroads4 ,painting1 music1 sculpture varied in form1 as old and as new as the brain of man can conceive1 but always and essentially our own4 ,that is the secret1 it must be characteristic of our age--our own4 99 99 99 99 99 ,this is not a placid age4 ,it is an age of feverish activities1 brilliant imaginings1 profound emotions4 ,hence our art will not be placid1 but will be an art of the imagination and the emotions4 ,venturesome souls will not be content to paint things1 or even people1 but they will paint themselves1 not their outer selves1 but their inner2 they will put on canvas what they feel4 ,that is as near the final word in art as man can utter--to paint instead of speak his most subtle emotions4 99 99 99 99 99 ,in a recent article#ej ,kandinsky summarises part of his theory as follows3 ,a work of art consists of two elements1 the inner and the outer4 ,the inner is the emotion in the soul of the artist4 ,this emotion has the power to arouse a similar feeling in the soul of the observer4 ,the soul being connected with the body it is affected through the medium of the senses--feelings2 emotions are stirred and aroused by sensations4 ,hence our sensations are the bridge1 the physical connection between the immaterial1 the emotion in the soul of the artist1 to the material1 resulting in the production of the work of art4 ,and again the sensations are the bridge from the material1 the artist1 and his work1 to the immaterial1 emotion in the soul of the observer4 ,the sequence is1 emotion 7in artist7--sensations--work--sensations--e motion 7in observer74 ,the two emotions will be like and equal to the extent the work is successful4 ,in this respect a painting is no different from a song1 each is a message2 the successful singer succeeds in arousing in his hearers the emotions he feels2 the successful painter should do no less4 ,the inner element1 emotion1 must exist1 else the work will be a sham4 ,the inner element determines the character of the work4 ,in order that the inner element which at first exists only as an emotion1 may develop into work1 the second element--the outer is used as the embodiment4 ,therefore emotion is always seeking means of expression1 seeking a material form1 a form that can stir the senses4#ea ,the vital1 the determining element is the inner1 that controls the outer form1 even as the idea in the mind determines the words we use1 and not the words the idea4 ,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 art4 ,a beautiful work is the product of the harmonious cooperation of the two elements1 the inner and outer4 ,a painting1 for instance1 is an intellectual organism which1 like every material organism1 consists of many parts4 ,these single parts1 if isolated1 are as lifeless as a finger severed from the hand4 ,the single parts live only through the whole4 ,the endless number of single parts in a painting is divided into two groups3 #a4 ,the designed form4 #b4 ,the picturesque form4 99 99 99 99 99 ,an examination of a work of art1 especially a painting1 ,illustration3 ,,van ,,gogh ,woman with ,frying ,pan ,illustration3 ,,van ,,gogh ,chair with ,pipe usually discovers the presence of parts and forms drawn from nature1 from objects4 ,as the imitation of natural forms forms no part of the definition of pure art how is it these objective representations creep in8 ,the origin of painting was the same as that of the other arts1 and of every human action4 ,it was purely practical4 ,if a native hunter chases game for days1 he is induced to do so by hunger4 ,if today a princely hunter chases game1 he is induced to do so by the desire for enjoyment4 ,just as hunger is of bodily value1 here the enjoyment is of aesthetic value4 ,if a savage requires artificial sounds for his dance1 he is induced thereto by sexual impulse4 ,the artificial sounds1 from which through centuries the music of today developed1 moved savages to an expression of passion in the form of dancing4 ,if the man of today attends a concert he is not seeking the music for practical results1 but pleasure4 ,also here the original practical motive changed to the aesthetic4 ,that means that also here the practical want of the body changed to that of the soul4 ,during this progress toward refinement 7or spirituality7 of the most simple practical 7or bodily7 wants1 two consequences are to be noticed throughout3 ,the separation of the spiritual from the bodily element and its further independent development through the different arts4 ,here the above mentioned laws 7of the inner element and the form7 gradually apply with ever increasing force1 until finally out of each art comes a pure art4 ,this is a steady1 logical1 natural growth1 like the growth of a tree4 ,the process is to be noticed in painting4 ,first period1 ,origin3 ,practical desire to make use of physical4 ,second ,period1 ,development3 ,the gradual separation of this practical purpose1 and the gradual ascendancy of the spiritual element4 ,third ,period1 ,aim3 ,the attainment of a higher stage in pure art2 in this the remains of the practical desire are totally separated 7abstracted74 ,pure art speaks from soul to soul1 it is not dependent upon the use of objective and imitative forms4 ,we can distinguish all of these three stages in various combinations in paintings of today4 ,first ,period3 ,realistic ,painting4 ,the realism here is understood to be such as developed traditionally into the nineteenth century--the practical desire to exhibit objective realities--portraits1 landscapes1 historical paintings1 etc41 in the direct sense4 ,second ,period3 ,naturalistic ,paintings in the form of ,impressionism1 of the ,new ,impressionism and ,expressionism--to which partly ,cubism and ,futurism belongs3 ,the separation of the practical aim and the general preponderance of the spiritual element2 from ,impressionism through ,neo-,impressionism to ,expressionism always increasing separation and always increasing preponderance of the spiritual4 ,apparently in this finer development nature as such is no more taken into consideration2 but this is only 8apparently0 so1 for as a matter of fact nature is used as a motive1 a background1 a basis for the pictures1 and if the attempt is made to separate the natural or objective part of the picture from the purely artistic1 the result is the picture falls for lack of support4 99 99 99 99 99 ,in other words1 in most of even the very abstract paintings1 such as even ,picasso's1 there is a foundation1 a background of objects without which the pictures would not exist4 ,picasso may refine a 8,woman with a ,mandolin10 to a dozen intersecting lines that disclose neither woman nor mandolin1 but both were present in his mind's eye when he created his work1 and without them the work has no reason for existing4 ,it is here that one begins to understand ,kandinsky's attitude1 and how diametrically he diverges from ,picasso4 ,the two have nothing in common save the desire to produce more abstract art1 but ,picasso abstractions are based on the outer world1 while ,kandinsky's are based on the inner4 ,when ,picasso has refined nature1 that is1 things outside him1 to the last degree1 to the simplest mode of expression in line and mass1 he has reached an impasse1 further progress is impossible1 further scientific subdivision in unattainable1 his art in that direction is finished4 ,but ,kandinsky has before him an unlimited view4 ,with him the elimination of nature1 of all things physical from his compositions1 simply gives him greater freedom in the painting of compositions representing things--moods--spiritual4 99 99 99 99 99 ,to go on with his own explanation1 not in his exact words1 but in substance3 ,it is thus seen that in both the first and second signs in the development of art1 the objective foundation or background is not of simply secondary importance1 but of first2 it is essential because without it the work would not exist4 ,to create pure art it is necessary to eliminate this background of the physical1 and substitute for it pure artistic form1 which alone can give the picture independent life4 ,this step we find in the dawning third period of painting--,compositional painting4 ,according to the scheme of the three periods1 we have arrived at the third one--which was designated as the ,aim4 ,in the compositional painting which is developing today we see the signs of the attainment of the higher step of pure art1 in which the remains of the practical desire 7all evidences of objectivity7 can be perfectly separated1 which can speak from soul to soul in purely artistic language4 ,the conscious and oftentimes also still unconscious striving1 which strongly 7and ever stronger7 shows itself today1 to replace the objective 7subject paintings7 by pure construction 7pure composition7 is the first sign of the dawning of that pure art to which the past art periods inevitably led4 ,i have been trying to briefly deal with the entire development and more especially the situation today in broad schematic outlines2 therefore there are many deficiencies 7gaps7 which necessarily remain uncovered1 and there are passed over many interesting lesser developments1 which are inevitable in progress1 like smaller branches on the tree1 which extend outward notwithstanding the tree's growth upward4 ,the further development1 which is pending in painting1 will still have to suffer many seeming contradictions and diversions1 as was the case with music1 which today we know already as pure art4 ,the past teaches us that the development of humanity consists in the increasing spirituality of various factors4 ,among these factors art takes the first place4 ,among the arts painting is following the road that leads it from the practical-efficiency to the intellectual-efficiency4 ,from the subject-picture to the pure composition4 ,to better understand the foregoing take the 8,improvisation ,no4 #cj40eb ,it is a very pure example of compositional painting1 but it ,illustration3 ,,kandinsky ,improvisation ,no4 #cj is not absolutely pure1 in that it contains many more or less obvious suggestions of familiar forms and objects4 ,some workmen who happened to be handling the painting1 referred to it as the 8,war ,picture10 and many casual observers insist it is an impression of war or of a battle field4 ,this is because two cannon are quite plain in the lower right-hand corner1 and the two oblong blue masses projecting from the cannons' mouths would seem to be the smoke of the discharges4 ,then1 too1 the seeming cataclysmic effect1 the suggestion of a helmet1 a tottering tower1 banners1 aerial flashes or fireworks1 all accentuate the impression of conflict and explosions4 ,if one looks long enough in this mood it is not difficult to read into the canvas all sorts of interpretations of a warlike character4 ,yet the painting was 8improvised0--composed with no direct intention of suggesting war4 ,in his own personal note book wherein he keeps a record of all his work1 ,kandinsky identifies the picture by a hasty pencil sketch and the words1 8,blue ,splashes10 or 8,masses10 and 8,cannons40 ,of the painting he says in a letter3 ,the designation 8,cannons10 selected by me for my own use1 is not to be conceived as indicating the 8contents0 of the picture4 ,these contents are indeed what the spectator lives1 or feels while under the effect of the form and color combinations of the picture4 ,this picture is nearly in the shape of a cross4 ,the centre--somewhat below the middle--is formed by a large1 irregular blue plane4 7,the blue color in itself counteracts the impression caused by the cannons67 ,below this centre there is a muddy-gray1 ragged second centre almost equal in importance to the first one4 ,the four corners extending the oblique cross into the corners of the picture are heavier than the two centres1 especially heavier than the first1 and they vary from each other in characteristics1 in lines1 contours1 and colors4 ,thus the picture becomes lighter1 or looser in the centre1 and heavier1 or tighter towards the corners4 ,the scheme of the construction is thus toned down1 even made invisible for many1 by the looseness of the forms4 ,larger or smaller remains of objectivity 7the cannons1 for instance7 produce in the spectator that secondary tone which objects call forth in all who feel4 ,the presence of the cannons in the picture could probably be explained by the constant war talk that had been going on throughout the year4 ,but ,i did not intend to give a representation of war2 to do so would have required different pictorial means2 besides1 such tasks do not interest me--at least not just now4 ,this entire description is chiefly an analysis of the picture which ,i have painted rather subconsciously in a state of strong inner tension4 ,so intensively did ,i feel the necessity of some of the forms1 that ,i remember having given loud voiced directions to myself1 as for instance3 8,but the corners must be heavy60 ,in such cases it is of importance exactly to discern all things1 the weight1 for instance1 by the feeling4 ,generally speaking1 ,i might almost declare that where the feeling that lies in the soul1 in the eye1 and in the hand is strong enough to faultlessly determine the finest measurements and weights1 8schematism0 and the much-dreaded 8consciosity0 will not become dangerous4 ,on the contrary1 in this case1 the said elements will even prove immeasurably beneficial4 ,i would that all my pictures might be judged exclusively from this point of view1 and that the non-essentials might completely disappear from the judgment4 99 99 99 99 99 ,in subsequent letters he said3 ,whatever ,i might say about myself or my pictures can touch the pure artistic meaning only superficially4 ,the observer must learn to look at the picture as a graphic representation of a mood and not as a representation of objects4 99 99 99 99 99 ,all that anyone can say about pictures1 and what ,i might say myself1 can touch the contents1 the pure artistic meaning1 of a picture only superficially4 ,each spectator for himself must learn to view the picture solely as a graphic representation of a mood1 passing over as unimportant such details as representations or suggestions of natural objects4 ,this the spectator can do after a time1 and where one can do it1 many can4 ,given a work of art1 painting1 sculpture1 music--anything--its appreciation and understanding depend upon the attitude of the audience4 ,a work of art may be1 and ultimately must be viewed from two very different points of view--the point of view of the artist1 and the point of view of the observer4 ,the great majority of people view a painting only from the latter point of view1 only in the light of their preconceived notions and prejudices--hence the ridicule of the strange and the protest against the new4 ,a very1 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 view1 seeking diligently to find out what he is trying to do1 and not permitting a single prejudice or preconceived notion of their own to bias their judgment4 ,after this class of observers have ascertained what the artist intended1 then1 and not until then1 do they turn and view the work from their own point of view--that is1 in the light of their own likes and dislikes4 ,their final appreciation may be that granting the theories of the artist the picture is a fine one1 but they do not agree with the artist's theories1 hence the picture from their point of view is a failure as a work of art4 ,to rightly view a work of art is an act of creation2 the true observer is a painter2 the true reader is a poet4 99 99 99 99 99 ,it is not at all strange that the great majority referred to should resent ,kandinsky's improvisations1 for they are not easy to understand1 though most of them are undeniably fascinating in color4 ,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 sound1 and therefore all his work based on his extreme theories fails as art work1 but the attitude of this fraction of the minority is an attitude of intelligent and conscientious conviction1 reached after long and impartial investigation1 while the attitude of the great majority is that of impulsive ignorance and irritation1 reached on first impression and without the slightest attempt at understanding4 99 99 99 99 99 ,to illustrate3 ,the great majority of people on first hearing ,chinese music exclaim1 8,what a horrid din60 and turn away4 ,a very1 very small minority1 about one man in a million1 say1 8,true1 it sounds to us like a din1 but to a people of extraordinary civilization it is music2 the matter is worth investigating10 and on investigation it would be found that ,chinese music from time immemorial has been under state supervision4#ec ,the very ancient scale was pentatonic--five tones4 ,it was in the seventh century1 ,b4,c41 that the ,asiatic flute was introduced into ,greece and the ,greek ,doric scale transformed into one of five tones4#ed ,among the more cultivated nations1 the ,chinese1 and ,celts of ,scotland and ,ireland still retain the scale of five notes without semitones1 although both have become acquainted with the complete scale of seven tones4 ,the division of the octave into twelve semitones1 and the transposition of scales have also been discovered by this intelligent and skilful nation4 ,but1 generally speaking1 both the ,gaels and the ,chinese1 notwithstanding their acquaintance with the modern tonal system1 hold fast by the old4 ,and it cannot be denied that by avoiding the semitones ,illustration3 ,,gauguin ,portrait of ,self ,illustration3 ,,gauguin ,farmyard of the diatonic scale1 ,scotch airs receive a peculiarly bright and mobile character1 although we cannot say as much for the ,chinese4#ee ,while we are content with a scale divided into semitones1 the more delicate oriental ear requires quarter tones4 ,the ,arab octave is divided into twenty-four intervals4 ,a distinguished musician on a visit to ,cairo wrote ,helmholtz as follows3 8,this evening ,i have listened attentively to the song on the minarets1 to try to appreciate the quarter-tones which ,i had not supposed to exist1 as ,i had thought the ,arabs sang out of tune4 ,but today as ,i was with the dervishes ,i became certain that such quarter-tones existed4#ef ,in discussing the development of our modern1 equal temperament 7adopted commercially in ,england for pianos not until #ahdf71 ,helmholtz says1 8,amiot reports equal temperament from ,china long previously even to ,pythagoras40#eg ,the ,chinese are the only people who1 thousands of years ago1 possessed a system of octaves1 a circle of fifths1 and a normal tone4 ,with this knowledge1 however1 their eighty-four scales1 each of which has a special philosophical signification1 appear all the more incomprehensible to us4#eh 8,the ,chinese believe their music to be the first in the world4 ,european music they consider to be barbaric and horrible40#ei 99 99 99 99 99 ,all this goes to show how hazardous it is to jump to the conclusion that what we don't understand has no meaning4 ,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 ,kandinsky1 but to the earnest and indefatigable searcher after hidden meanings the strange handwriting and the strange pictures both deliver up a message4 99 99 99 99 99 ,of such paintings as ,kandinsky's improvisations it is often flippantly said1 8,they paint that way because they can't draw40 ,as a matter of fact most of the extreme moderns such as ,picasso1 ,matisse1 ,kandinsky1 are past-masters of the art of drawing4 ,but they do not now attach the importance to drawing1 merely for the sake of drawing1 they once did4 ,kandinsky's own attitude is expressed in the following extract from a letter3 ,as regards other artists1 ,i am very tolerant1 but at the same time most severe2 my opinion of artists is influenced but little by considerations of the element of form1 pure and simple2 ,i expect of the artist to bear within at least the 8sacred spark0 7if not 8flame074 ,there really is nothing easier than to master the form of something or someone4 ,boecklin is quoted as having said that even a poodle-dog might learn how to draw1 and in this he was correct4 ,at the schools ,i attended ,i had more than a hundred colleagues who had learned something1 many had in good time managed to draw quite well and anatomically correct--still1 they were not artists1 not a pfennig's worth4 ,in short1 ,i value only those artists who really are artists2 that is1 who consciously or unconsciously1 in an entirely original form1 or in a style bearing their personal imprint1 embody the expression of their inner self2 who1 consciously or unconsciously1 work only for this end and cannot work otherwise4 ,the number of such artists is very few4 ,if ,i were a collector ,i would buy the works of such even if there were weaknesses in what they did2 such weaknesses grow less in time and finally disappear entirely1 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 value4 ,but the other weakness1 that of lack of soul1 never decreases with time1 but is sure to grow worse and become more and more apparent1 and so render absolutely valueless works that technically may be very correct4 ,the entire history of art is proof of this4 ,the union of both kinds of strength--that of intellect or spirituality with that of form1 or technical perfection--is most rare1 as is also demonstrated by the history of art4 99 99 99 99 99 ,from his exceedingly abstruse article 8,on the ,question of ,form0 in 8,der ,blaue ,reiter10 ,i take and paraphrase the following3 ,at certain times our inner forces--impulses--mature and the result is a longing to create something1 and we try to find a material form--manifestation--for the new value that exists in us in spiritual or intellectual form4 ,this is the seeking of the spiritual for material expression4 ,matter is but the store house out of which the spirit selects the necessary elements to secure the objective result4 ,thus the creative spirit is hidden in the matter1 behind the material manifestation through which it must make itself known4 ,but often the material envelope is so dense that only a few people can discern the spiritual idea within and behind it2 some people never penetrate behind the matter at all1 and therefore1 never comprehend the spiritual message4 ,while many comprehend the spiritual content behind the outward forms of religion1 they do not realize that there is1 or should be1 a spiritual content behind the outward forms of art4 ,there are whole epochs when men seem blind to the spiritual truths that are behind material manifestations2 generally speaking1 the nineteenth century was a century of materialism4 ,it is as if a black hand were placed over the eyes of men so they should not see the spiritual forces behind the material1 and the production of new spiritual values is fought by mockery and calumny4 ,the man who produces the new value is held up to ridicule and called a charlatan4 ,the joy of living is the perpetual victory of the new1 the spiritual value4 ,but even as men learn to appreciate the new of yesterday and today they establish it as a barrier against the new of tomorrow4 ,spiritual development and evolution are a constant throwing down of these bars that are as constantly re-erected by the materialism and blindness of mankind4 ,therefore the important thing is not only the impulse to create new spiritual values1 but liberty to do so4 ,the spiritual is the absolute1 the outward form is relative1 it is born of the place and the hour4 ,therefore one should not fall into the worship of a particular form1 but should use whatever form best serves to express the spiritual content4 ,and1 naturally1 each artist must use his own form to express his own ideas1 and form should have the stamp of personality4 ,each nation1 each epoch will develop its own forms1 or peculiarities of forms1 and it is the reflection of the nation1 the epoch1 the individual in the particular form that is known as1 or makes the style4 ,when a group of artists is animated by the same spirit the forms they use will be so alike the result will be a 8movement0 or 8school0 in art2 but a 8school0 should not be permitted to dominate the freedom of others4 ,every individual must be at liberty to choose the form that best expresses the spiritual message he wishes to utter4 ,the form--picture--may be agreeable or disagreeable1 beautiful or ugly1 harmonious or disharmonious1 but it must not be judged on its outward appearance2 it must be judged by the idea1 the spiritual value behind it4 ,we must look through the form to the spiritual1 as we would look through the deformed body of the cripple to the soul of the man4 ,in practical life we never meet a man who1 if he wishes ,illustration3 ,,gauguin ,scene in ,tahiti ,illustration3 ,,gris ,still ,life to go to ,berlin1 gets off the train at ,regensberg4 ,but in spiritual life it is a common thing to find people who step out at ,regensberg4 ,sometimes the engine driver refuses to go on and all the travelers have to leave the train at ,regensberg4 ,how many who are looking for ,god stop before a carved image6 ,how many who are looking for art are caught by some form that has been used by some great artist to express his ideas6 ,and in conclusion he asserts1 it is not of vital importance whether the form is personal1 national1 according to prevailing mode1 or whether it is related to 8schools10 8movements10 etc41 etc41 or is isolated4 8,the important question is whether the form has grown out of the inner1 spiritual necessity40 99 99 99 99 99 ,in art1 especially in painting1 we have today striking richness of form which shows the immense striving that is going on4 ,to adhere stubbornly to one form is to travel a lane that has no outlet4 ,many call the present state of painting 8anarchy10 and so they say of music1 but this appearance of anarchy1 of lawlessness1 is due to the workings of spiritual forces that cannot be expressed in old forms1 but demand new manifestations4 ,it is one thing to reproduce on canvas an accurate representation of an object1 but such a representation is no more than the outer shell2 to find out whether the picture has any real1 any spiritual value one must get rid of this outer shell4 ,step by step the 8objective10 the photographic elements are eliminated until in the end there may be no trace of any object1 and with this elimination the spiritual content becomes plainer and plainer4 ,the steps are3 ,realism--abstraction-- ,abstraction--reality4 99 99 99 99 99 ,objects need not necessarily be eliminated from a picture1 but they should be used not for the sake of forcing their photographic likenesses upon the observer1 but solely to more perfectly express the inner1 the spiritual significance of the work4 ,if a painter introduces a suggestion of a landscape or a bit of still life it should be for the purpose of making his meaning1 his inner feeling plainer to the beholder1 and not for the purpose of making a colored photograph of a field or flowers4 ,therefore it does not matter whether actual or abstract forms are used by the artist1 so long as both are used to express spiritual values4 ,the sole question regarding form the artist should put to himself is1 8,which form1 or combination of forms1 shall ,i use in this case to express most fully and plainly my spiritual mood80 99 99 99 99 99 ,the ideal art critic is not the critic who tries to discover mistakes1 ignorance1 imitations in the form1 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 understand4 ,a painter may use new and strange forms for the sake of the forms1 just for the sake of painting new and strange pictures1 but the result will be lifeless4 ,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 art4 8,the world reverberates2 it is a cosmos of spiritually working human beings4 ,thus matter is living spirit40 99 99 99 99 99 ,rather a fine philosophy1 is it not8 ,one cannot but feel that out of such thoughts good works must come4 99 99 99 99 99 ,to quote once more from a personal letter3 8,i have now been exhibiting for almost fifteen years1 and for the same fifteen years ,i have been hearing 7although more rarely of late7 that ,i have gone too far on my way2 that in time my exaggerations will most surely decrease1 and that ,i would yet paint in an #8entirely different manner'2 that ,i would #8return to nature4' ,i had to hear this for the first time when ,i exhibited my studies painted on the naturalist basis with the horn 7spatula74 8,the truth of the matter is that every really gifted artist1 that is1 an artist working under an impulse from within1 must go in a way that in some mystical manner has been laid out for him from the very start4 ,his life is nothing but the fulfillment of a task set for him 7for him1 not by himself74 ,meeting with enmity from the start1 he feels only vaguely and indistinctly that he carries a message for the expression of which he must find a certain manner4 ,this is the period of #8storm and stress1' then follow desperate searching1 pain1 great pain--until finally his eyes open and he says to himself1 #8,there is my way4' ,the rest of his life lies along this path4 ,and one must follow it to the very last hour whether one wants to do so1 or not4 ,and no one must imagine that this is a ,sunday afternoon's walk1 for which one selects the route at will4 ,neither is there any ,sunday about it2 it is a working day1 in the strongest sense possible4 ,and the greater the artist1 the more one-sided is he in his work2 true1 he retains the ability to do #8nice' work of other kind 7by reason of his #8talent'71 but innerly weighty1 infinitely deep1 and immeasurable serious things he can achieve only in his one-sided art4 ,talent is not an electric pocket lantern1 the rays of which one may at will direct now hither and then thither2 it is a star for which the path is being prescribed by the dear ,lord4 8,as far as ,i am concerned personally1 ,i was as if thunderstruck1 when for the first time and in only a general manner ,i began to see my way4 ,i was awed4 ,i deemed this inspiration to be a delusion1 a #8temptation4' 8,you will easily understand what doubts ,i had to overcome1 until ,i became convinced that ,i had to follow this way4 ,of course1 ,i clearly understood what it means #8to drop the objective4' ,with what doubts ,i was troubled regarding my own powers6 ,for ,i knew at once what powers were absolutely required for this task4 ,how this inner development proceeded1 how everything pushed me on to this way and how the exterior development slowly but logically 7step by step7 followed suit1 you will see from my book that is to appear shortly 7in ,english74 ,all that ,i still see ahead of me1 all these tasks1 the ever-increasing wealth of possibilities1 the ever-growing depth of painting ,i cannot describe4 ,and one must and may not describe such things3 they must mature innerly in secret confinement and may not be expressed otherwise than by the painter's art4 8,if in time you acquire the ability to more exactly live my pictures1 you will have to admit that the element of #8chance' is very rarely met with in these pictures1 and that it is more than amply covered by the large positive sides--so amply1 indeed1 that it is not worth while to mention those weak spots4 8,my constructive forms1 although outwardly appearing indistinct1 are in fact rigidly fixed as if they were cut in stone4 8,these explanations lead us too far2 they could help only if illustrated by examples4 ,also1 this letter is already much longer than it ought to be4 ,i trust that ,i have expressed myself clearly6 ,these things are so infinitely complicated1 ,illustration3 ,,vlaminck ,village and how often do ,i deviate from my theme and thus 7instead of producing #8clarity'7 cause confusion to become worse confounded60 99 99 99 99 99 ,the result are paintings such as the four reproduced in color and half-tone4 ,the brilliant color combinations and harmonies of the originals are inadequately disclosed in the reproductions1 the scale is too reduced4 ,but the forms are well indicated1 strange1 curious forms1 meaningless on first impression but insistent4 ,most people are repelled at once by the landscapes because they seem so badly drawn a child could do better2 but even as landscapes1 as impressions of nature--or rather of something in nature--the pictures will not be denied4 ,if they were intended to be accurate representations of natural scenes1 mountains1 fields1 trees1 houses1 they would be ridiculous indeed1 but they are not so intended1 therefore they should not be so judged4 ,in looking at these pictures--compositions1 rather1 it is but fair to look at them from the point of view of the painter1 try to read them as he wrote them4 99 99 99 99 99 8,compositional0 painting is no radical departure1 no new discovery4 ,the instinct of the child is to 8compose10 to create4 ,it is only after much chiding and correction that the child draws literally--copies what it sees4 99 99 99 99 99 ,it takes a big and strong man to pass through schools and academies and come out unscathed4 ,the art school is a godsend to talent and mediocrity2 it is a menace to genius4 ,most paintings are 8compositional0 to some extent4 ,but from the literalness of ,monet's hay stacks to the abstract qualities of ,kandinsky's improvisations the interval is great4 ,there is1 too1 a difference in kind1 as well as degree1 between the compositions of the painter who simply re-arranges nature1 persons1 or objects to secure a pleasing or effective result1 and the painter who uses nature1 life1 or objects as so many signs or notes to express his inner feelings2 the former paints to impress others1 the latter paints to express himself to others4 ,the one is thinking all the time of his picture1 the other is thinking all the time of his message4 ,all great painters have combined the two attitudes1 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 art4 ,at the moment the pendulum is swinging toward the extreme where everything is subordinated to the expression of the artist's self1 and the indications are that some subtle and wonderful things will be painted before the pendulum swings back4 99 99 99 99 99 ,to what extent the public generally will accept pure compositional painting it is impossible to say2 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 works4 99 99 99 99 99 ,a ,russian painter of great strength but entirely different inspiration and technic was asked1 8,do you like ,kandinsky's ,improvisations80 8,very much40 8,do you understand them80 8,no40 8,then why do you like them80 8,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 them2 he has succeeded in conveying to me his own emotions and that is the most any artist can hope to do40 ,which brings us back to the proposition laid down in an earlier chapter3 the emotional reaction to music and painting may be and usually is quite independent of the intellectual1 and while it may be either increased or diminished in volume by understanding1 it is necessarily changed in character4 99 99 99 99 99 ,another artist1 an ,austrian1 was asked3 8,how do you like ,kandinsky's ,improvisations80 ,after a moment's hesitation he replied slowly3 8,they interest me immensely1 and ,i admire the man's courage to express himself in his own way regardless whether people understand him or not1 but he goes so far that it is almost impossible for even his friends and sympathizers to understand his pictures4 ,he goes so far he is quite alone1 no one can follow1 and therein ,i think perhaps he makes a mistake1 for after all pictures should be so painted that those who earnestly try can understand them40 ,but that is just the question that every great artist is obliged to put to himself1 8,shall ,i write or paint so that others will understand1 or shall ,i express myself in my own way even though no one but myself comprehends and even ,i fail at times80 ,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--charlatanism4 ,,viii ,,color ,,music ,color music is no new idea1 but of late it is finding new expression4 ,while painters are beginning to paint color harmonies that are independent of the representations of natural objects1 others are seeking the same emotional effects with colored lights4 ,a 8color organ0 has been invented#fj which deals with color for its own sake as music does with sound1 thereby opening up a new world of beauty and interest as yet to a great extent unexplored4 ,when you enter ,mr4 ,rimington's ,english studio you see at one end of it a curious instrument with a keyboard and stops1 while at the other end is a white screen1 hung in folds to give greater depth and life to the colors playing upon it4 ,what happens when the instrument is played is thus described by ,mr4 ,rimington3 8,imagine a darkened concert room4 ,at one end there is a large screen of white drapery in folds1 surrounded with black and framed by two bands of pure white light4 ,upon this we will suppose1 as an example of a simple color composition1 that there appears the faintest possible flush of rose color1 which very gradually fades away while we are enjoying its purity and subtlety of tint1 and we return to darkness4 ,then1 with an interval1 it is repeated in three successive phases1 the last of which is stronger and more prolonged4 8,while it is still lingering upon the screen1 a rapid series of touches of pale lavender notes of color begin to flit across it1 gradually strengthening into deep violet4 ,this again becomes shot with amethyst1 and afterward changing gradually into a broken tint of ruby1 gives a return to the warmer tones of the opening passage4 8,a delicate primrose now appears1 and with little runs and flushes of pulsation leads through several passages of indescribable cinnamon ,illustration3 ,,picasso ,old ,woman ,illustration3 ,,girieud ,woman ,seated color to deep topaz4 ,then suddenly interweavings of strange green and peacock blue1 with now and then a touch of pure white1 make us seem to feel the tremulousness of the ,mediterranean on a breezy day1 and as the color deepens there are harmonies of violet and blue green which recall its waves under a ,tramontana sky4 ,more and more powerful they grow1 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 instrument4 8,then suddenly the screen is again dark and there is only a rhythmic and echoing beat of the dying color upon it4 ,at last this disappears also1 and there is another silent pause1 then one hesitating tint of faded rose as at the opening of the composition4 8,upon this follows a stronger return of the color1 and as the screen once more begins to glow with note after note of red and scarlet1 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 blackness6 8,this10 says ,mr4 ,rimington1 8is an extremely simple example1 but it may suffice to show the kind of effect produced by an unadorned form of mobile color not accompanied by music4 ,in some cases a musical accompaniment was found to add greatly to the interest of a color composition4 ,the nearest approach to color music in nature is to be found in certain sunsets40 ,of the emotional and aesthetic effect of color music on various beholders we read3 ,the amount of pleasure and interest derived from color compositions varies immensely with individuals4 ,an interesting instance of this was the case of a well-known ,london doctor1 who told the author1 after first seeing a recital of color-music1 that he was absolutely unappreciative of any form of 8sound music20 that it was1 in fact1 a pain to him1 and that he had always detested it4 8,but10 he said1 8from the moment that ,i first saw a display of mobile color1 ,i realized what ,i had missed all my life through my inability to appreciate music4 ,it opened up a new world of sensations to me and gave me the greatest mental pleasure ,i have ever experienced40 ,this clearly shows that to some persons mobile color would1 or does1 fill the place which music can not occupy in their lives4 ,on the other hand1 there can be little doubt that to some1 though they would hardly own it1 color of any kind is more or less unpleasant1 and they would prefer to live in a monotonic world4 ,one must therefore be prepared for a great variety of opinions with regard to any such art as that of mobile color4 ,the majority of people will probably derive a moderate but increasing pleasure from it4 ,there are many to whom it at once provides a surpassingly interesting source of enjoyment and education1 and some to whom1 like my medical friend1 it will open up an entirely new world of sensations2 and there are others1 again1 to whom it will be supremely distasteful4 ,it is well to recognize this to avoid disappointment1 and be prepared for very divergent expressions of opinion about it4 ,speaking broadly1 it appeals most to those who have had an artistic training into which color has entered1 and it is less attractive to those whose interests center in music4 ,this is not what the author personally expected4 ,he imagined that the connection with music being so close on some points1 those who would take the greatest interest in mobile color would be musicians2 but1 with some striking exceptions among distinguished musicians1 the musical world1 as far as it has yet come into contact with color-music1 has been at first inclined to see points of divergence rather than those of analogy and to look upon the art as a possible rival4 ,a similar attitude is often adopted toward any new departure in science or art1 and there is no reason for resenting it2 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 valuable4 99 99 99 99 99 ,from time immemorial child and man have taken the keenest delight in fireworks and colored lights which are after all a species of light music4 ,since the adoption of electricity for lighting it is comparatively easy to produce the most wonderful effects both indoors and out4 ,as yet little thought has been given to producing harmonious light effects on streets--save in advertising signs4 ,for the most part the lighting is garish in the extreme1 often positively painful to the eyes1 but in time this will be corrected4 ,public authorities cooperating with private owners will work out schemes for lighting streets and shops that will yield charming effects4 99 99 99 99 99 ,already much has been done in the theater1 especially in ,russia and ,germany4 ,the value of light effects is being recognized4 ,soft music is often played to enhance the effect of a tender or pathetic scene1 and it is quite common for the lights to change in harmony4 ,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 music4 ,so far all this has been done crudely and for the most part unscientifically4 ,producer and electrician have worked together in a haphazard way1 often with great success1 sometimes with most disagreeable results4 ,the very term 8stage lighting0 is not inspiring1 but the art of light music will be developed and be taught in theory and practice4 ,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 melodies4 ,there yet may be entertainments where only light music is played as there are concerts where only sound music is played4 ,and why not8 ,just ask yourself the question--,why not8 ,of all the organs of sense the eye is the most delicate and the most wonderful4 ,the ear responds to air waves that travel at the rate of #a1ajj feet per second and vary in frequency from #af to #cb1jjj per second4 ,the musical notes vary from #cb to #e1jjj beats per second4 ,the eye responds to ether waves that travel at the rate of #ahb1jjj miles per second and vary in frequency from #djj millions millions--the lowest red of the spectrum--to #gej millions millions 7red #djj1jjj1jjj1jjj1jjj2 violet #gej1jjj1jjj1jjj1jjj7 the highest violet4 99 99 99 99 99 ,man has devoted ages to developing harmonies in the combination of air waves1 and he has reduced sound music to a science4 ,he has devoted all the ages of his being to the use of color in one way and another to please his eye1 but only of late has he made any attempt to understand the science of light and color music4 99 99 99 99 99 ,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 is1 so far1 man's most abstract achievement in art1 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 future4 99 99 99 99 99 ,the painter of easel pictures arrogates to himself the name artist and to his work the phrase fine art4 ,he looks down upon the house painter1 the dressmaker1 and the interior decorator4 ,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 life2 he plays his part but much of his inspiration is drawn from the work of the other two4 ,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 generations4 ,the costumer and the decorator work year in and year out1 from generation to generation1 throughout the centuries1 with not so much as a thought of the painter in the corner with his little canvas1 faithfully copying4 ,now and then a great painter1 a great sculptor1 takes off his coat1 turns workman for the moment and makes sculptures for buildings1 paints pictures on walls1 devises costumes1 and contributes to making our environment more beautiful4 ,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 proportion4 ,the 8fine artist0 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 uses4 99 99 99 99 99 ,the time will come when art schools will teach pure color composition as well as drawing and the painting of pictures4 ,why should not prizes be offered for color harmonies8 ,as it is now pupils are taught everything except the use of color for the sake of color4 99 99 99 99 99 ,what is a 8still life08 ,simply a painting of a number of objects selected and arranged primarily for their color notes4 ,why not paint the notes without the fruit and dishes8 ,so far as the color harmony is concerned the figure of an orange1 an apple1 a banana is not essential2 in reality the photographic realization distracts4 ,but the public is not accustomed to pure color music1 it is not accustomed to seeing canvases that contain only color harmonies with no suggestion of object or form1 it demands that the note of yellow shall be a lemon or a banana1 that the note of purple shall assume the shape of a plum and so on1 and so on2 yet all the time the enjoyment derived from a fine 8still life0 is from the harmony that results from the combination of colors1 and in no sense from the objects arbitrarily and artificially grouped together4 99 99 99 99 99 ,the use of line and color imitatively to depict objects is one thing4 ,the use of line and color freely to produce pure line harmonies and pure color harmonies1 with no reference to objects is quite another1 and in a sense1 a far higher art--a more abstract art4 ,it is toward the development of this more abstract art that the modern experiments are tending4 ,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 compositions4 ,with this development of a taste for a very abstract art all the arts and crafts are certain to be beneficially affected4 ,the study of line for the sake of line1 and of color for the sake of color if systematically pursued will make all draftsmen greater masters of line1 and all painters--to the humblest house painter--greater masters of color4 ,,ix ,,esoragoto ,neither the ,cubists nor ,kandinsky troubled a very distinguished ,japanese expert who spent many days at the exhibition4 8,the principles of all this are old1 very old1 in ,japan40 ,he was far more interested in the extreme drawings and paintings than in the more academic4 ,pointing to a drawing that seemed scarce more than a few careless strokes1 he said1 8,that is quite in the spirit of the best ,japanese art40 ,of the 8,king and ,queen0 he said1 8,i like that very much10 and so on1 passing from one ,cubist picture to another1 commenting upon each seriously and intelligently4 99 99 99 99 99 ,to either copy or be in the slightest degree hampered by nature is a mark of inferiority in ,chinese and ,japanese art4 ,the very abstract art of the ,orient has its elaborate conventions1 but those conventions are all in the direction of pure art1 whereas the conventions of our art 7music always excepted7 are all in the direction of imitation4 ,it was a theory of the great ,chinese teacher1 ,chinanpin1 and particularly enforced by him1 that trees1 plants1 and grasses take the form of a circle1 called in art ,rin kan2 or a semi-circle1 ,han kan2 or an aggregation of half circles1 called fish-scales1 ,gyo sin2 or a modification of these latter1 called moving fish-scales1 ,go sin ,katsu4#fa 99 99 99 99 99 ,in regard to painting moving waters1 whether deep or shallow1 in rivers or brooks1 bays or oceans1 ,chinanpin declared it was impossible for the eye to seize their exact forms because they are ever changing and have no fixed1 definite shape2 therefore1 they cannot be sketched satisfactorily2 yet1 as moving water must be represented in painting1 it should be long and minutely contemplated by the artist and its general character--whether leaping in the brook1 flowing in the river1 roaring in the cataract1 surging in the ocean or lapping the shore--observed and reflected upon1 and after the eye and the memory are both sufficiently trained and the very soul of the artist is saturated1 as it were1 with this one subject1 and he feels his whole being calm and composed1 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 flow2 not by copying what he has seen1 for the effect would be stiff and wooden1 but by symbolizing according to certain laws what he feels and remembers4 99 99 99 99 99 ,it begins to be plain why the ,japanese expert was profoundly interested in the modern pictures and drawings4 99 99 99 99 99 ,one of the most important principles in the art of ,japanese painting--indeed a fundamental and entirely distinctive characteristic--is that called living movement1 sei do1 or ,kokoro machi1 it being1 so to say1 the transfusion into the work of the felt nature of the thing to be painted by the artist4 ,whatever the subject to be translated--whether river or tree1 rock or mountain1 bird or flower1 fish or animal--the artist at the moment of painting it must feel its very nature1 which1 by the magic of his art1 he transfers into his work to remain forever1 affecting all who see it with the same sensations he experienced when executing it4 ,this is not an imaginary principle1 but a strictly enforced law of ,japanese painting4 ,the student is insistently admonished to observe it4 ,should his subject be a tree he is urged when painting it to feel the strength which shoots through the branches and sustains the limbs2 or if a flower to try to feel the grace with which it expands or bows its blossoms4 ,indeed1 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 feel4 99 99 99 99 99 8,waga kokoro waga te woyaku ,waga te waga kokoro ni ozuru40 ,our spirit must make our hand its servitor2 ,our hand must respond to each behest of our spirit4 ,illustration3 ,,sousa ,,cardoza ,stronghold ,the ,japanese artist is taught that even to the placing of a dot in the eyeball of a tiger1 he must first feel the savage1 cruel1 feline character of the beast1 and only under such influence should he apply the brush4 ,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 foundations4 ,should he depict the seacoast with its cliffs and moving waters1 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 ocean1 while to the waves in turn he must give an irresistible power to carry all before them4 ,thus1 by this sentiment called living movement 7sei do71 reality is imparted to the inanimate object4 ,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 mind4#fb 99 99 99 99 99 ,in the light of the foregoing1 one begins to understand why ,winslow ,homer painted such wonderful realizations of the sea and rocky coasts--he lived removed from men1 his most intimate friends the rocks and waves4 ,one also begins to understand how painters who show great strength and promise in their earlier works1 based upon surroundings they know1 lose both strength and promise when1 flushed by prosperity or attracted by tinsel and glitter1 they establish their studios in cities and still try to paint the sea or the country4 99 99 99 99 99 ,japanese artists are not bound down to the literal presentation of things seen4 ,they have a canon1 called esoragoto1 which literally means an invented picture1 or a picture into which certain fictions are painted4 ,every painting to be effective must be esoragoto2 that is there must enter therein certain artistic liberties4 ,it should aim not so much to reproduce the exact thing as its sentiment1 called kokoro mochi1 which is the moving spirit of the scene2 it must not be a facsimile4 99 99 99 99 99 ,it is related that ,okubo ,shibutsu1 famous for painting bamboo1 was requested to execute a kakemono representing a bamboo forest4 ,consenting1 he painted with all his well-known skill a picture in which the entire bamboo grove was in red4 ,the patron upon its receipt marveled at the extraordinary skill with which the painting had been executed1 and1 repairing to the artist's residence1 he said3 8,master1 ,i have come to thank you for the picture2 but1 excuse me1 you have painted the bamboo red40 8,well10 cried the master1 8in what color would you desire it80 8,in black1 of course10 replied the patron4 8,and who10 answered the artist1 8ever saw a black-leaved bamboo80 ,this story well illustrates esoragoto4 ,the ,japanese are so accustomed to associate true color with what the sumi the black so commonly used in ,japan stands for1 that not only is fiction in this respect permissible but actually missed when not employed4 99 99 99 99 99 ,esoragoto is a very good word for the ,post-,impressionists to appropriate4 ,we have no word in ,english and ,i know of none in ,french that is anywhere near its equivalent4 ,impressionism is painting with a minimum of esoragoto2 ,post-,impressionism is painting with a maximum of esoragoto4 ,the pendulum in art and literature swings from less esoragoto to more--from realistic transcription with a minimum of self1 to idealistic compositions with a maximum of self4 99 99 99 99 99 ,all the great art of the world is esoragoto4 ,the greatest paintings in the world are indoor not outdoor paintings--in-self not out-self4 ,all the great ,italian paintings and frescoes are creations of the imagination4 ,the portraits of ,velasquez1 ,rembrandt1 ,hals are esoragoto4 ,they are the sitters idealized by the genius of the artists4 ,they are far removed from photographic realism4 ,why are the portraits of the same man or woman painted by different artists so unlike8 ,because each is more or less esoragoto--more or less the reflection of the painter rather than the sitter4 99 99 99 99 99 ,for a long time we have been so influenced by the theories of the ,impressionists1 the realists1 the plein-air school1 that we resent it when an artist says1 8,i will paint something more beautiful than nature2 ,i will paint nature herself more beautiful than she is4 ,i will paint the spirit of nature4 ,i will paint trees that do not look like trees1 but will give you the feeling1 the dignity1 the power of trees4 ,i will paint the earth1 not as it looks1 but in a way that will give you an impression of its fertility and fecundity4 ,i will paint you flowers1 not by faithfully copying them as they are in the field1 but as they bloom and blossom in your memory4 ,i will paint you men and women1 not as you see them on the street and in the drawing room--superficial resemblances--but as they really are to you and to me1 human beings the true significance of which is not expressed in the drooping of a moustache1 the lifting of an eyebrow4 ,i will paint them in black or brown or red or blue1 or in gold or bronze1 as does the sculptor2 ,i will paint them in a way so strange you have never seen the like before1 but ,i will make you feel their humanity40 99 99 99 99 99 ,to illustrate the arbitrary manner which the great oriental artists use colors to produce harmonious results irrespective of nature1 ,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 blue4 ,and why not8 ,black1 brown1 or flaxen would not have given the effect the painter desired1 any more than ,c1 ,d1 or ,e would take the place of ,f in a chord4 ,the ,oriental needs a note of blue and so paints the hair blue4 ,and when one comes to think of it1 next to some marvelous shades of red1 blue hair is far more positive and picturesque than gray1 or yellow1 or any black but a glossy raven4 ,we never think of resenting a terra cotta horse in a print by ,hokusai2 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 horse1 or rock1 or man1 it matters not4 99 99 99 99 99 ,human faces of gold1 silver1 bronze1 even marble--that ugliest of all stones1 in its natural state--do not worry us4 ,in fact when we look at marble sculpture we are in the attitude of the man who ordered the painting of the bamboo forest4 ,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 realistic1 but to make it more beautiful4 ,yet all ,greek sculpture was painted or treated with wax in such a manner the harshness of the stone was modified4 ,the sensitive vision of the ,greeks could not tolerate the cold1 hard whiteness4 ,much of our enjoyment of ancient sculpture is due to its discoloration1 to what time and the elements have done to its surfaces4 99 99 99 99 99 ,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 use4 ,so long as we demand that he shall use only those combinations we are accustomed to1 just so long do we by our attitude check his development4 ,the average man is bewildered by the new and the strange2 he is bewildered by new cities1 new countries1 new peoples1 new pictures1 new sculpture1 new architecture1 new music1 new books1 new ideas--because he is not used to them and does not understand them2 he does not know whether to like them or not so he condemns them in order to make a pretense of knowing4 99 99 99 99 99 ,the rare man is not bewildered by the new and the strange at home or abroad1 in art or life4 ,he is interested and at once sets about learning and comprehending4 ,he loves the new and the strange instinctively because they excite his curiosity and pique his intelligence4 ,he loves to meet the new and the strange as an archeologist loves to find an inscription in an unknown tongue--for the hidden significance4 99 99 99 99 99 ,this chapter may be concluded appropriately by four warnings which ,chinese wisdom pours into the ears of art students4 ,many of the modern painters should ponder these precepts4 8,ja1 ,kan1 ,zoku1 ,rai40 8,ja refers to attempted originality in a painting without the ability to give it character1 departing from all law to produce something not reducible to any law or principle4 8,kan is producing only superficial pleasing effect without any power in the brush stroke--a characterless painting1 to charm only the ignorant4 8,zoku refers to the fault of painting from a mercenary motive only--thinking of money instead of art4 8,rai is the base imitation of or copying or cribbing from others40 ,x ,,ugliness ,the modern movement is in the direction of greater freedom1 freedom to produce beautiful things in one's own way4 ,unhappily many of the things produced are not beautiful now--not nearly so dignified and beautiful as thousands upon thousands of old pictures4 ,one's first impression on entering an exhibition of extreme modern works is not an impression of beauty but of ugliness4 ,there is no denying that1 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 beauty4 ,many of the pictures are brutal and most of them are crude1 but while the first impression may be one of ugliness it is more1 it is one of exceeding vitality4 ,there is nothing musty about the moderns1 their canvases are so alive they scream4 ,as compared with the subdued tones of an academic exhibition a modern seems like a babel of discordant sounds1 but the confusion is more apparent than real4 ,by going day after day one gets accustomed to the newness1 the freshness1 the strangeness of it all and begins to understand and appreciate the one big1 dominant note--vitality4 99 99 99 99 99 ,then1 too1 when we say the first--and last for most people--impression is one of ugliness1 we must not forget ,illustration3 ,,derain ,forest at ,martigues that our appreciations are primarily the result of environment and habit1 and only secondarily1 and with comparatively few1 the result of intelligent discipline4 ,we like what we are accustomed to and dislike what we are not accustomed to4 ,few take the pains to discipline their likes and dislikes4 99 99 99 99 99 ,seventy years ago public and critics thought ,turner ugly in the extreme4 ,sixty years ago public and critics thought ,millet ugly in the extreme4 ,fifty years ago public and critics thought ,manet ugly in the extreme4 ,forty years ago public and critics thought ,monet ugly in the extreme4 ,thirty years ago public and critics thought ,czanne ugly in the extreme4 ,twenty years ago public and critics thought ,gauguin ugly in the extreme4 ,ten years ago public and critics thought ,van,gogh ugly in the extreme4 ,today public and critics think the ,cubists and nearly all the new men ugly in the extreme4 ,each decade has its men in art1 music1 science1 literature whose works at first seem ugly1 only to win out in the long run4 ,hence the danger in pronouncing this or that painting ugly2 it may seem grotesque and hideous today2 thirty years hence it may command thousands from men and museums eager to possess it4 ,that has been the history of many great paintings4 99 99 99 99 99 ,still we do have our notions regarding the ugly and the beautiful1 and while our notions change and develop year by year they naturally control at each given moment2 that is1 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 hence1 any more than we can say we like olives on first tasting them1 simply because most people come to like them after a time4 ,to the ,london public in #ahdj the pictures of ,turner were absurd4 ,to the ,paris public in #ahgd the pictures of the ,impressionists were ridiculous4 ,to the ,new ,york public in #aiac the pictures of the ,cubists were grotesque4 ,these several publics were not to blame2 they could not help their impressions4 ,they had been brought up on very different picture-food and did not like the taste of the new4 ,the attitude of the public was normal1 logical1 and sane4 ,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 worthless4 ,in a sense1 tenacity of opinion on the part of the public is the salvation of art as well as of morals2 it is essential to substantial progress4 ,therefore the everlasting conflict between the old and the new is a normal conflict2 the clash between the public and new art1 new music1 new thought is a healthful clash1 because the fiercer the conflict the more certain that what survives will be worth having4 99 99 99 99 99 ,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 thing4 ,there were plenty of ugly pictures in the exhibition2 some were interesting on account of their technic1 others were without any excuse at all--just ugly4 ,a great painter may paint things1 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 world4 ,but because there were a number of ugly--ugly to the extent of being objectionable--pictures in the exhibition1 that should not and does not detract from the merits of men who did not paint them4 ,an ugly work is a comment upon him who produces it and upon those who accept it4 ,it is a golden opportunity1 a touchstone to those who reject it4 99 99 99 99 99 ,there is a great deal of the ugly in the work of ,matisse1 mixed with a great deal of extraordinary technic4 ,he is a good man to study1 but a bad man to imitate--for that matter1 the same1 in a profounder sense1 may be said of every man of ability4 ,then1 too1 it should never be forgotten that refinement is an essential element in all great art4 99 99 99 99 99 ,the supreme justification of the new art is that its works shall tend toward the beautiful4 ,if they make for ugliness their existence is without rhyme or reason4 ,many of the new men seem to forget this4 ,however1 even the ugly1 the grotesque1 the hideous has its use4 ,any art may become so smug1 so complacent1 so conceited that it requires the shock of the ugly to stir it to new life4 ,after ,bouguereau1 ,matisse was inevitable4 ,however1 a very little of the ugly goes a long ways1 a very little of ,matisse at his worst is all that is needed as an antidote to ,bouguereau4 ,zola-like fidelity in depicting the ugly in life has its uses--and abuses4 99 99 99 99 99 ,it is easy enough to paint a conglomeration of angles and cubes1 but it will be as hollow and meaningless as the pattern of an oilcloth unless it has sincerity behind it4 ,no doubt many of the new men lack sincerity4 ,doubtless not a few are inspired with simply the desire to create a sensation1 but these men soon betray themselves4 ,the artist may not succeed in making his meaning clear1 but the public--yes1 even the much despised public--will instinctively feel whether there is some meaning1 some intention worth finding out4 ,that was the secret of the success of the ,cubist pictures4 ,they attracted throngs because they were strange1 but the throngs would never have gazed as they did unless behind the outward strangeness there had not been an inward seriousness of purpose4 8,those fellows are trying to do something10 was an expression often heard4 99 99 99 99 99 ,the papers would say1 8,they are simply making fun of the public10 but the public1 generally speaking1 did not feel that way4 ,a goodly section of the public made fun of the pictures1 but very few people honestly felt the pictures made fun of the public--if anything they were rather too serious4 99 99 99 99 99 ,to return to the proposition that a ,cubist picture--being so largely esoragoto--must be well painted4 ,illustration3 ,,jawlensky ,head of a ,girl ,the painter of scenes and things is helped out by his subject4 ,the portrait of a beautiful woman may be very badly painted1 but if it conveys the impression of a beautiful woman it is accepted4 ,the ,cubist who tries to paint his impression of a beautiful woman has no likeness to help him out2 he must make his painting so beautiful in itself that those who see it will1 without knowing why1 get some of the enjoyment from the mere composition of line and color that the artist received from knowing the woman who inspired the picture4 ,to do this a man must be a greater master of line and color1 a greater technician1 than the average portrait painter4 99 99 99 99 99 ,ask the average portrait painter to paint a composition of line and color1 beautiful in itself without reference to any object1 and not one in a hundred can do it4 ,the average portrait painter finds his compositions of line and color ready-made2 he takes them as they come to him4 ,he has little practice in composing for himself4 99 99 99 99 99 ,however disconcerting the exhibition was to most painters it should have been stimulating to decorators and interior furnishers4 ,the older pictures are of little help to the decorator4 ,on the contrary he rather dreads their presence on his walls4 ,a room may be quite upset by a strong picture4 ,to make the ,leyland dining room harmonize with the 8,princess from the ,land of ,porcelain0 ,whistler painted practically every inch of walls and ceilings1 completely covering costly woodwork and old ,spanish leather4 ,to rightly hold a ,rembrandt a room must be subdued and rich in tone1 otherwise the picture is a dead weight4 ,the greater the picture1 the more completely the surroundings must either rise to it or be completely subordinated to it4 ,it is not so with the more abstract ,cubist pictures2 they do not thrust a great landscape or a powerful personality into the room2 they are not intended to thrust any object upon the attention of the visitor4 ,intended to express simply the mood or emotion of the painter1 they are unobtrusive1 as unobtrusive as a pattern of the wall covering1 a rug1 or a tapestry2 in effect they are not unlike a tapestry1 save they are essentially modern in feeling1 and therefore fit into our modern rooms as tapestries--and often rugs--do not4 99 99 99 99 99 ,imagine the editorial room of a live1 up-to-date newspaper--say a typical yellow journal--hung with ,titians and ,rembrandts6 ,the paper would be paralyzed1 the editorial staff would be depressed by the dignity and the sobriety1 by the old-world flavor4 ,whereas a lot of ,cubist1 ,futurist1 ,orphist pictures would be quite in keeping with modern journalistic methods1 and stimulating in the extreme4 ,in the picturesque language of current journalism1 they would be 8live stuff40 99 99 99 99 99 ,it is worth noting in passing that the time is probably coming when about as many pictures will be bought for offices as for homes1 and fewer and fewer will be bought for those graveyards of art--private galleries4 ,why should men buy pictures and hang them where they are seldom seen1 often in places where the light is so bad they cannot be seen8 ,where do most men spend most of their time8 ,in their places of business4 ,then why not make their places of business attractive and livable8 ,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 music4 ,well1 we can't do that2 it takes too long to get into a book1 and music is not at hand4 ,but we can turn from our desks and in a second lose ourselves in the contemplation of a beautiful picture4 99 99 99 99 99 ,the physician covers the walls of his office with prints of such pictures as ,rembrandt's 8,lesson in ,anatomy40 ,ugh6 ,the lawyer covers the walls of his office with dusty lawbooks4 ,whew6 ,the manufacturer covers the walls of his office with prints of factories1 machinery1 goods1 etc41 etc4 ,shop6 ,shop6 ,shop6 ,no relief anywhere for man1 patient1 client1 or customer4 ,tired eyes that seek rest in change are met with the same old story--reflections of the daily grind4 ,speaking from experience1 ,i can say that next to getting out of an office for a brief respite1 the contemplation of pictures yields the greatest rest1 actually enabling one to do more work per day with less fatigue4 ,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 painter4 ,it is a rest1 a complete rest1 for the tired brain-cells1 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 window4 ,of all men in the world1 the busy ,american is most in need of pictures on the walls of his office--not one or two1 but many4 ,the busier he is1 the more he needs2 his walls should be a blaze of color4 99 99 99 99 99 ,most of our bankers and corporation magnates spend large sums in 8solid mahogany fittings40 ,their offices resemble old-fashioned ,pullman sleepers4 ,cost is the one impressive feature4 ,woodwork1 furniture1 rugs1 everything to the inkstand are massive and--oppressive4 ,everything is admirably calculated to make work more burdensome2 commercial and financial life more sombre4 ,why not the reverse of all this8 ,why fit up an office so that it is about as inviting as a tomb8 ,why not make it so attractive that a man will look forward each morning to entering it8 ,why not so inviting that friends and strangers will be glad to visit it8 ,why should an office be a place where no one goes except for business8 ,why should not men say to one another1 8,come in a minute2 ,i have a new picture ,i want to show you08 99 99 99 99 99 ,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 beautiful4 ,infinite pains are taken to arrange the pictures and sculpture in the galleries2 once out of the galleries1 and all feeling of art disappears2 the offices and school-rooms are more sordid1 barren1 and uninviting than most shops and factories4 ,in other words1 the very men who are supposed to be devoting their lives to the service of art1 to making the world more beautiful1 who promote exhibitions and urge people to buy pictures1 are content to pass all their working lives amidst surroundings unrelieved by a single picture1 unadorned by a single fresco4 ,there is a great opportunity for missionary work in this direction4 ,why should not the many organizations such as 8,friends of ,american ,art10 etc41 whose disinterested purpose is to advance art1 organize a movement the object of which will be to place1 by loaning if necessary1 pictures and small sculpture in the offices and business haunts of the busy ,american man1 and so create a new demand for beautiful things8 ,once fill a man's office with pictures1 he will be reluctant to let them go4 ,,xi ,,futurism ,there were no ,futurist pictures in the exhibition1 but there were several more or less influenced by ,futurism1 notably the 8,nude ,descending the ,stairs10 by ,duchamp4 ,in many respects this was the least satisfactory of his pictures1 because it is neither good ,cubism nor good ,futurism4 ,it is easy to distinguish a figure drawn in more or less ,cubist fashion1 at the right--the spectator's right--of the confused mass of lines2 it is quite easy1 if the balance of the picture be covered4 ,the confused mass is just so many overlapping figures coming down the stairs4 ,as a child exclaimed one day1 8,why1 ,i see them2 there's one on every step40 ,the ,cubist drawing did not bother the child4 99 99 99 99 99 ,a sympathetic writer says of the picture3 ,m4 ,duchamp says in effect something like this3 8,if you paint a girl coming downstairs1 on any one step you will not show her moving4 ,if you paint a girl on every step1 like ,burne-,jones with the #8,golden ,stair' you have a crowd and still no movement4 ,but if you get the forms down to simplest and most essential1 just swaying shoulders and hip and knee1 bent head and springy sole--and then show them on every step and between all the steps1 passing and always passing one into the next1 you give the sense of movement1 as with a run of arpeggios on the harp or a cadenza on the violin4 ,you and your friends don't feel the movement--too bad1 my friends and ,i do40 ,and pure movement is what1 after all1 here was sought4 ,pure movement1 it will hardly be questioned1 these men can give4 ,illustration3 ,,balla ,dog and ,person in ,movement ,picabia makes the lines in his 8,dance at the ,spring0 leap and swing and flicker like a fiddler's bow4 ,if he and others want1 when they choose1 to abandon the last pretense of representation and convey directly to you the way they feel mass and motion1 as music conveys inner experience always1 who is to stop them8 99 99 99 99 99 ,futurism had its beginning in ,italy a few years ago4 ,the first exhibition in ,paris was held in ,february1 #aiab4 ,one of its fundamental notions in painting is a certain theory regarding the painting of motion4 ,it is that in order rightly1 scientifically1 to indicate motion on a canvas it is not sufficient to paint the figure of a man in an attitude of walking1 but a series of more or less clearly outlined figures must be shown overlapping1 a sort of cinematograph effect2 very much as every painter shows a blur of spokes to indicate a wheel turning1 if an individual is in motion there must be a blur of many overlapping individuals4 7,see the half-tone of the girl with the dog47 ,the theory is interesting1 it is based on recognized optical conditions1 and no doubt the experiments will have their value4 ,some very interesting results have been obtained in photography already4 99 99 99 99 99 ,the program of the ,futurists is1 however1 far more ambitious than the mere painting of motion effects4 ,they have issued the following formal 8,manifestoes03 #a4 8,manifesto of ,futurism10 ,february1 #aiji2 written by ,f4 ,t4 ,marinetti4#fc #b4 8,manifesto of ,futurist ,painters10 ,april1 #aiaj4 #c4 8,manifesto of ,futurist ,musicians10 ,may1 #aiaa4 #d4 8,manifesto of the ,futurist ,woman10 ,march1 #aiab4 #e4 8,manifesto of ,futurist ,sculpture10 ,april1 #aiab4 #f4 8,manifesto of the ,technic of ,futurist ,literature10 ,may1 #aiab4 ,supplement to same1 ,august1 #aiab4 ,and every few months new declarations of faith are issued in ,milan1 each1 if possible1 more violent and extravagant than its forerunner4 ,if the public looked upon the ,cubist pictures as 8crazy10 what would it think of these manifestoes if printed in ,english and scattered broadcast8 ,the work of madmen6 ,so many madmen and visionaries have influenced the world by their utterances that we must not turn a deaf ear4 99 99 99 99 99 ,the ,futurists are the anarchists of the art and literary world4 ,the ,cubists1 ,orphists1 and other extreme moderns all reason from the past2 the ,futurists would break with the past entirely--as if it were possible6 ,all who do not agree with them are ,pass-ists1 and every form of art and literature up to ,futurism belongs to ,pass-ism1 and is therefore condemned4 99 99 99 99 99 ,there is much in ,futurism that is repellant1 just as there is much in ,anarchism that is repellant4 ,when men push their opposition to established order to extremes1 their hatred of the traditional and conventional is such they indulge in wild and foolish excesses2 they even defy law and order and decency1 and require curbing4 99 99 99 99 99 ,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 unsound4 ,take1 for instance1 some of the propositions regarding the technic of the literature of the future3 #a4 ,use only the infinite form of the verb1 because only the infinite mood gives the sense of the continuity of life4 #b4 ,abolish the use of the adjective so that the noun standing alone may speak for itself with all its force4 ,the adjective implies modification1 an arrest of judgment1 meditation1 and is1 therefore1 opposed to the human vision dynamic1 to the force and energetic flow of human thought4 #c4 ,abolish the adverb1 which is a superfluous refinement1 a fastidious hampering of human expression4 #d4 ,new punctuation3 ,adjectives and adverbs and conjunctive phrases being suppressed1 punctuation goes with them naturally1 in the varied continuity of a living style which creates itself without the use of absurd commas and periods4 ,to accentuate certain movements and indicate their directions1 certain mathematical and unusual signs will be used4 #e4 ,abolish the 8,i0 from literature1 that is to say1 psychology2 replace the 8,i10 the ego1 by the matter1 the essence of which must be appreciated by intuitions4 ,heretofore the matter1 the real substance of a book or a poem1 has been obscured by the intervention of the ego of the writer1 by the persistent 8,i0 of the author1 who is too much pre-occupied with himself and filled with prejudices and conceits in his own supreme wisdom4 ,in short1 writers use the subjects of the works as vehicles to exploit themselves4 7,here the ,futurists certainly put their finger on one of the weak spots in literature47 #f4 ,revolution in typographical appearance3 ,suppress the ornaments1 fancy initials1 c41 c41 of the presented printed page1 which impede rather than assist the natural flow of expression4 8,we will employ on the same page three or four inks of different colors1 and twenty different characters1 if necessary3 for example1 italics to express rapid sensations2 capitals for violent2 c41 c4 ,new conception of the graphic printed page40 99 99 99 99 99 ,all of which sounds wildly extravagant1 but in sum and substance it simply means the death of the1 let us say1 ,henry ,james style and the apotheosis of the front page of the modern sensational journal4 ,and is it not true that the painfully involved and boresome style of ,henry ,james--the adjectival and adverbial style1 the style of endless qualifications1 the assertion and amplification of the 8ego0 style--is rapidly becoming obsolete in fiction as it has long been obsolete in ,american journalism8 ,and is it not true that the terse1 the substantive1 the journalistic style1 together with the printed page in many colors and many types1 is gaining vogue8 ,in even the matter of punctuation the painstaking use of the comma and the semicolon has yielded to the free use of the dash4 ,only a short time ago there appeared a lamentation by a well-known writer over the use of the dash in dialogue4 ,he counted an unbelievable number on one page of a popular magazine1 each of which1 he thought1 should have been replaced by one of the more orthodox signs4 ,but the orthodox signs are too slow4 ,modern conversation does not move in studied phrases and rounded periods2 its sign is the dash1 because the dash either breaks the thought abruptly or carries it over into the words of the next speaker4 99 99 99 99 99 ,furthermore1 before leaving the subject1 it should be ,illustration3 ,,van ,,rees ,maternity noted that there is coming over our literature a profound1 a radical change1 a change in the direction of terser1 more forcible expression2 a change in the direction of the elimination of superfluous words1 of condensation1 to the end that the imagination and intelligence of the reader will be called more and more into play4 ,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 necessary4 ,certain it is1 if mankind is progressing at all1 it is progressing in that direction4 99 99 99 99 99 ,the rise of the printed drama means the fall of the descriptive novel4 ,a few years ago no ,american publisher would risk the printing of a play2 now every play of any merit and many of no merit are issued in book form4 ,the novelist devotes two-thirds of his book to descriptions of persons and places1 and most of the remaining third to banal psychological analysis and comment4 ,he leaves little to the imagination of the reader1 who is told the color of the heroine's eyes and hair1 the number of her dimples1 the length of her smile1 the shape of her teeth1 her make of face powder1 together with endless references to her hats1 gowns1 shoes1 parasols1 etc41 etc4 ,usually the novelist has some young woman acquaintance in mind1 and he literally forces the woman he likes upon the reader1 who may be in love with an entirely different type1 and who1 if left to himself1 would find the girl he likes in the pages of the story4 ,the dramatist does nothing of the kind4 8,mary ,smith1 age about twenty10 suffices for him4 ,shakespeare gives no more than the name4 ,as for description of places1 8a room10 or 8an office10 8a wood10 8a garden10 answers every purpose4 ,managers and players have no trouble in building up both scenes and characters2 the less 8directions10 the more room for individual initiative4 ,nor is the reader of a play troubled by entire absence of description and 8directions40 ,his imagination supplements the dramatist's1 and he creates heroes and heroines to please himself4 ,that psychological analysis is not only not essential to the psychological novel1 but positively detrimental1 is demonstrated by the entire absence of such analysis in so profound a psychological study as ,hamlet4 ,paul ,bourget is as obsolete as ,henry ,james4 99 99 99 99 99 ,bernard ,shaw is the one conspicuous reactionary4 ,he still exploits the ego1 and writes as if his readers were fools--perhaps they are4 99 99 99 99 99 ,the popularity of the cinematograph lies not in the cheapness of the entertainment1 nor in its novelty1 which wore off long ago1 but in the fact that it is without words and each onlooker enjoys his own interpretation2 from child to old man1 every one in the audience is his own playwright1 supplying his own dialogue as the scenes flicker on the curtain4 ,the best of modern plays leave much to the imagination of the audience4 ,words and bits of business absolutely necessary thirty years ago are considered childishly obvious nowadays1 as is amply demonstrated in revivals of old plays4 ,apparently the development is toward more action and less dialogue--more cinematograph1 fewer words4 ,scenery will become less and less obvious--save1 of course1 where it is intended to be of first importance4 ,in the theater of the future there will be less and less on the stage to interfere with the play--of the spectator's imagination4 99 99 99 99 99 ,there is a precisely parallel tendency in print--more action1 fewer words2 more suggestion1 less description4 ,the future novel will leave more and more to be supplied by the reader4 ,paragraphs1 pages1 whole chapters now deemed essential1 will be omitted4 ,in books such as histories1 philosophical works1 scientific treatises1 c41 c41 the skill and art of the printer will be exhausted to make the page not only attractive but expressive--readable at a glance1 instead of1 as now1 to make the volumes as forbidding as possible4 ,the much-despised 8yellow journal0 of ,america has taught a valuable lesson in the art of emphasis1 and its effect is seen not only in the make-up of newspapers but of periodicals1 and will be felt in the make-up of books4#fd 99 99 99 99 99 ,in ,america the art of advertising has far outstripped the art of literature4 ,the advertising pages of our periodicals are often more interesting and always more alive than the literary4 ,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 possible4 ,in the advertising pages1 to every square inch1 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 trouble4 ,why should not stories be told that way8 ,why should not all literature be written and printed that way8 ,the proposition may seem a startling one1 but the tendency is that way4 ,we find fault with our plays1 our poetry1 our fiction1 our serious literature2 we complain people prefer the flashy periodical2 well the word flashy is doubly descriptive--it is commonly used to describe the quality but it also measures time4 99 99 99 99 99 ,meanwhile most of us underrate the intelligence of our readers and use more words than are necessary to carry our meanings4 ,the ,futurists themselves use an abundance of words in advocating their cause1 though their examples of ,futurist literature contain many lines and pages that are written in strict accordance with their theories4 ,marinette says in so many words1 8,philosophy1 science1 politics1 journalism1 must still make use of the conventional syntax and punctuation2 ,i am myself obliged to use them to explain my ideas40 99 99 99 99 99 ,march #h1 #aiaj1 in the ,theatre ,chiarella1 at ,turin1 before an audience of three thousand1 the ,futurist painters launched their first declaration of faith1 8which contained10 to follow their own words1 8all our profound disgusts and hatreds1 our revolts against vulgarity1 against academic and pedantic mediocrity1 against the fanatic cult of what is antique40 ,illustration3 ,,munter ,the ,boat ,ride ,illustration3 ,,munter ,the ,white ,wall #a4 ,our desire for the truth no longer contents itself with form and color as heretofore understood4 #b4 ,what we wish to reproduce on the canvas is not an instant or a moment of immobility of the universal force that surrounds us1 but the sensation of that force itself4 #c4 ,as a matter of fact everything moves1 everything runs1 everything transforms rapidly4 ,a profile is never immobile before us1 but it appears and disappears without ceasing4 ,given the fact of the momentary persistence of the image on the retina1 objects in movement multiply1 change form and follow like vibrations in space4 ,a running horse has not four legs1 but twenty1 and their movements are triangular4 #d4 ,nothing is absolute in painting4 ,that which was a truth for the painters of yesterday1 is a lie for those of today4 ,we declare1 for example1 that a portrait should not resemble its sitter1 and that the painter carries in his own imagination the landscape he wishes to place upon the canvas4 ,on this point the ,futurists and ,cubists agree4 #e4 ,to paint the human figure it is not necessary to paint the figure but simply to give its envelopment4 ,space does not exist4 ,millions of miles separate us from the sun1 yet that is no reason why the house before us should not be encased in the solar disk4 ,in our work we can secure effects similar to those of the ,x-ray4 ,opacity does not exist4 ,they paint all sides of an object as if they saw through it4 ,they will paint a platter on a table and the part of the table covered by the platter2 they will paint the entire collar about the neck so that it is visible through the neck4 ,they ignore not only the ordinary conceptions of space1 but time does not exist for them4 ,where in ordinary painting the box of bonbons that is passed at a baptism may be painted closed on a table1 the ,futurist shows what is inside the box1 also the people assembled to whom the bonbons are given1 and the infant to be baptized1 and perhaps the marriage of the father and mother1 the carriages outside the church1 etc41 etc4#fe ,they illustrate further1 ,the sixteen persons about us in a moving omnibus are in turn and at the same time1 one1 ten1 four1 three2 they are immobile and yet move2 they go1 come1 bounding along the street1 suddenly lost in the sun1 then return seated before you1 like so many symbols persistent of universal vibration4 ,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 street4 ,our bodies become parts of the seat upon which we rest and the seat becomes part of us4 ,the omnibus merges in the houses that it passes1 and the houses mix with the bus and become part of it4 #f4 ,the construction of pictures up to this time has been stupidly traditional4 ,painters have always shown things and persons before us4 ,we place the spectator in the midst of the picture4 ,heretofore we have looked at pictures2 it is the idea of the ,futurist that we should look through them1 that the pictures should give us new visions of life and things1 new sensations1 new emotions4 ,we declare3 ,that one should hate every form of imitation and glorify every form of originality4 ,that it is necessary to revolt against the tyranny of the words 8harmony0 and 8good taste10 expressions too elastic and with which one might easily condemn the works of ,rembrandt1 ,goya1 and ,rodin4 ,that art critics are useless and detrimental4 ,that it is necessary to brush aside all the subjects already used1 in order to adequately express our turbulent life of steel1 of pride1 of feverish rapidity4 ,that the name madmen applied to all innovators shall be considered a title of honor4 ,that the universal force must be shown in painting as a sensation dynamic4 ,above all1 sincerity and purity are required in the portrayal of nature4 ,that movement and light destroy the materiality of objects4 ,we are opposed to the use of those bituminous colors by which it is attempted to secure the effect of time on modern pictures4 ,we are opposed to the superficial and elementary archaism based on the flat tints and linear manner of the ,egyptians1 which makes painting puerile and grotesque4 ,we are opposed to the false modernism of the ,secessionists and ,independents who have built up new 8schools0 as pontifical as the old4 ,the nude in painting is as nauseous as adultery in literature4 ,to explain this last article3 ,there is nothing immoral in our eyes1 it is the monotony of nudity that we fight against4 ,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 disreputables4 ,we demand for the next ten years the absolute suppression of the nude in painting4 99 99 99 99 99 ,the first exhibition of ,futurist paintings in ,london was at the ,sackville ,gallery in ,march1 #aiab4 ,the painters printed by way of preface to the little catalogue a statement of their beliefs and aims4 ,from this statement the following paragraphs are taken3 8,we are young and our art is violently revolutionary40 ,speaking of the ,cubists and ,post-,impressionists generally3 8,while we admire the heroism of these painters of great worth1 who have displayed a laudable contempt for artistic commercialism and a powerful hatred of academism1 we feel ourselves and we declare ourselves to be absolutely opposed to their art4 8,they obstinately continue to paint objects motionless1 frozen1 and all the static aspects of nature2 they worship the traditionalism of ,poussin1 of ,ingres1 of ,corot1 ageing and petrifying their art with an obstinate attachment to the past1 which to our eyes remains totally incomprehensible4 8,we1 on the contrary1 with points of view pertaining essentially to the future1 seek for a style of motion1 a thing which has never been attempted before us4 8,all the truths learnt in the schools or in the studios are abolished for us4 ,our hands are free enough and pure enough to start everything afresh4 8,it is indisputable that several of the aesthetic declarations of our ,french comrades display a sort of masked academism4 8,is it not1 indeed1 a return to the ,academy to declare that the subject1 in painting1 is of perfectly insignificant value8 8,we declare1 on the contrary1 that there can be no modern painting without the starting point of an absolutely modern sensation1 and none can contradict us when we state that painting and sensation are two inseparable words4 8,if our pictures are futurist1 it is because they are the result of absolutely futurist conceptions1 ethical1 aesthetic1 political1 and social4 8,to paint from the posing model is an absurdity1 and an act of mental cowardice1 even if the model be translated upon the picture in linear1 spherical1 or cubic forms4 8,to lend an allegorical significance to an ordinary nude figure1 deriving the meaning of the picture from the objects held by the model or from those which are arranged about him1 is to our mind the evidence of a traditional and academic mentality4 8,while we repudiate impressionism1 we emphatically condemn the present reaction which1 in order to kill impressionism1 brings back painting to old academic forms4 8,it is only possible to react against impressionism by surpassing it4 8,nothing is more absurd than to fight it by adopting the pictural laws which preceded it4 8,the points of contact which the quest of style may have with the so-called classic art do not concern us4 8,others will seek1 and will1 no doubt1 discover1 these analogies which in any case cannot be looked upon as a return to methods1 conceptions1 and values transmitted by classical painting4 8,a few examples will illustrate our theory4 8,we see no difference between one of those nude figures commonly called artistic and an anatomical plate4 ,there is1 on the other hand1 an enormous difference between one of these nude figures and our futurist conception of the human body4 8,perspective1 such as it is understood by the majority of painters1 has for us the very same value which it lends to an engineer's design4 8,the simultaneousness of states of mind in the work of art3 that is the intoxicating aim of our art4 8,let us explain again by examples4 ,in painting a person on a balcony1 seen from inside the room1 we do not limit the scene to what the square frame of the window renders visible2 but we try to render the sum total of visual sensations which the person on the balcony has experienced2 the sun-bathed throng in the street1 the double row of houses which stretch to right and left1 the beflowered balconies1 etc4 ,this implies the simultaneousness of the ambient1 and1 therefore1 the dislocation and dismemberment of objects1 the scattering and fusion of details1 freed from accepted logic1 and independent from one another4 8,in order to make the spectator live in the center of the picture1 as we express it in our manifesto1 the picture must be the synthesis of what one remembers and of what one sees4 8,you must render the invisible which stirs and lives beyond intervening obstacles1 what we have on the right1 on the left1 and behind us1 and not merely the small square of life artificially compressed1 as it were1 by the wings of a stage40 ,this feeling of transparency is fundamental to the theory4 8,we have declared in our manifesto that what must be rendered is the dynamic sensation1 that is to say1 the particular rhythm of each object1 its inclination1 its movement1 or1 to put it more exactly1 its interior force4 8,it is usual to consider the human being in its different aspects of motion or stillness1 of joyous excitement or grave melancholy4 8,what is overlooked is that all inanimate objects display1 by their lines1 calmness or frenzy1 sadness or gaiety4 ,these various tendencies lend to the lines of which they are formed a sense and character of weighty stability or of aerial lightness4 8,every object reveals by its lines how it would resolve itself were it to follow the tendencies of its forces4 8,this decomposition is not governed by fixed laws but it varies according to the characteristic personality of the object and the emotions of the onlooker4 8,furthermore1 every object influences its neighbour1 not by reflections of light 7the foundation of impressionistic primitivism71 but by a real competition of lines and by real conflicts of planes1 following the emotional law which governs the picture 7the foundation of futurist primitivism74 8,with the desire to intensify the aesthetic emotions by blending1 so to speak1 the painted canvas with the soul of the spectator1 we have declared that the latter #8must in future be placed in the center of the picture4' 8,we may further explain our idea by a comparison drawn from the evolution of music4 8,not only have we radically abandoned the motive fully developed according to its determined and1 therefore1 artificial equilibrium1 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 initial1 central1 or final notes4 8,as you see1 there is with us not merely variety1 but chaos and clashing of rhythms1 totally opposed to one another1 which we nevertheless assemble into a new harmony4 8,we thus arrive at what we call the painting of states of mind4 8,one may remark1 also1 in our pictures spots1 lines1 zones of colour which do not correspond to any reality1 but which1 in accordance with a law of our interior mathematics1 musically prepare and enhance the emotion of the spectator4 8,we thus create a sort of emotive ambience1 seeking by intuition the sympathies and the links which exist between ,illustration3 ,,russolo ,rebellion the exterior 7concrete7 scene and the interior 7abstract7 emotion4 ,those lines1 those spots1 those zones of colour1 apparently illogical and meaningless1 are the mysterious keys to our pictures4 8,conclusion3 ,our futurist painting embodies three new conceptions of painting3 8#a4 ,that which solves the question of volumes in a picture1 as opposed to the liquefaction of objects favoured by the vision of the impressionists4 8#b4 ,that which leads us to translate objects according to the force lines which distinguish them1 and by which is obtained an absolutely new power of objective poetry4 8#c4 ,that 7the natural consequence of the other two7 which would give the emotional ambience of a picture1 the synthesis of the various abstract rhythms of every object1 from which there springs a fount of pictural lyricism hitherto unknown40 99 99 99 99 99 ,the explanations of two pictures are as follows3 8,leave-taking10 by ,boccioni3 8,in the midst of the confusion of departure1 the mingled concrete and abstract sensations are translated into force lines and rhythms in quasi-musical harmony3 mark the undulating lines and the chords made up of the combinations of figures and objects4 ,the prominent elements1 such as the number of the engine1 its profile shown in the upper part of the picture1 its wind-cutting forepart in the center1 symbolical of parting1 indicate the features of the scene that remain indelibly impressed upon the mind40 8,rebellion10 by ,russolo3 8,the collision of two forces1 that of the revolutionary element made up of enthusiasm and red lyricism against the force of inertia and reactionary resistance of tradition4 ,the angles are the vibratory waves of the former force in motion4 ,the perspective of the houses is destroyed just as a boxer is bent double by receiving a blow in the wind40 99 99 99 99 99 ,the theory of the ,futurists is vividly illustrated in the following note to a picture called 8,the ,street ,enters the ,house40 8,the dominating sensation is that which one would experience on opening a window3 all life1 the noises of the street rush in at the same time as the movement and reality of the objects outside4 ,the painter does not limit himself to what he sees in the square frame of the window as would a simple photographer1 but he also reproduces what he would see by looking out on every side from the balcony40 ,to the layman this attitude is almost incomprehensible4 ,for instance1 the ,cubist1 ,pierre ,dumont1 says of his picture1 8,the ,cathedral at ,rouen03 ,one must not expect to find in this picture an exact representation of the cathedral at ,rouen1 but rather my idea1 my personal perception1 of this cathedral as ,i see it4 ,in painting my picture ,i did not paint from a fixed point and always from the same point1 but ,i studied the cathedral and surroundings from all points of view and obtained a personal conception of it1 which ,i reproduced on my canvas4 ,i only included the details which struck me most forcibly1 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 saint1 who is certainly not in his right place as far as the eye is concerned1 but does really occupy the place which he occupies in my conception of what was before me4 99 99 99 99 99 ,that a painter should deliberately attempt to show on one canvas features of all sides of a building1 strikes the layman--and many artists--as a 8crazy0 attempt to achieve the impossible2 but it is not impossible1 as a moment's reflection shows4 ,it is1 of course1 easy to show all sides and all details of a building1 interior and exterior1 on one sheet or canvas1 by drawing or painting1 one after another1 in panorama effect--that is done in every architect's drawing-room4 ,it is also equally possible to superimpose these detached drawings one over the other and see or feel the outlines through4 ,that is1 the drawing or photograph of the exterior of a cathedral may be so made as to show in outline or shadowy substance the altar within4 ,illustrations along these lines are common in fiction--ghostly1 shadowy1 mystical effects1 effects secured only by treating stones and walls and human beings as semi-transparent4 ,in this way every feature of a cathedral that strikes the artist1 whether on the outside or inside1 whether a feature so permanent as a statue or so fleeting as a wedding ceremony1 may be indicated in his picture4 ,by suppressing every detail save the most striking1 what purports to be the picture of a cathedral may appear to be fragments of spires1 bronze doors1 statues1 altars1 lights1 processions1 the brilliant color of a priest's robe1 the white note of a bridal veil4 ,another man painting his impressions of the same subject might catch glimpses of entirely different features4 ,if we can in our mind's eye see what is behind an object2 if1 for instance1 we can picture to ourselves clearly the children playing in the yard back of a house1 why may not the painter1 if he chooses1 suggest to us in his picture of the house the vital feature of the children in the rear8 ,the feat is a seemingly impossible one4 ,perhaps neither the ,cubists nor the ,futurists have accomplished it successfully2 but because it is difficult is no reason why the attempt should not be made4 ,theoretically there is nothing to be said against pictures which show what both the eye and the mind's eye of the artist see4 ,the works of the ultra-modern men can be understood only by the aid of the imagination1 by the aid of the mind's eye to see through1 and about and into things1 to see the inner conditions1 happenings1 and significance of things4 ,stated in other terms1 the extreme modern is no longer content to paint what is before his eyes at a given moment and from a given point of view2 he is no longer content to act the part of a camera1 making reproductions of what is in front of it4 ,he demands the freedom to walk around his subject1 fly over it1 enter it1 find out all about it1 and then record on canvas the sum and substance of his observations and reflections4 ,the result may not look like a cathedral1 but if done by a genius it may give a fine impression of certain salient features of the building1 inside and out1 and also a vivid impression of some of its great ceremonies4 ,why not try to paint the power as well as the proportions8 99 99 99 99 99 ,if the ,american public found the work of ,lehmbruck and ,brancusi queer1 what would it think of the ,futurist sculpture8 ,the two female figures exhibited by ,lehmbruck were simply decorative elongations of natural forms4 ,in technic they were quite conventional4 ,their modelling was along purely classical lines1 far more severely classical than much of the realistic work of ,rodin4 ,the heads by ,brancusi were idealistic in the extreme2 the sculptor carried his theories of mass and form so far he deliberately lost all resemblance to actuality4 ,he uses his subjects as motives rather than models4 ,in this respect he is not unlike--though more extreme than--the great ,japanese and ,chinese artists1 who use life and nature arbitrarily to secure the results they desire4 ,i have a golden bronze head--a 8,sleeping ,muse10 by ,illustration3 ,,segonzac ,pasturage ,brancusi--so simple1 so severe in its beauty1 it might have come from the ,orient4 99 99 99 99 99 ,of this head and two other pieces of sculpture exhibited by ,brancusi in ,july1 #aiac1 at the ,allied ,artists' ,exhibition in ,london1 ,roger ,fry said in 8,the ,nation10 ,august #b3 ,constantin ,brancusi's sculptures have not1 ,i think1 been seen before in ,england4 ,his three heads are the most remarkable works of sculpture at the ,albert ,hall4 ,two are in brass and one in stone4 ,they show a technical skill which is almost disquieting1 a skill which might lead him1 in default of any overpowering imaginative purpose1 to become a brilliant pasticheur4 ,but it seemed to me there was evidence of passionate conviction2 that the simplification of forms was no mere exercise in plastic design1 but a real interpretation of the rhythm of life4 ,these abstract vivid forms into which he compresses his heads give a vivid presentment of character2 they are not empty abstractions1 but filled with a content which has been clearly1 and passionately apprehended4 99 99 99 99 99 ,futurist sculpture1 like ,futurist painting1 starts with a fundamental departure4 ,all sculpture1 classic as well as ,impressionistic and ,post-,impressionistic1 deals with an object or a group of objects4 ,it models and reproduces them detached from their environment4 ,futurist sculpture seeks to reproduce a figure or an object attached to and a part of its fleeting and flowing surroundings1 its atmosphere1 its medium4 ,it goes further2 it seeks to convey not only the impression of the truth that a figure is a part of its environment1 but that its atmosphere and environment flows through the figure and the figure through the environment1 that nothing is segregated but everything fusing4 ,the philosophical thought is old1 as old as the earliest ,greek philosophy1 but the attempt to express the thought in stone1 wood1 bronze1 is new4 ,we may feel sure the attempt is futile1 that it cannot succeed1 but our scepticism is no reason why a sculptor in his enthusiasm should not make the attempt4 99 99 99 99 99 ,in ,june and ,july last a ,futurist sculptor1 ,boccioni1 exhibited some of his work in ,paris4 ,one example1 8,head--,houses--,light10 was literally a conglomerate of a human bust of heroic size1 with hands crossed in front1 and the following accessories3 ,on the top of the head the fronts of several small houses1 with doors1 windows1 and all details just as the sculptor saw the houses many blocks back of his model4 ,the casual observer would be completely mystified on seeing several house fronts start out of the head of a bust2 but when one understands that it is a fundamental belief of the ,futurists that all that is within the vision1 actual or imagined1 of painter or sculptor is a part of the picture or bust1 the reason why of the houses is plain4 ,from one shoulder of the figure starts about eighteen inches of a wooden railing and iron grill work1 part of a balcony1 just as the sculptor glimpsed it a block or so down the street4 ,a little to the back of the shoulder is a slightly inclined level surface about a foot square2 on this surface is the toy figure1 an inch high1 of a woman in street costume4 ,the figure was probably bought at a toy store1 just as the wooden railing and iron grill work might have been picked up at any second-hand shop4 ,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 away1 far enough away for a human being to appear no taller than an inch4 ,the entire bust was crudely colored1 and one side of the ,illustration3 ,,boccioni ,head--,houses--,light face was modelled in downward flowing lines and painted yellow to represent rays of strong sunlight4 ,the figure was ugly in the extreme2 the lines were ugly1 the coloring ugly1 the technic clumsy2 but as an illustration of a theory the work was both curious and interesting4 99 99 99 99 99 ,in the creed of the ,futurist are found the following3 #a4 ,sculpture must give life to objects by making sensible their extension in space1 for no one today can deny that an object continues to where another object begins1 and that all things that are about us--automobile1 house1 tree1 street1 etc41 etc4--traverse our bodies1 dividing us into planes and sections1 forming an arabesque of curved and straight lines4 ,this traversing of each object by the planes occupied by all other objects is called in the transcendental terminology of ,futurism1 8,compenetration of planes40 7,here ,futurist and ,cubist again meet47 #b4 ,a ,futurist sculptural composition will contain in itself the marvellous mathematical and geometrical elements of modern objects4 ,these objects will not be placed close to the statue1 like so many detached explanatory attributes or decorative elements1 but according to the laws of the new conception of harmony they will be embodied in the muscular lines of the body4 ,for example1 we may see the wheel of an automobile starting out of the body of a chauffeur1 the line of a table traversing the head of a man who is reading1 and the pages of his book may project through his chest4 #c4 ,the abolition complete of the line finished and the statue isolated6 ,throw open the figure like a window and make part of it the surroundings in which it exists4 ,the sidewalk may extend to your table2 your head may traverse and include the street1 and at the same moment your lamp may unite house to house by its searching rays4 ,the entire world precipitates itself upon us1 amalgamates with us1 creating a harmony that will not be controlled except by creative intuition4 #d4 ,do not be afraid to go outside one art and receive assistance from others4 ,there is no such thing as painting alone1 sculpture alone1 music alone1 poetry alone2 there is simply creation4 ,hence if a particular sculptural composition needs some special movement to augment or contrast the rhythm of the ensemble1 there is no reason why one should not make use of a small motor to secure the effect4 #e4 ,it is necessary to get rid of the idea1 purely literary and traditional1 that marble and bronze are the materials that must be used in great sculpture4 ,the sculptor may use twenty materials in one work if required to express his idea4 ,he may use glass1 wood1 cement1 cardboard1 leather1 cloth1 mirrors1 electric lights1 etc4 #f4 ,it is only by choosing subjects absolutely modern that one can discover new motives and ideas4 #g4 ,it is necessary to abandon the nude and the traditional conception of the statue and the monument4 #h4 ,what the ,futurist sculpture creates is1 in a way1 the ideal bridge that unites the infinite plastic exterior with the infinite plastic interior4 ,that is why the objects never finish1 but they intersect with endless combinations both sympathetic and averse4 ,the feeling of the spectator is at the center of the work1 not aloof and outside1 as with traditional sculpture4 99 99 99 99 99 ,all this sounds wildly extravagant1 but not absolutely incoherent4 99 99 99 99 99 ,the obvious objection to the attempt of the ,futurist sculptor to include in his composition an object and its environment ,illustration3 ,,herbin ,still ,life is found in his own proposition--which is philosophically valid--that the universe is the atmosphere1 the environment of every object from a grain of sand to a planet4 ,hence the ,futurist figure that shows a few houses1 a bit of a railing1 a glimpse of a distant square1 is more comprehensive than the conventional bust to only an infinitesimal degree2 only almost infinitesimal fractions of the enveloping universe are shown4 ,the effect is fragmentary and confusing4 ,other sculptors1 conspicuously ,rodin in some of his work1 get the effect of atmosphere and environment by detaching the figure or composition only partially from the block of marble or mass of bronze1 leaving to the imagination of the observer the finishing of the work1 the supplying of both environment and atmosphere4 ,that would seem to be the finer1 the purer1 the more abstract way4 99 99 99 99 99 ,in fact1 there is an obvious contradiction between the creed of the ,futurist sculptor and the ,futurist writer4 ,the former feels impelled to show environment by encumbering his figure with an overwhelming mass of details1 houses1 railings1 sidewalks1 petty figures1 etc41 etc4--all the qualifying objects that happen within his vision1 leaving nothing to the imagination of his observer2 while the ,futurist writer would eliminate from literature all adjectival and adverbial words and phrases1 leaving the nouns 7the simple figures of sculpture7 to stand alone4 99 99 99 99 99 ,many things can be done in painting that cannot be done in sculpture4 ,a figure may be painted against a background of an entire city1 or against the heavens2 or it may be painted in the midst of a battle1 or a train wreck2 the flight of years can be indicated1 centuries may be swept into one canvas4 ,in sculpture this cannot be done save1 in a measure1 in such crude mixtures of sculpture1 relief1 and painted scenes as those large circular panoramas so popular twenty years ago1 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 smaller1 until reality imperceptibly joined the painted canvas1 which gave a sense of great distance--entire battle-fields4 ,the ,futurist sculptor cannot give this sense of environment and atmosphere by attaching diminutive houses and bits of balconies to the bust of a man4 99 99 99 99 99 ,in reading their extravagant declarations and denunciations of the past it must be remembered that extremes beget extremes1 that enthusiasts habitually indulge in extravagant arguments and theories for the purpose of attracting attention and stimulating discussion4 ,in an address recently delivered in ,london1 the leader of ,futurism warned his hearers not to accept too literally the startling extravagances of some of the ,futurist manifestoes and literature4 ,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 life4 ,for instance1 when the ,futurists cry1 8,down with all museums10 8,destroy all remains of antiquity10 they do not mean that if they were given the power they would do these things1 but what they desire is to arouse ,italy and the ancient world to the fact that ,italy has a position as a modern nation4 ,the ,futurists resent the attitude of the world toward ,rome and ,athens2 they resent the attitude of travelers who visit those two places solely to look at the remains of the ancient world2 they believe that ,italy is just as much a modern nation as is ,america1 and that ,rome is just as much alive as is ,new ,york1 and they would have people come to ,italy1 not to see ruins1 but to see her factories and industries and places of business4 ,when one rightly considers the matter this is a very rational and patriotic attitude1 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 today4 ,viewed in the light of the intense patriotism which is behind some of these wildly extravagant denunciations of the past1 they do not seem so devoid of reason4 ,we in ,america have no past to oppress us2 therefore it is difficult for us to realize the feeling of a modern nation1 or a modern city1 which the civilized world will not accept as modern1 but insists upon viewing as a museum of antiquities4 99 99 99 99 99 ,the address referred to also said3 8,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 sculpture4 ,precisely because it has a splendid past1 ,italy is today in some sort disinherited4 ,the cult of the past is upheld among them by a whole world of interested people1 and the ,futurist movement in its creative effort is hampered not only by such economic hindrances but by the mental cowardice of people4 8,in art you must continually advance2 those who stop are already dead1 or candidates for death4 ,the ,romanticism of artists like ,baudelaire and ,wagner and ,flaubert was inspired by two or three principles which are worn out today4 #8,salambo' was the type romance of that old sensibility4 ,in a certain sense such ,romanticism is the identification of the idea of beauty with the idea of woman4 ,we are at the end of that period4 8,woman as the center1 the obsession has already gone out of poetry4 ,as a leit-motif she has no longer the same force2 other problems have taken her place4 ,according to our view1 poetry is nothing but a more intense1 a more exalted1 life--and that is why we combat the constant intrusion into it of the #8domestic triangle' in various forms1 and which has been its ruin4 8,now1 ,futurists are found everywhere4 ,in ,england you have ,h4 ,g4 ,wells4 ,we all realize the need to be more rapid1 more intense1 more essential1 and though our method of expression has been stigmatized as #8telegraphic lyricism' ,i take no exception to that so long as it makes people talk and brings them to examine our underlying rules of action4 8,art1 either plastic or active1 is not a religion4 ,it is the best part of our strength1 of our physiological being4 ,it is1 in consequence1 absurd to consider it as a system1 as something to worship with joined hands2 it should express all the intensity of life--its beauty1 greatness1 its fire1 its brutality1 its sordidness4 8,futurism in poetry represents a realism profound1 rapid1 intense--the very complex of our life of today40 ,,xii ,,virile-,,impressionism ,what is happening in ,america8 ,exactly what might be expected in a young1 vigorous1 and virile country4 ,america has been keenly susceptible to art influences from every section4 ,her students are everywhere1 her exhibitions are gathered from the four quarters of the globe4 ,she is very much alive to what ,europe is doing1 she has long been interested in what ,china and ,japan have done4 ,while her art is in the main conservative1 it is not the conservatism of stubbornness or stolidity1 it is rather the conservatism of isolation2 but her isolation is a thing of the past4 ,communication is so frequent1 travel so easy1 transportation so cheap1 that both art and artists flow hither and thither almost unrestricted4 ,in spite of this freedom of inter-communication1 the development of ,american art has been along independent lines--at least along one independent line1 a line so individual in its characteristics it deserves the name ,american-,impressionism1 or1 more generically1 ,virile-,impressionism4 ,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 other4 ,let us try to make this clear4 99 99 99 99 99 ,as already noted1 ,impressionism attained a logical end in the painting of brilliant light effects1 especially in the works of the ,neo-,impressionists1 the pointillists4 ,in short1 the drift of ,impressionism in ,france was toward more and more brilliant reflections of the surfaces of things4 ,this extreme attentuation was quite foreign to the spirit of ,america1 which is more material and practical4 99 99 99 99 99 ,it may be our fault1 it is certainly our virtue1 that we are material and practical in our outlook4 ,in a big1 sane sense we are dreamers4 ,only dreamers could carry the ,panama ,canal to completion1 and1 to mention lesser works1 only dreamers could build such terminals as the ,pennsylvania and ,new ,york ,central in ,new ,york1 and such buildings as the ,woolworth and the ,manhattan4 ,but our dreams always take practical shape4 ,we are a nation of inventors because we are a nation of dreamers4 ,hence1 while our artists were quick to respond to all that is good and strong in ,impressionism1 they found little satisfaction in the ultra-refinements of ,neo-,impressionism4 ,the result was that when ,france pressed ,impressionism to its extreme1 a normal and healthy reaction took place in ,american art4 ,many of the strong painters of ,america began doing things of their own4 ,they still adhered closely to nature4 ,they remained ,impressionists in the older significance of the term1 but they painted not the surfaces of things but the substance--in short1 they were ,czanne-,impressionists as distinguished from ,monet-,impressionists4 ,for instance1 ,winslow ,homer was a great and true ,impressionist1 but he had nothing in common with the ,neo-,impressionists1 and little in common with ,monet4 ,he had1 however1 a great deal in common with ,czanne4 ,his pictures give one an impression of nature herself1 of the power of the sea1 the adamant of the rocks1 the significance of life1 yet each one is an accurate transcript of what he saw4 ,he did ,illustration3 ,,segonzac ,forest not go into his studio and create pictures out of his imagination2 he let his imagination play upon nature1 but nature controlled all he did4 ,he was1 in a sense1 the greatest of ,american-,impressionists--he was a ,virile-,impressionist4 ,there are many ,virile-,impressionists in ,europe1 but they are so many individuals2 here ,virile-,impressionism is the result of racial1 national1 geographical conditions4 ,it was inevitable that ,impressionism in ,america should follow along virile and substantial lines rather than along nervous and superficial2 it is the way the country is built4 99 99 99 99 99 ,sargent is a ,virile-,impressionist4 ,he paints striking likenesses1 but he also paints marvellous characterizations2 that is1 he gets beneath the skin of his sitters and paints them as they are1 not as they seem4 ,his sense of color is very deficient2 many of his portraits from a decorative point of view are almost the reverse of pleasing2 he had not the faintest appreciation of the subtle refinements of the things ,whistler strove so long and earnestly to achieve2 in his best things he is strong and direct to the point of brutality--all of which is characteristic of ,virile-,impressionism1 and exactly what one would expect from a vigorous1 muscular1 frank ,american4 ,though ,sargent spends most of his time on the other side1 he is no more ,english than ,french2 his pictures fit into an ,american exhibition far more comfortably than into the ,royal ,academy or the old ,salon4 ,robert ,henri is another strong ,virile-,impressionist4 99 99 99 99 99 ,the attitude of ,american painters toward the extreme modern developments is both curious and interesting4 ,on the opening of the ,international ,exhibition there was an outburst of violent indignation from the older men1 ordinary speech failed to express their feelings1 and they rushed into print with language as violent as the press would accept4 ,all that made lively reading and lent zest to current literature4 ,six months later this feeling of angry opposition largely subsided4 ,as an illustration1 one of the bitterest of the ,academicians accepted as a 8good idea0 the organization of an independent exhibition1 open to artists without the intervention of a jury1 under the auspices of the ,national ,academy1 as soon as a building could be provided that would adequately house all exhibitions4 ,again1 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 exhibitions3 ,first1 exhibitions selected by juries which would give the public the benefit of the best expert judgment available4 ,second1 exhibitions wherein painters and sculptors barred by the juries would have opportunities to present their works to the judgment of the public4 ,in short1 suggestions that would not have been listened to before the ,international are now discussed as quite within the range of possibilities4 ,there is no danger of these things coming to pass in the immediate future2 there is still too much latent opposition1 but the virulent has measurably subsided4 ,so much for the older men4 99 99 99 99 99 ,the younger were naturally much more tolerant4 ,they were more--they were both curious and receptive4 ,many of them searched with eager eye for valuable hints1 for ways and means to perfect their own art4 ,it was a great pleasure to watch and talk with these young men1 the rising generation4 ,many of them1 to their own surprise1 found they had been working along modern lines without fully realizing it4 ,they had not cut loose from ,impressionism1 but they were doing things constructively rather than superficially2 they were painting like ,czanne rather than ,monet4 99 99 99 99 99 ,if the attempt were made to name these younger men1 the result would be injustice to many whose works are unknown to the writer1 and the argument would be confused4 ,to speak1 therefore1 of one of the paintings reproduced1 take the 8,still ,life10 by ,kroll4 ,in the decorative arrangement of the draperies and in the manner in which the fruit and stone jug are painted1 the feeling is quite ,post-,impressionistic2 while the glimpse of the street out the window is purely ,impressionistic4 ,that is to say1 all within the window is painted solidly and constructively1 quite under the influence of ,czanne2 all that is without is painted fleetingly and superficially1 more under the influence of ,monet4 ,it was done intentionally1 to secure a certain effect of contrast2 but the result is neither ,french-,impressionism nor ,post-,impressionism1 but ,american-,impressionism--a certain eclecticism4 ,the glimpse of the street is delightful1 but the arbitrarily arranged interior is more than delightful2 it possesses strength of line1 fine color1 and solid masses1 done constructively4 ,still1 one has only to compare this picture with the 8,still ,life10 by ,herbin1 and the 8,forest at ,martigues10 by ,derain1 to see how close to nature it is1 how ,impressionistic it is as distinguished from the ,post-,impressionistic1 or creative1 spirit4 ,kroll painted what he felt1 controlled by what he saw4 ,derain painted what he felt1 influenced only slightly by what he had seen4 99 99 99 99 99 ,the foregoing illustrates the position of the more vigorous of the younger ,american painters2 they are so strong1 so virile1 so muscular--let us say--that instinctively they lean toward the painting of things in a big1 broad constructive manner2 the refinements of superficial impressionism do not interest them4 ,at the same time they have not reached the point where they are willing to let go of nature entirely and do purely creative things4 ,perhaps this is just as well4 ,america--like every new country--is so essentially practical1 practical in even its most imaginative flights1 that it is difficult for its painters to retire within themselves and do things that have only an esoteric or metaphysical relation to actualities2 that sort of thing in both art and literature is much easier on the continent than in either ,england or ,america2 it is especially easy in the highly charged and hyper-artificial atmosphere of ,paris4 99 99 99 99 99 ,purely creative work is done in a masterly manner--in his best things--by ,arthur ,davies4 ,it is attempted and quite successfully by ,kenneth ,miller1 to mention only two of many4 ,to the casual observer ,davies may seem to lose himself at times in his theories1 to press his dreams and speculations beyond the confines of his art1 but on this point the opinion of the 8casual observer0 is of little value1 for ,davies's pictures cannot be casually observed2 they challenge the attention of the most serious and repay study4 ,i make no pretense to having fathomed their mystery1 to understanding their inner significance1 but enjoy and have always enjoyed the marvellously fine way in which they are done1 and their rare decorative quality4 ,here is a man doing creative work1 work in which he plays with and uses nature to attain ends far above and far removed from nature4 ,he is in no sense a ,virile-,impressionist1 no one would think of classing him as an ,impressionist at all4 ,yet he is not a ,post-,impressionist as the term has been defined in this book4 ,he belongs rather to the class of inspired or poetic painters1 a few of whom are with us always1 men who neither found nor belong to a 8school10 but who express on canvas or in stone their fancies in a way that reminds one of fairy-tales4 ,davies may admire much of the work of some of the ultra ,post-,impressionists2 he likes1 for instance1 much of ,matisse's work2 he may even fancy he has something in common with these men1 but he has not4 ,he was painting his pictures long before theirs were very much known1 and he would have painted his if theirs had never been produced at all4 ,matisse is moved by a spirit fundamentally different from that which animates ,davies4 99 99 99 99 99 8,the ,bridge10 by ,kroll1 is another striking example of ,american-,impressionistic art4 ,it is one of a series of pictures of lower ,new ,york1 each painted 8on the spot10 some from roofs and high places difficult of access and dangerous4 ,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 reproductions1 such inadequate reproductions as appear on the walls of any metropolitan exhibition2 it is quite another thing to plant one's easel on slippery rocky heights and day after day1 in the cold1 paint from nature as directly as ,monet ever painted and in a much more virile way4 ,it takes imagination and enthusiasm and the superb confidence of youth to attempt such colossal things1 and it takes an unusual technical facility to 8get away0 with the attempt4 99 99 99 99 99 ,winslow ,homer's name has been mentioned and mentioned with the respect due one of the greatest painters this country has produced1 but the besetting weakness of picture buyers is undue reverence for the man who has 8arrived10 above all for the master who is dead4 ,better pictures are being painted in ,america today than ,homer painted1 and he would be the first to say so if living4 ,since he painted his best pictures the art of painting has advanced1 painters have improved their technic and broadened their outlook4 ,there are pictures being painted today by young ,americans that will be worth far more than ,homer's1 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 best4 99 99 99 99 99 ,when the ,morgan pictures were hanging in the ,metropolitan ,museum1 acclaimed in parrot phrases by critics and visited by multitudes1 it was a delight1 a veritable refreshing of the soul1 to get away from the smell of the dead into the living atmosphere of the ,hearn collection and see pictures that belong to us1 to our own times1 that are flesh of our flesh1 bone of our bone4 ,every picture in the ,morgan collection had its vital relation ,illustration3 ,,kroll ,brooklyn ,bridge to life once--when it was painted and where it was painted4 ,not one has even a remote relation to the life of ,america4 ,they are valuable1 very valuable1 in the sense that old tapestries1 old armor1 old brocades1 old pottery1 etc41 etc41 are valuable--valuable as illustrating the history and development of painting1 and beautiful as many old things are beautiful--but not half so beautiful as the living and breathing things of today4 99 99 99 99 99 ,but how can we appreciate the beauty of the things our painters and sculptors are doing when we are blind to the superb1 the magnificent beauty of what our engineer-builders are doing--our steel 8sky-scrapers0--,america's greatest achievement and unique contribution to the arts--an absolutely new architecture8 99 99 99 99 99 ,though the artist may be quick to disavow all such intention1 it is obvious that there is much ,post-,impressionism in ,john ,w4 ,alexander's work4 ,in both his technic and his inspiration he is very ,post-,impressionistic4 ,in the delightful sweep of his line1 and the purely decorative use of color1 he departs far from nature4 ,the attitude of ,sargent toward a model or sitter and that of ,alexander are diametrically opposed1 the one seeks to paint a vigorous characterization of the person before him1 the other seeks to create a picture1 and to do so by a technic so different from that commonly used it still occasions much of the wonderment it excited years ago4 ,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 8,maternity0 would be conspicuous4 ,the landscape and cattle piece by ,segonzac are both examples of ,virile-,impressionism4 ,but ,segonzac has painted many other pictures that are ,post-,impressionistic--arbitrary in design and execution1 and still others that are both ,virile-,impressionistic and ,post-,impressionistic1 such as his large canvas1 8,a ,pastoral10 shown at the ,international1 wherein the cattle are ,virile-,impressionistic creations while the nude figures and the entire scheme are purely ,post-,impressionistic4 99 99 99 99 99 ,the two landscapes by ,vlaminck and ,charmy are good examples of the transition state from ,virile-,impressionism to ,post-,impressionism4 ,they are sufficiently close to nature to be ,impressionistic in the large sense of the term2 at the same time they are so arbitrary and decorative in technic as to be quite ,post-,impressionistic4 ,they are about as far removed from the average exhibition of ,impressionistic pictures as they are from the creative and abstract art of the ,cubists1 yet they will hang with either without unduly shocking the spectator's sense of the fitness of things4 99 99 99 99 99 ,the three ,cardoza's are purely ,post-,impressionistic2 they are charming examples of what might be called romantic ,post-,impressionism as distinguished from the more abstract conceptions of the ,cubists2 they have no more relation to life than a fairy tale1 rather less if anything1 for they are primarily decorative rather than significant4 99 99 99 99 99 ,zak's 8,shepherd0 is also ,post-,impressionistic1 romantic in feeling like ,cardoza's1 but of deeper human significance4 ,the utter loneliness of the shepherd's life1 the monotony of its outlook1 the note of resignation1 are all as subtly indicated ,illustration3 ,,charmy ,landscape as are any of the human qualities in ,millet's pictures of peasant life2 yet in technic and composition the picture is essentially ,post-,impressionistic1 a decorative and musical work of the creative imagination4 ,one would not be far astray in classing it with the poetic work of ,arthur ,davies4 ,,xiii ,,sculpture ,developments in sculpture do not always parallel those in painting4 ,in comparison painting is so facile that it lends itself easily to experiments1 responds quickly to moods and fancies4 ,in short1 painting is more susceptible--more volatile4 ,not that the painter and the sculptor are different human beings1 but the mediums whereby they express themselves are so different1 and the demands for their work are so unequal1 that sculpture usually lags behind in new ventures4 ,the sculptor1 however great his desire1 cannot afford to make the experiments the painter makes1 or at the best he can only embody his new ideas and aspirations in uninviting plaster casts4 ,he is bound by some of the conditions that hamper the architect1 one of which is difficulty in finding a patron who will take the risk and pay the expense of innovations4 99 99 99 99 99 ,the reaction in sculpture has been from the classic along two opposed lines3 ,a4 ,back to nature4 ,b4 ,purely creative4 99 99 99 99 99 ,the movement back to nature1 to a closer observation of life1 even to the rendering of the human figure with brutal frankness1 is exemplified in the work of ,matisse1 work so ugly--to most people--it seems a grotesque caricature of ,illustration3 ,,brancusi ,m'lle ,poganey ,illustration3 ,,lehmbruck ,kneeling ,woman the human form1 but the human form today is never so symmetrical1 so perfect as in classic sculpture1 and one suspects the ,greeks themselves idealized their young men and maidens4 ,long before ,matisse1 ,rodin started the 8return to nature40 ,his 8,age of ,bronze10 #ahgg1 was so literal a transcript it was denounced as a cast from life2 sculptors and critics refused to believe human fingers could model so perfect an impression4 ,his 8,saint ,john10 8,eve10 8,bourgeois of ,calais10 8,le ,penseur10 8,la ,belle ,heaulmire10 to mention only a few1 were all created in a spirit diametrically opposed to the classic--yet ,rodin is a most intelligent lover of the classic4 ,per contra1 most of ,rodin's marbles are a fine mixture of the classic and purely modern--of the classic and the romantic4 ,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 modern4 ,it may be said once for all that in the number and variety of things he does1 in the manner in which he links past and present1 ,rodin stands quite alone among sculptors4 ,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 territory1 responded to so many impulses1 ancient and modern1 he is not unnaturally reluctant to embark upon new experiments or interest himself vitally in what others are doing4 99 99 99 99 99 ,the best ,american sculpture1 even more than ,american painting1 is solidly virile-impressionistic1 notably the work of such men as ,barnard and ,borghlum4 ,davidson has one foot firmly planted within the confines of ,post-,impressionism1 but he has by no means cut loose from the past4 ,his 8,decorative ,panel0 in the ,exhibition was purely post-impressionistic1 a work of the imagination1 while his figures were virile-impressionistic4 99 99 99 99 99 ,it is only by comparing the work of these new men with that of ,st4 ,gaudens1 ,french1 ,mac,monies--to mention no others--that one begins to rightly understand what is meant by the 8reaction to nature40 ,there is plenty of pure observation and plenty of fine imagination in the work of those three men1 but there is also much of the purely classical1 and not one of them showed or shows any desire to break with tradition1 while the very essence of the modern movement is a disregard1 conscious or unconscious1 for tradition2 in many of the new men there is a violent revolt against the domination of the past4 99 99 99 99 99 ,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 lines4 ,nature is purposely left far behind1 as far behind as in ,cubist pictures1 and for very much the same reasons4 ,of ,brancusi something has been said already4 ,of all the sculpture in the ,international ,exhibition the two pieces that excited the most ridicule were ,brancusi's egg-shaped portrait of ,mlle4 ,pogany and 8,family ,life0 by ,archipanko4 ,both are creative works1 products of the imagination1 but in their inspiration they are fundamentally different4 99 99 99 99 99 ,in his symmetrical oval head with the spiral masses where the neck would be1 it is apparent the sculptor's interest is in the play of line and relation of masses1 no profound human problem troubled him4 ,that there is a relation between the strange shape of the head and his theories of life and art no ,illustration3 ,,boccioni ,spiral ,expansion of ,muscles in ,action ,illustration3 ,,matisse ,portrait ,heads serious observer of his other work could doubt1 but his unusual technic over-shadows other interest4 99 99 99 99 99 ,in his 8,family ,life10 the group of man1 woman1 child1 ,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 existence4 ,spiritual1 emotional1 and mathematical intellectuality1 too1 is behind the family group of ,archipanko4 ,this group1 in plaster1 might have been made of dough4 ,it represents a featureless1 large1 strong male--one gets the impression of strength from humps and lumps--an impression of a female1 less vivid1 and the vague knowledge that a child is mixed up in the general embrace4 ,the faces are rather blocky1 the whole group with arms intertwined--arms that end suddenly1 no hands1 might be the sketch of a sculpture to be4 ,but when one gets an insight it is intensely more interesting4 ,it is1 eventually1 clear that in portraying his idea of family love the sculptor has built his figures with pyramidal strength2 they are grafted together with love and geometric design1 their limbs are bracings1 ties of strength1 they represent1 not individuals1 but the structure itself of family life4 ,not family life as one sees it1 but the unseen1 the deep emotional unseen1 and in making his group when the sculptor found himself verging upon the seen--that is1 when he no longer felt the unseen--he stopped4 ,therefore the hands were not essential4 ,and this expression is made in the simplest way4 ,some will hoot at it1 but others will feel the respect that is due one who simplifies and expresses the deep things of life4 ,you may say that such is literature in marble--well1 it is the modernest sculpture4#ff 99 99 99 99 99 ,the group is so angular1 so ,cubist1 so ugly according to accepted notions1 that few look long enough to see what the sculptor means2 yet strange as the group was it undeniably gave a powerful impression of the binding1 the blending character of the family tie1 a much more powerful impression than groups in conventional academic pose could give4 ,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 altars4 ,true1 those sculptures and carvings are naive and primitive1 but may not the naive and primitive be closer to life and to life's great truths than the sophisticated and classical8 ,that is the question4 ,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 academic1 then back again to the naive1 traversing the romantic1 in its course1 both ways4 ,illustration3 ,,matisse ,back of ,woman ,illustration3 ,,erbsloh ,young ,woman ,,xiv ,,in ,,conclusion ,to gather the loose ends of the argument in one skein4 99 99 99 99 99 ,impressionism was the natural1 the inevitable reaction from the romantic and story-telling art of the forties1 fifties1 and sixties--a return to nature from the studio1 to works of the observation from works of the imagination4 ,impressionism developed along three diverging lines3 ,a4 ,superficial ,impressionism--,monet4 ,b4 ,realistic ,impressionism--,manet4 ,c4 ,substantial ,impressionism--,czanne4 99 99 99 99 99 ,a4 ,superficial--the painting of light effects1 the impressionism of ,monet1 culminated in the extreme refinements of the pointillists1 the ,neo-,impressionists1 ,seurat and ,signac4 ,in superficial ,impressionism the last word seems to have been said for the time being4 ,any number of delightful pictures--light effects--are being painted1 and will continue to be painted1 but the early enthusiasm has largely subsided4 ,superficial ,impressionism leads naturally to the painting of pure color effects--color music1 orphism1 compositional painting4 ,after the last word in the observation of light effects ,post-,impressionistic attempts to create pure color effects1 irrespective of natural--that is a logical reaction4 ,b4 ,realistic ,impressionism penetrates a little deeper4 ,while ,monet and his followers1 ,signac and ,seurat1 dealt more and more with the play of light on the surface of things1 ,manet and his followers painted closer to the heart of things4 ,while ,monet was content to paint a hay stack twenty times in as many different lights1 ,manet preferred a touch of life and character in his pictures4 ,while he was first and last a painter1 he was not so absorbed in securing purely technical effects as to be wholly blind to the human element1 hence his wonderful portraits1 his bullfights1 his glimpses of city life--pictures big in more senses than one4 ,still he and his followers were primarily interested in the aspect of things1 the characteristics as distinguished from the fundamental character of things4 ,he penetrated far deeper than ,monet1 so much deeper the two had little in common1 but he did not get so close to the heart that he forgot the skin2 he was always a painter of appearances1 but in a big as distinguished from a superficial way4 ,the realistic ,impressionism of ,manet has by no means run its course4 ,some of the finest painting in the world has been done and is being done along this line4 ,it is the line of ,franz ,hals and ,velasquez2 it is the line of men so different as ,whistler and ,sargent in their best portraits4 ,the natural reaction from perfection in this line is higher accentuation of characteristics--in the extreme caricature4 ,that is1 given the last word in the painting of character by great men in a solid way1 the logical attempts of new men or lesser men will be the indication of character in a lighter and more superficial way4 ,the penetrating observation of the older men gives way to the keen and playful fancies of the younger4 ,the same sitter yields with the former a powerful portrait1 with the latter a fascinating picture which may be quite as revealing both as a likeness and as a characterization4 ,c4 ,substantial ,impressionism is not so easy to define and differentiate4 ,it is far from superficial but has much in common with realistic4 ,it is easiest to simply say it is the ,impressionism of ,czanne and those who have read what has already been said about ,czanne will understand4 ,czanne was not content to paint either the surface or the characteristics of things or people2 he sought to go deeper1 to get at the very substance and to place on canvas their elemental qualities4 ,as a natural result the longer he painted the less interesting his pictures became superficially1 but the greater their interest fundamentally4 ,while ,monet became more and more a popular painter1 a painter for the dealer and the buyer1 ,czanne became more and more a painter's painter1 doing things that only the technically skilled could rightly appreciate4 ,interested solely in the profoundest problems of his art and painting only for those who had a very great knowledge of art1 he attracted comparatively few followers2 the path he followed promised little in the way of immediate fame and rewards4 ,still during his last years he had his ardent admirers and after his death his simple1 strong constructive1 elemental pictures began to be widely appreciated4 ,they make no pretense to the superficial charm of color or composition that attracts the average observer1 but they fascinate every man who studies things long enough to even partially understand what the artist was so earnestly trying to do4 ,substantial or ,czanne ,impressionism led naturally to the ,virile-,impressionism of today1 a way of seeing and painting things that is a compound of the ,impressionism of ,manet with that of ,czanne4 ,there is a great and glorious future for ,virile-,impressionism4 ,some of the greatest portraits and pictures in the world will be painted with the penetrating vision of a ,czanne1 modified by the clear1 cool observation of a ,manet4 ,the logical reaction from carrying observation of nature to the extent ,czanne carried it is painting of the substance of things creatively1 theoretically1 as in ,cubism4 ,czanne carried the use of planes imitatively so far that it was but a step to their use arbitrarily and scientifically4 ,substantial ,impressionism leads naturally to substantial ,post-,impressionism2 or in other words1 the substance of things painted impressionistically 7more or less imitatively7 leads logically to the painting of the substance of things creatively ,post-,impressionistically4 ,illustration3 ,,kroll ,still ,life ,,appendix ,i ,,exhibitions ,,at #bia ,,fifth ,,avenue ,during a number of years prior to #aiac ,mr4 ,alfred ,stieglitz gave exhibitions of extreme modern work in his ,small ,photo-,secession ,gallery1 #bia ,fifth ,avenue1 ,new ,york1 and the ,international was the outcome1 the logical culmination of these earlier efforts4 ,mr4 ,stieglitz prepared the following chronological narrative3 ,in the end of ,november1 #aijf1 8#bia0 78,photo-,secession ,gallery10 8,little ,gallery10 etc41 etc47 was opened with an exhibition of pictorial photography4 ,the exhibition represented the best work of ,steichen1 ,frank ,eugene1 ,kasebier1 ,clarence ,white1 ,stieglitz1 ,coburn1 ,brigman1 ,herbert ,g4 ,french1 and about thirty others1 all ,americans4 ,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 over4 ,in #aijg the first exhibition not devoted to photography was that of ,miss ,pamela ,coleman ,smith4 ,this exhibition created a sensation4 ,at the time it aroused the ire of most of the ,new ,york critics4 ,following this there were shown ,willie ,geiger's 7,munich7 best etchings and ,ex ,libris4 ,this was the first show of his in ,america4 ,but the real beginning1 ,i suppose1 of the so-called ,modern work shown at 8#bia0 was the exhibition of about sixty of ,rodin's choicest drawings4 ,these were selected by ,rodin and ,steichen for the special exhibition4 ,the exhibition aroused intense indignation in ,new ,york amongst the critics and amongst most painters 7men like ,chase1 ,alexander1 and others of this type feeling that such things were not meant for the public74 ,april1 #aijh1 ,matisse was introduced to the ,american public for the first time4 ,this exhibition of ,matisse's represented the complete evolution of ,matisse from his academic period up to date4 ,it included etchings1 drawings1 water colors1 lithographs1 and oil paintings4 ,january1 #aiji1 the work of ,marius ,de ,zayas was introduced for the first time4 ,march1 #aiji1 ,john ,marin and ,alfred ,maurer 7the 8new0 ,maurer7 were introduced4 ,the work of these ,americans seemed to upset the equilibrium of the academicians even more than the 8jokes0 of ,rodin and ,matisse4 ,may1 #aiji1 ,marsden ,hartley was introduced to the public for the first time4 ,december1 #aiji1 ,toulouse ,lautrec ,exhibition4 ,a very choice collection of his lithographs4 ,first ,lautrec ,exhibition in ,america4 ,february1 #aiaj1 second ,marin ,exhibition4 ,march1 #aiaj1 exhibition of the work of 8,younger ,american ,painters03 ,arthur ,g4 ,dove1 ,arthur ,b4 ,carles1 ,l4 ,fellows1 ,marsden ,hartley1 ,putnam ,brindley1 ,john ,marin1 ,alfred ,maurer1 ,steichen1 ,max ,weber4 ,this was the first collective exhibition of ,modern work by ,americans4 ,april1 #aiaj1 second ,rodin ,exhibition4 ,the very latest drawings of ,rodin were shown1 together with eleven of his earliest ones4 ,at the same time the best small bronze of the 8,penseur0 7loaned by ,mrs4 ,john ,w4 ,simpson7 was exhibited4 ,november1 #aiaj1 ,exhibition of lithographs by ,czanne1 ,renoir1 ,manet1 and ,toulouse ,lautrec4 ,together with these1 drawings and paintings by ,henri ,rousseau1 just deceased4 ,this exhibition introduced ,rousseau for the first time to ,america1 as well as it introduced ,czanne4 ,january1 #aiaa1 ,exhibition by ,max ,weber1 ,american4 ,february1 #aiaa1 ,marin ,exhibition 7third74 ,march1 #aiaa1 a series of ,czanne water colors4 ,the first one-man show of ,czanne's in ,america4 ,these water colors were most carefully selected and really represent a side of ,czanne which is underestimated by all those1 even ,czanne lovers1 who do not fully understand ,czanne's importance4 ,april1 #aiaa1 ,picasso4 ,drawings1 lithographs1 water colors1 etc4 ,a series of eighty showing the complete evolution of ,picasso4 ,the first introduction of ,picasso to ,america and the first exhibition anywhere of ,picasso held in this sense4 ,february1 #aiab1 second ,hartley exhibition4 ,february1 #aiab1 first ,arthur ,g4 ,dove exhibition4 ,march1 #aiab1 sculptures and latest drawings by ,matisse4 ,first introduction to ,america of ,matisse1 the sculptor4 ,april1 #aiab1 ,exhibition of ,children's ,work1 showing relationship of that to much of the spirit of so-called 8,modern0 work1 first exhibition of its kind held in ,america4 ,december1 #aiab1 drawings and paintings by ,a4 ,walkowitz4 ,january1 #aiac1 fourth ,marin ,exhibition--the now famous ,new ,york skyscraper series were shown4 ,march1 #aiac1 ,picabia's ,new ,york work4 ,the first one-man show of ,picabia held in ,america4 ,april1 #aiac1 ,exhibition of ,de ,zaya's abstract caricature4 ,possibly the most modern expression of the human portrait4 ,incidentally1 without having had official shows1 the work of ,eli ,nadelmann 7,paris7 and ,manolo1 was introduced to ,america by examples of their work being shown4 ,outside of all these exhibitions1 of course1 must be added the exhibition of color-photography1 first in ,america1 in #aijg1 and numerous other exhibitions1 of important photographic work4 ,,appendix ,,ii ,,two ,,comments ,it is only fair to the press to say that here and there1 in most unexpected places1 not only articles but editorials appeared admonishing the public to be cautious about condemning the new art too impulsively4 ,we have chosen two such expressions from places so different1 as ,london1 and ,reno1 ,nevada4 ,apropos the ,russian ,ballet and its extraordinary music1 the ,london 8,times10 in a leading editorial1 ,july #ac1 #aiac1 said3 8,we have entered into one of those periods of artistic revolution in which the public1 audience1 or spectators become partisans and express their opinions as if they were at a political meeting4 ,the ,russian ,ballet1 for instance1 produced a conflict of opinion last ,friday1 which recalls the conflicts provoked by the plays of ,victor ,hugo in the thirties4 ,post-,impressionism now is what the ,romantic movement was then4 ,to one party it means the end of all beauty2 to the other a new birth of it4 ,people no longer clap or hiss because they think a particular performance is well or ill done4 ,even in ,england1 where the arts are not commonly taken very seriously1 they are beginning to clap or hiss on principle1 and to feel that they are making history when they do so4 ,partisans on both sides are probably not very clear in their minds why they like ,post-,impressionism or dislike it2 but the word1 vague and clumsy as it is1 does imply to them a set of tendencies by which all the arts may be ruined or regenerated4 ,it is not merely a fashion in painting1 but1 like ,romanticism1 a movement of the mind which is trying to express itself through all means of artistic expression4 8,of this the new turn taken by the ,russian ,ballet is a striking proof2 for no one can suppose that the artists concerned in that enterprise are haters of beauty because of their own incompetence to achieve it4 ,they have every material inducement to continue delighting the world with ,ballets like ,carnival or ,scheherazade2 and1 if they attempt a new kind of art1 it must be because they are driven to it by some force in themselves too powerful to be withstood4 ,masters like ,m4 ,nijinsky do not try dangerous experiments on the public for the mere pleasure of trying them2 and it is a little presumptuous to assume that they are suddenly afflicted by sheer perversity of taste4 ,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 science1 indeed to all men whose interest in life is stronger than their desire for their own comfort4 8,most people make the mistake of thinking that the development of an art consists altogether of what is called invention and not of discovery2 and for that reason they often resent innovations as mere perversities4 ,if a thing has been well done already they cannot see why it should not continue to be done4 ,but the artist knows that he cannot invent again what has been once invented4 ,he knows1 too1 that these seeming inventions are also discoveries of the possibilities of his art2 and that when discovery has been carried very far in one direction it cannot be carried any further4 ,the history of all arts proves this4 ,after ,michel ,angelo no one could invent anything fresh in his manner1 because he had discovered all that could be discovered about his method of art4 ,renaissance architecture prevailed in ,europe because no new discoveries were possible in ,gothic4 8,the ,romantic movement changed ,english poetry when there was nothing more to be said in the manner of ,pope4 ,you may prefer the old art to the new1 but even if you are right in preferring it1 you are not therefore right in condemning those who practice the new art4 ,for they have no alternative4 ,either they must be mere imitators of the great men of the past or they must make a new start2 and the true artist can no more content himself with imitation than the true philosopher can content himself with repeating what other philosophers have said4 8,behind all representation in the arts there is the impulse of expression2 and that will make its discoveries wherever there is most to be discovered1 turning naturally to those elements of the art which have lately been neglected4 ,if we understand this we shall see that a new artistic movement1 such as ,post-,impressionism1 is not to be judged merely by a few pictures or to be condemned because those pictures seem to us very unlike reality4 ,whatever may come of it1 it is something that is happening in all the arts1 because discovery is turning in a new direction4 ,all the successes of the past are obstacles to new success of the same kind1 and discovery naturally takes a line of least resistance away from them4 ,for a long time1 in every art1 artists have been raising expectations which they found it difficult1 if not impossible1 to satisfy4 ,in painting1 with its effort at complete illusion1 they have provoked comparisons with ,velasquez4 ,in music1 with its elaborate forms1 they must do as well as ,beethoven if they are to succeed4 ,the dance1 as we are used to it1 demands an easy grace in every movement1 which ,m4 ,nijinsky himself cannot combine with novelties of expression4 ,he has found that1 if he is to be a discoverer in his art1 he must teach his public not to expect this easy grace1 this formal and accustomed beauty1 from the start4 ,and that is the purpose of ,post-,impressionism in all the arts4 ,it is determined not to arouse expectations which it cannot satisfy4 8,the public may begin by thinking it all crude and ugly and childish2 and it will be the more delighted by any beauties which it discovers afterwards4 ,hitherto the arts have promised more than they could possibly perform4 ,now they shall promise nothing1 and so perform at least more than they promise4 ,it is natural1 perhaps1 that the public should resent this as a kind of discourtesy4 ,the artist who makes no professions seems to them lacking in respect1 and they are inclined to hoot him as an impudent charlatan4 ,but there are very few artists who wish to be hooted1 and the real charlatan usually flatters his public4 ,whatever may be said against ,post-,impressionists in all the arts1 they are not flatterers40 99 99 99 99 99 ,it is a far cry from ,london to ,reno1 and the differences between the two places are not measured by the miles between them4 ,leading editorial from the 8,journal10 ,reno1 ,july #aa1 #aiac3 ,,simple ,,solomon 8,when ,solomon staked his reputation for wisdom as well as originality on the assertion that there is nothing new under the sun1 he did not think some day the ,cubist painter1 the ,futurist artist1 and the color musician would rise in the twentieth century and make him ridiculous4 ,there is something new under the sun even in these departures1 and like everything original since the first sin1 the innovations are now roundly condemned4 8,it is the fashion now to condemn the ,cubist and the ,futurist in art1 even as not long ago it was the fashion to condemn the realist1 the impressionist and the ,post-,impressionist2 but it is a peculiar tribute to the authority of an innovation that it requires such a general attack of condemnation4 ,a trivial thing requires mere neglect2 a war of condemnation implies some strong and virile thing to be subdued4 8,these new things have a substantial basis for existence2 else they would not exist4 ,their novelty has caused some extravagant adherents to carry them to unreasonable excess4 ,they have abused the discoveries1 not used them4 ,they will pass away but the new principles will survive4 8,the cubist takes his cue from the idea of perspective itself--carried to excess4 ,no one can imagine anything but straight lines as the basis for #8vanishing points4' ,curved lines1 while apparent and obvious1 are not the scientific representations of actualities4 ,the things we see strike the eye on the basis of flat images and our imagination brings out shape and significance4 ,it is but a simple reversal to present flat art and give the imagination equal play in reconstructing real images in the eye4 8,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 light1 shade and line4 ,magnify a half-tone #ajj times and we have a large grating of black and white circles or squares4 ,that is cubist art4 ,it requires a slight shift in the point of view1 a little development and stimulation of the imagination--nothing more4 8,when ,gulliver visited the ,brobdingnagians and viewed the complexions of their women at close range1 it almost made him sick--yet they were noted beauties4 ,he looked too close4 ,when they looked at him they observed no complexion--they looked too far4 ,yet each had a concrete complexion and the only trouble was the point of view and the shock of comparison4 8,the futurists have a very novel and1 at this time1 an outlandish art4 ,one of them has a full page picture used as an advertisement of the peculiar sound of a horn4 ,it is a picture of a sound that saws its way through other sounds4 ,there is a straight1 fan-like picture for a constant1 augmenting note1 rising in scale4 ,it is gray4 ,there is a black ellipse for a loud varying noise of fairly regular variation of note1 and so on4 ,the foreign noise of the horn is shown as utterly unlike in form1 intensity1 regularity or harmony1 any other sound4 8,if one has a diagram one can understand the futurist art and1 when one understands1 he approves4 ,the new arts are simply aids to comparison1 discrimination and inspiration4 ,they have all the delights of wine-tasting or salad-judging--and some salads are vile4 8,the color musician has developed only another exercise in discrimination4 ,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 apart2 a constant relation between the vibrations in the natural and the sharp2 a direct ratio between the vibrations of the notes in a chord2 a formula for harmony and another for discord4 ,it is an interesting mathematical study1 a science as well as an art1 and it proves that our appreciation through the senses is based on natural mathematical sequences and on well understood ratios1 seasoned for variety's sake by divergences from type4 8,now the color musician has taken the spectrum and made notes out of it like the notes on the gamut4 ,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 ear4 ,he merely brings out an extra way of enjoying distinctions and of enjoying that most restful of enjoyable things--conventionality4 ,the certainty and the satisfaction of the conventional is about the most assuring thing in all experience4 ,there is no more steadying feeling in all the world than to know that two and two make four1 and that c-a-t spells cat4 ,the more ways by which we can be assured of the belief we hold by faith1 that there is an uniform1 unchanging1 all-pervading rule in the world1 arguing an individual1 mastering central consciousness and direction1 the happier we are4 8,the cubists and the futurists and the color musicians may be faddists1 but they help to drive out old ,solomon's pessimism4 ,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 are40 ,,bibliography ,,english ,in attempting this bibliography of the modern movement in art1 the search in periodical literature in ,england1 ,france1 and ,germany has been carried back no farther than #aijh4 ,,is ,,art ,a ,,failure8 by ,robert ,fowler4 ,nineteenth ,century1 ,july1 #aiab4 ,,art1 ,a ,,new ,,venture ,,in4 ,exhibition at the ,omega ,workshops4 ,times1 ,july #i1 #aiac4 ,,bakst1 ,,leon4 ,art ,exhibitions4 ,a ,great ,designer4 ,times1 ,june #ag1 #aiab4 ,morning ,post1 ,june #ah1 #aiab4 ,,bakst1 ,,leon4 ,exhibition4 ,athenaeum1 ,july #f1 #aiab4 ,,berlin ,,secession4 ,for short notices on see 8,studio03 ,,li1 p4 #bda2 ,,li1 p4 #cbh2 ,,lii1 p4 #fh2 ,,lii1 p4 #aec2 ,,lii1 p4 #bdj2 ,,liii1 p4 #cbd2 ,,liv1 p4 #hd2 ,,lv1 p4 #ei2 ,,lv1 p4 #bdi2 ,,lvi1 p4 #bda4 ,c,,zanne4 ,article by ,maurice ,denis4 ,burlington ,magazine1 ,,xvi ,part ,i1 p4 #bjg2 ,part ,,ii1 p4 #bge4 ,czanne4 ,manet and the ,french ,impressionists4 ,pissaro--,claude ,monet--,sisley--,rnoir--,berthe ,morisot--,czanne--,guillaume4 ,translated by ,j4 ,e4 ,crawford ,flitch4 ,illustrated with #cd etchings1 #d wood engravings1 and #cb reproductions in half-tone ,no4 #i by ,theodore ,duret4 ,j4 ,b4 ,lippincott ,co41 ,philadelphia1 #aiaj4 ,c,,zanne4 ,czanne and ,gauguin4 ,athenaeum1 ,dec4 #b1 #aiaa4 ,c,,zanne4 ,czanne and ,gauguin4 ,london ,times1 ,nov4 #bh1 #aiaa4 ,,courbet4 ,exhibition4 ,times1 ,march #h1 #aiaa4 ,,cubists4 ,cubism4 ,albert ,gleizes and ,jean ,metzinger4 ,translated from the ,french1 with illustrations4 ,t4 ,fisher ,unwin1 #aiab4 ,,drama ,,and ,,art1 ,,the ,,new ,,spirit ,,in4 ,huntley ,carter4 ,london1 ,frank ,palmer1 #aiab4 ,,futurists4 ,athenaeum1 ,march #i1 #aiab4 ,,futurists4 ,spectator1 ,march #af1 #aiab4 ,,futurists4 ,the ,initial ,manifesto of ,futurism4 ,f4 ,t4 ,marinetti4 ,printed in the ,catalogue of ,exhibition in the ,sackville ,gallery1 ,london1 of works by the ,italian ,futurist painters1 ,march1 #aiab4 ,,futurists4 ,severini 7,gino74 ,introduction to catalogue of his pictures on view at the ,marlborough ,galleries1 ,duke street1 ,london1 #aiac4 ,,gauguin4 ,czanne and ,gauguin4 ,london ,times1 ,nov4 #bh1 #aiaa4 ,,harrison1 ,,frederic4 ,aischro ,latreia--,the ,cult of the ,foul4 ,nineteenth ,century1 ,february1 #aiab4 ,,hind1 ,c4 ,,lewis4 ,the ,consolations of a ,critic4 ,london1 ,a4 and ,c4 ,black1 #aiaa4 ,,hourticg1 ,,louis4 ,art in ,france4 ,london1 ,heinemann1 #aiaa4 ,,huneker1 ,,james4 ,promenades of an ,impressionist4 ,,impressionists4 ,the ,post ,impressionists4 ,article by ,clutton-,brock 7,a71 ,burlington ,magazine1 ,,xviii1 p4 #baf4 ,,international ,,society4 ,exhibitions4 ,times1 ,april #h1 #aiaa2 ,spectator1 ,april #ae1 #aiaa4 ,,london ,,salon4 ,see ,times ,july #h1 #aiaa2 ,july #cj1 #aiab1 ,effects of ,artistic ,freedom2 ,july #g1 #aiac4 ,,maccoll1 ,d4 ,s4 ,ugliness1 ,beauty and ,mr4 ,frederic ,harrison4 ,nineteenth ,century1 ,march1 #aiab4 ,,maillol4 ,the ,sculpture of ,maillol4 ,roger ,fry4 ,burlington ,magazine1 ,,xvii1 p4 #bf4 ,,meier-,,graefe1 ,,alfred ,,julius4 ,modern ,art1 ,being a ,contribution to a ,new ,system of ,aesthetics4 ,translated from the ,german by ,florence ,simmons and ,george ,w4 ,chrystal4 #b vols4 ,london1 #aijh4 ,,munich ,,neue ,,vereinigung4 ,studio1 ,,liii1 p4 #cbj4 ,,new ,,english ,,art ,,club ,,exhibition4 ,spectator1 ,nov4 #cj1 #aiab4 ,,post ,,impressionists4 ,the ,post ,impressionists4 ,c4 ,lewis ,hind4 ,london1 ,methuen ,co41 #aiaa4 ,,post ,,impressionists4 ,review of ,mr4 ,hind's ,book4 ,athenaeum1 ,july #h1 #aiaa4 ,,post ,,impressionists4 ,notes on the ,post ,impressionist ,painters at the ,grafton ,galleries4 ,c4 ,j4 ,holmes4 #aiaj-aiaa4 ,,post ,,impressionists4 ,on ,post ,impressionism4 ,sir ,william ,richmond4 ,times1 ,jan4 #aj1 #aiaa4 ,,post ,,impressionists4 ,pages on ,art4 ,charles ,ricketts4 ,containing article on ,post-,impressionism at the ,grafton ,gallery4 ,london1 ,constable ,co41 #aiac4 ,,post ,,impressionists4 ,french ,artists of ,today4 ,london1 ,heinemann1 #aiab4 ,,post ,,impressionists4 ,from ,impressionism to the ,spectral ,palette4 ,h4 ,p4 ,h4 ,friswell4 ,saturday ,review1 ,feb4 #bc1 #aija4 ,,post ,,impressionists4 ,foreword to catalogue of exhibition by ,frank ,rutter4 ,dor ,galleries1 ,london4 ,,post ,,impressionists4 ,letter on ,the ,post ,impressionists at the ,grafton ,gallery4 ,a4 ,warren ,dow4 ,spectator1 ,oct4 #ab1 #aiab4 ,,post ,,impressionists4 ,athenaeum1 ,jan4 #g1 #aiaa2 ,december1 #aiaa4 ,,post ,,impressionists4 ,a ,year of ,post-,impressionism4 ,d4 ,s4 ,mac,coll4 ,nineteenth ,century1 ,february1 #aiab2 8,the ,spectral ,palette10 ,saturday ,review1 ,feb4 #i1 #aija4 ,,post ,,impressionists4 ,the ,post ,impressionist and ,others4 ,yoshio ,markino4 ,nineteenth ,century1 ,february1 #aiac4 ,,revolution ,,in ,,art4 ,athenaeum1 ,feb4 #d1 #aiaa4 ,,rodin1 ,,auguste4 ,art4 ,from the ,french of ,paul ,gsell4 ,london1 ,hodder ,stoughton4 ,,sculpture4 ,gills1 ,eric4 ,times1 ,jan4 #bg1 #aiaa4 ,,sculpture4 ,post ,impressionist ,sculptures4 ,athenaeum1 ,jan4 #bh1 #aiaa4 ,,sculpture4 ,the ,sculpture of ,maillol4 ,roger ,fry4 ,burlington ,magazine1 ,,xvii1 p4 #bf4 ,,van ,,gogh4 ,the ,letters of a ,post ,impressionist1 ,being the ,familiar ,correspondence of ,vincent ,van ,gogh4 ,translated from the ,german by ,anthony ,m4 ,ludovici4 ,london1 ,constable ,co41 #aiab4 ,,van ,,gogh4 ,review of ,v4 ,van ,gogh's ,letters4 ,athenaeum1 ,dec4 #ba1 #aiab4 ,,van ,,gogh4 ,riefstahl1 ,r4 ,meyer4 ,part ,i1 ,vincent ,van ,gogh1 ,burlington ,magazine1 ,,xviii1 p4 #ia2 ,part 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,persnliche ,erinnerungen an ,vincent ,van ,gogh1 ,mnchen1 #aiac2 ,r4 ,piper ,co41 #c;d ed42 #bd plates4 ,entwickelung des ,impressionismus in ,malerei u4 ,plastik v4 ,meier-,graefe1 ,secession ,wien4 ,entwickelungsgeschichte der ,modernen ,kunst von ,j4 ,meier-,graefe ,i4-,,iii4 7,,iii4 ,band ,abbildungen71 ,verlag ,jul ,hoffmann1 ,stuttgart4 ,erinnerungen an--von ,emile ,bernard1 ,kunst u4 ,knstler1 ,,vi1 p4 #dba-dbi1 p4 #dge-dhj1 p4 #eba-ebg4 #aijh4 ,erster ,deutscher ,herbstsalon ,berlin #aiac1 ,der ,sturm1 ,berlin ,w4 #i1 ,potsdamerstrasse #acd;a1 mit einer ,vorrede von ,herwarth ,walden4 ,fischer1 ,otto1 ,das neue ,bild1 published by the ,new ,mnchen ,artists' ,league2 ,mnchen1 #aiab2 ,delphin ,verlag2 #d1 with #cf art plates4 ,franzsisch ,importen von ,felix ,lorenz1 ,die ,kunstwelt1 ,,iii4 p4 #gjj-gja4 #aiab4 ,friedrich1 ,hans1 ,hodler1 die ,schweiz und ,deutschland1 ,mnchen2 ,james ,verlag1 #aiac4 ,futuristen und ,genossen bei der ,arbeit1 ,die ,kunstwelt1 ,,ii4 #c4 p4 #ahi-aia1 #aiab4 ,futuristen v4 ,rud4 ,klein1 ,berlin1 ,deutsche ,kunst u4 ,dekoration1 ,,xxx4 p4 #bgd-bgg1 #aiab1 ,darmstadt4 ,gauguin1 ,paul1 ,noa-,noa1 ,berlin1 ,cassirer1 #aiaa1 #b;d ed4 ,gogh1 ,v4 ,von1 ,briefe deutsche ,ausgabe besorgt von ,m4 ,mauthner1 ,,ii4 ,auflage1 ,bruno ,cassierer1 ,berlin4 ,gott schtz die ,kunst1 von ,terentius1 ,die ,kunstwelt1 ,,ii4 p4 #cec-cfj4 #aiab4 ,hausenstein1 ,wilh41 ,die ,neue ,kunst2 ,zur ,naturgeschichte der ,kritik1 ,in ,katalog der ,,ii1 ,gesamtausstellung ,neue ,kunst1 ,hans ,goltz1 ,mnchen1 #aiac2 illustrated4 ,hausenstein1 ,w41 ,die bildende ,kunst der ,gegenwart1 ,stuttgart1 ,deutsche ,verlagsanstalt1 #aiad4 ,hermann1 ,curt1 ,der ,kampf um den ,stil4 ,probleme der modernen ,malerei1 with #h autotypes2 ,berlin1 ,ed4 ,reiss' ,verlag1 #aiaa2 #h4 ,hildebrand1 ,hans1 ,adolph ,stlzel als ,zeichner1 ,stuttgart1 ,deutsche ,verlagsanstalt1 #aiac2 #h4 ,impressionismus4 ,ein ,problem der ,malerei i4 d4 ,antike und ,neuzeit von ,werner ,weisbach ,i41 ,berlin #aiaj1 ,,ii4 #aiaa4 ,impressionismus v4 ,laforgue1 ,kunst u4 ,knstler1 ,,iii4 p4 #eja-ejf4 ,impressionisten ,gugs-,maud van ,gogh1 ,pissarro-,czanne1 ,,ii1 ,aufl4 ,mnchen u4 ,leipzig #aijg4 ,impressionistische ,weltanschauung v4 ,scheffler1 ,k41 ,zukunft1 ,,xlv4 p4 #ach-adg4 ,jacob1 ,les oeuvres burlesques et mystiques de ,frre ,natorel mort au ,couvent1 illustrated with wood cuts by ,andr ,drain2 ,paris1 #aiab4 ,jacob1 ,saint ,natorel1 illustrated with water colors by ,pablo ,picasso1 ,paris1 #aiaa4 ,kampf1 ,im-um die ,kunst1 ,reply to the 8,protest by ,german ,artists10 ,mnchen1 ,r4 ,piper ,co41 #aiaa2 #h4 ,kandinsky ber das ,geistige in der ,kunst1 ,mnchen #aiab1 ,verlag ,piper ,co4 ,kandinsky1 ,ueber das ,geistige in der ,kunst1 insbesondere in der ,malerei1 ,mnchen1 ,r4 ,piper ,co41 #aiab2 #h4 ,katalog der ,sonderausstellung v4 ,v4 van ,gogh1 ,amsterdam1 ,stdt4 ,museum #aije4 ,kritik seiner ,arbeiten1 ,pariser ,herbstsalon4 ,s4 #dg-dh1 ,zeitschrift fr ,bildende ,kunst1 ,,xvii4 #aijf-jg4 ,kubisten u4 ,nazarener1 ,knstchr41 ,,xxiv4 p4 #aac-aae4 ,kunst1 ,deutsche und franzsische1 ,a symposium of ,german artists1 gallery directors1 collectors and authors2 ,mnchen1 ,r4 ,piper ,co41 #aiac2 #ho4 ,kunst und ,knstler1 ,v4 p4 #cci-cei1 #aijg4 ,kunst und ,knstler1 ,,vi4 p4 #cee-cgf1 #aijh4 ,kunstchr41 ,zeitschrift fr bildende ,kunst1 ,,xiv4 p4 #dbj4 #aijb-jc4 ,le ,fauconnier1 ,die ,auffassung unserer ,zeit und das ,gemlde1 translated by ,gertrude ,osthaus in connection with the exposition at the ,folkwang museum in ,hagen1 ,westphalia1 ,mnchen1 #aiac2 #ho4 ,malerische ,impressions und ,koloristische ,rythmus1 ,beobachtungen ber ,malerei der ,gegenwart von ,wilh4 ,neimeyer4 ,sonderbund ,ausstellung #aiaj1 ,dsseldorf1 mit ,abbildungen unter anderen von ,a4 v4 ,jawlensky1 ,henri ,matisse1 ,w4 ,kandinsky4 ,marinetti1 ,f4 ,p41 ,le ,futurisme1 ,tours1 #aiaa2 ,e4 ,arrauset ,cie4 ,meier-,graefe1 ,paul ,czanne1 ,mnchen1 #aiaj1 ,r4 ,piper ,co42 #dth-#fth ed41 #aiac4 ,neue ,kunst1 ,katalog der ,,ii4 ,gesamtausstellung ,august-,september1 #aiac4 ,hans ,goltz1 ,mnchen1 ,odeonsplatz #a 7mit ,abbildungen von ,picasso1 ,matisse1 ,kandinsky1 ,jawlensky74 ,noa-,noa-,tagebuch1 p4 #gh-ha1 p4 #abe-abg1 ,kunst u4 ,knstler1 ,,vi4 p4 #afj-afd1 #aijh4 ,noa-,noa von ,p4 ,fechter-,aufenthalt in ,tahiti1 ,kunst fr ,alle1 #jh4 ,,xxiii4 ,s4 #bej-bee4 ,notiz ber ,kandinsky1 p4 #dcd4 ,kunst fr ,alle ,,xxvii4 ,notizen eines ,malers1 ,kunst u4 ,knstler1 ,,vii4 p4 #cce-cdg1 #aiji4 ,paris auf der ,juryfreien ,kunstchau in ,berlin v4 ,j4 v4 ,blow1 ,kunstchr41 ,,xxiv4 p4 #bdi-bed4 ,paul ,czanne v4 ,julius ,meier-,graefe ,mnchen1 #aiaj1 ,verlag ,r4 ,piper ,co4 ,paul ,gauguin1 ,gallerie ,miethke1 ,katalog mit ,biogr4 von ,rudolf ,adalbert ,meyer1 ,mrz-,april #aijg4 ,paul ,gauguin1 #ahdg-aijc1 par ,jean de ,rotonchamp1 ,paris chez4 ,ed4 ,druet4 ,paul ,gauguin1 v4 ,dr4 ,meyer ,riefstal1 ,paris1 p4 #aji-aaf4 ,deutsche ,kunst u4 ,dekoration ,,xxvii1 ,darmstadt4 ,persnliche ,erinnerungen an ,v4 van ,gogh1 ,e4 ,h4 du ,quesne1 ,mnchen ,piper #aiaa4 ,pratella1 ,franc1 ,balita1 ,musica ,futurista per ,ontesta1 ,bologna1 ,f4 ,bongiovanni1 #aiac4 ,raphael1 ,max1 ,von ,monet zu ,picasso2 ,grundzge einer ,aesthetik und ,entwickelung der modernen ,malerei1 ,mnchen1 ,delphin ,verlag1 #aiac2 #ho4 ,reiter1 ,der blaue1 ,ein ,dokument des ,expressionismus4 ,herausgeber3 ,kandinsky und ,franz ,marc1 ,mnchen1 ,r4 ,piper ,co41 #aiab2 with #cd plates4 ,soffici1 ,ardenzo1 ,cubismo e oltre1 ,florence1 ,libreria della ,voce1 #aiac4 ,sydow1 ,eckart v41 ,cuno ,amiet4 ,eine ,einfhrung in ein nationales ,werk4 ,in 8,kunstgeschichte des ,auslandes10 issue #ajf1 ,strassburg1 #aiac2 with #aa plates2 #do4 ,ueber ,impressionismus von ,j4 ,meier-,graefe1 p4 #ade-afb1 ,kunst fr ,alle1 ,,xxv4 #aiji u4 #aj4 ,utitz1 ,die ,grundlagen der jngsten ,kunstbewegung4 ,ein ,vortrag1 ,stuttgart1 ,enke1 #aiac2 #ho4 v4 ,meyer ,riefstahl1 ,burlington ,magazine1 ,,xviii4 p4 #ia-ii4 #aee-afb4 ,van ,gogh1 ,vinc41 ,briefe4 ,deutsch von ,n4 ,mauthner1 ,berlin1 ,p4 ,cassirer1 #aiaa2 #dth ed42 with #ae drawings2 #ho4 ,vincent ,van ,gogh1 ,mnchen1 #aiaj1 ,r4 ,piper ,co42 #dth-#fth ed41 #aiab4 ,vincent ,van ,gogh u4 ,gauguin zum ,klassizismus1 ,kunst u4 ,knstler1 #ji1 ,,viii4 p4 #hf-aja4 ,vincent ,van ,gogh von ,julius ,meier-,graefe1 ,mnchen #aiaj4 ,vom ,wert des ,neo-,impressionismus von ,a4 ,l4 ,plehn1 ,kunst fr ,alle1 ,,xix4 p4 #ead-ebb4 ,von ,eugen ,delacroix zum ,neo-,impressionismus4 ,einzige deutsche autorisierte ,uebersetzung1 ,krefeld1 #aijc1 ,rheinischer ,verlag ,g4 ,a4 ,hohns ,shne4 ,von ,impressionismus zum ,neo-,impressionismus4 ,autoris4 ,uebersetzung1 ,berlin1 ,verlag4 ,k4 ,schnabel4 ,von ,p4 ,gauguin1 ,kunst u4 ,knstler1 ,,viii4 p4 #egi-ehf4 ,von ,paul ,gauguin1 ,kunst u4 ,knstler1 ,,viii4 p4 #egi-ehf4 #aiaj4 ,was ist uns impressionistische ,malerei von ,a4 ,gold1 ,deutschland1 ,,iii4 p4 #cbh-cdb4 ,weese1 ,arth41 ,ferdinand ,hodler1 ,berlin1 #aiaj2 ,francke4 ,worringer1 ,wilh41 ,abstraction und ,einfhlung4 ,ein ,beitrag zur ,stilpsychologie1 ,mnchen1 ,piper1 #aiaa2 #c;d ed42 #ho4 ,zum ,klassizismus von ,maurice ,denis1 ,kunst u4 ,knstler1 ,,viii4 p4 #hf-aja1 #aiaj4 ,,articles4 ,alt1 ,theod41 ,hodler und seine ,zeitgenossen1 ,der ,thrmer1 ,,xv1 #aiab-ac1 p4 #fbf-cg4 ,apollinaire1 ,guill41 ,ralit1 peinture pure1 ,der ,sturm1 #aijb1 ,no4 #ach-ci4 ,apollinaire1 ,guill41 ,die moderne ,malerei4 ,uebersetzt von ,jean ,jacques1 ,der ,sturm1 #aijc1 ,no4 #adh-di4 ,avenarius1 ,von ,van ,gogh1 ,kunstwart1 ,,xxiv1 #aiaj1 ,i1 p4 #ef-ei4 ,avenarius1 ,ferd41 ,futuristen1 ,kunstwart1 ,,xxv1 #aiab1 ,,iii1 p4 #bgh-ha4 ,beckmann1 ,frz41 ,gedanken ber zeitgemsse und unzeitgemsse ,kunst4 ,a reply to ,die neue ,malerei1 by ,frz4 ,marc41 ,pan1 ,,ii1 #a1 p4 #dii-ejb4 ,bahne1 ,adolf1 ,der ,maler ,franz ,marc1 ,pan1 ,,iii1 #aiac1 p4 #faf-ah4 ,bender1 ,ewald1 ,deutsche ,kunst um #aiac1 ,zeitschrift fr bildende ,kunst1 new series #bd1 #aiab-ac1 p4 #bhg1cjb1 with #a illustration4 ,bender1 ,ewald1 ,f4 ,a4 ,weinzheimer1 ,zeitschrift f4 bildende ,kunst1 new series ,,xxiv1 #aiab-ac1 p4 #cje-h1 with illustrations4 ,benkard1 ,ernst ,a41 ,ferdinand ,hodler1 ,zur ,hodlerausstellung im ,frankfurter ,kunstverein1 ,zeitschrift f4 bildende ,kunst1 new series ,,xxiii1 #aiaa-ab1 p4 #g-ab1 with illustrations4 ,beringer1 ,jos4 ,aug41 ,deutsche ,kunstnte1 ,sddeutsche ,monatshefte1 ,,xi1 #aiac-ad1 p4 #aih-bjh4 ,bernard1 ,emile1 ,erinnerungen an ,paul ,czanne1 ,kunst und ,knstler1 vol4 ,,vi1 #aijh1 p4 #dba1 #dge1 #eba1 with illustration4 ,biermann1 ,hans ,georg1 ,bernhard ,hoetger1 ,kunst f4 ,alle1 ,,xxviii1 #aiab-ac1 p4 #che-if1 with illustrations4 ,breuer1 ,robert1 ,max ,pechstein1 ,deutsche ,kunst u4 ,dekoration1 ,,xxix1 #aiaa-ab1 p4 #dbc-cf1 with illustrations4 ,corinth1 ,lovis1 ,die neueste ,malerei1 ,pan1 ,,ii1 #aiaj-aa1 p4 #dcb-g4 ,denis1 ,maurice1 ,von ,gauguin und ,van ,gogh zum ,klassizismus1 ,kunst u4 ,knstler1 ,berlin1 ,,viii1 #aiaj1 p4 #hf-aja1 with illustrations4 ,denis1 ,maurice1 ,edmund ,cross1 ,kunst u4 ,knstler1 ,berlin1 ,,ix1 #aiaj-aa1 p4 #bid-f4 ,dennert1 ,die ,kunst der ,urmenschen und der ,allermodernsten1 ,der ,trmer1 ,,xvi1 #aiac1 p4 #bif-cja4 ,dreyfus1 ,alb41 ,paul ,czanne1 ,zeitschrift f4 bildende ,kunst1 new series ,,xxiv1 #aiab-ac2 p4 #aig-bjf1 with illustr4 ,eisler1 ,max1 ,die persnlichen ,erinnerungen ,n4 ,b4 ,mendes da ,costa's an seinen ,lateinschler ,vincent ,van ,gogh1 ,kunst und ,knstler1 ,x1 #aiaa-ab1 p4 #ih-ajd1 with illustrations4 ,fechter1 ,paul1 ,die ,fortbildungen des ,impressionismus1 ,deutsche ,kunst u4 ,dekoration1 ,,xxix1 #aiaa-ab2 p4 #bii-cjd4 ,fortlage1 ,arnold1 ,die internationale ,ausstellung des ,sonderbundes1 ,cicerone ,,iv1 #aiab1 p4 #edg-ef1 with illustrations2 ,kunst f4 ,alle1 ,,xxviii1 #aiab-ac1 p4 #hd-ic1 with illustrations4 ,fortlage1 ,arnold1 ,georg ,minne1 ,kunst f4 ,alle1 ,,xxviii1 #aiab-ac2 p4 #cdg-ec1 with illustrations4 ,friedeberger1 ,hans1 ,zeichnungen von ,max ,pechstein1 with illustrations1 ,cicerone1 ,v1 #aiac1 p4 #bhi-ia4 ,friedrich1 ,hans1 ,eine ,analyse des ,futurismus1 ,janus 7,mnchen71 ,,ii1 #a1 #aiab-ac1 p4 #agc-g4 ,die ,hinrichtung ,paul ,czanne's durch ,max ,beckmann1 ,janus1 ,,ii1 #a1 #aiab-ac2 p4 #cfb-d4 ,futuristen und ,genossen bei der ,arbeit1 ,kunstwelt1 ,,ii1 #aiab-ac2 vol4 #a1 p4 #ahi-ia4 ,gauguin1 ,paul1 ,vincent ,van ,gogh1 ,kunst u4 ,knstler1 ,berlin1 ,,viii1 #aiaj2 p4 #egi-hf1 with #f illustrations4 ,hausenstein1 ,wilh41 ,vom ,kubismus1 ,der ,sturm1 ,,iv1 #aiac2 p4 #agj-ga4 ,albert ,weisgerber1 ,zeit im ,bilde1 ,,xi1 #aiac2 p4 #bfda-g2 with illustrations4 ,von der neuen ,kunst ,zum ,sommerschau von #aiac im ,kunstsalon ,goltz in ,mnchen1 ,zeit im ,bild1 ,,xi1 #aiac2 p4 #bahe-ib2 with illustrations4 ,holl1 ,j4 ,c41 ,aprs l'impressionnisme1 ,physionomie de l'art actuel1 ,la leon de l'impressionnisme1 ,,xx ,sicle1 ,paris4 ,michel1 ,wilh41 ,das ,weltanschauliche der neuen ,malerei1 ,deutsche ,kunst u4 ,dekoration1 ,,xvii1 #aiac-ad2 p4 #cc-ci4 ,kandinsky1 ,ueber ,kunstverstehen1 ,der ,sturm1 #aiab1 ,no4 #abi2 illustrated4 ,kandinsky1 ,fr41 ,protest1 ,der ,sturm1 #aiac1 ,nos4 #aej-e4 ,kandinsky1 ,malerei als reine ,kunst1 ,der ,sturm1 #aiac2 ,nos4 #agh-i4 ,klein1 ,rud41 ,futuristen1 ,deutsche ,kunst u4 ,dekoration1 ,,xxx1 #aiab2 p4 #bgd-gg4 ,kuhn1 ,alfr41 ,eduard ,mundt1 ,zeit im ,bild1 ,,xi1 #aijc2 p4 #biii-cjjc2 illustrated4 ,lger1 ,fern41 ,les origines de la peinture contemporaine et sa valeur reprsentative1 ,der ,sturm1 ,,iv1 #aiac2 ,nos4 #agb-gc4 ,mrten1 ,lu41 ,vincent ,van ,gogh1 ,die ,grenzboten1 #gb1 #aiac1 ,i1 p4 #bcg-dc4 ,manifest der ,futuristen1 ,der ,sturm1 #aiab1 ,no4 #ajc4 ,marc1 ,franz1 ,die neue ,malerei1 ,pan ,,ii1 #a1 #aiaa-ab2 p4 #dfh-ga4 ,die konstruktiven ,ideen der neuen ,malerei1 ,pan1 p4 #ebg-ca4 ,anti-,beckmann1 ,pan1 p4 #eee-f4 ,markus1 ,s41 ,die ,kunst der ,zukunft1 ,kunst fr ,alle1 ,,xxviii1 #aiab-ac1 p4 #eda-h2 illustrated4 ,meyer-,riefstahl1 ,rud41 ,paul ,gauguin1 ,deutsche ,kunst und ,dekoration1 ,,xxvii1 #aiaj-aa2 p4 #aji-af2 illustrated4 ,michel1 ,wilh41 ,albert ,weisgerber1 ,deutsche ,kunst und ,dekoration1 ,,xxix1 #aiaa-ab2 p4 #bie-if2 illustrated4 ,osborn1 ,max1 ,bernhard ,hoetger1 ,v4 ,collective ,exhibition of ,modern ,art by ,hans ,goltz1 ,munich1 #aiac2 with many illustrations4 ,pechstein1 ,max1 ,was ist mit dem ,picasso81 ,pan1 ,,ii1 i1 #aiab2 p4 #ffe-i4 ,rivire1 ,jacques1 ,gauguin1 translated from the ,french by ,jean ,jacques1 ,der ,sturm1 #aiab2 ,nos4 #acd-e4 ,rote1 ,m4 ,k41 ,pablo ,picasso1 ,kunst fr ,aile1 ,,xxviii1 #aiab-ac2 p4 #cgg-hc2 illustrated4 ,bernhard ,hoetger1 ,der ,cicerone1 ,v4 #aiac2 p4 #aig-bjc2 illustrated4 ,bewegungen in der neuen ,kunst und ihre ,aussichten1 ,kunst fr ,alle1 ,,xxviii1 #aiab-ac2 p4 #bib-cje2 illustrated4 ,rovere1 ,jean1 ,paul ,czanne2 ,erinnerungen1 ,kunst und ,knstler1 ,x1 #aiaa-ab2 p4 #dgg-hf2 illustrated4 ,salmon1 ,andr1 ,la jeune peinture franaise1 ,paris1 #aiab4 ,sch41 ,k4 ,e41 ,kubisten und ,nazarener1 ,kunstchronik1 new series1 ,,xxiv1 #aiab-ac2 p4 #aac-d4 ,schaefer1 ,w41 ,bernhard ,hoetger1 ,die ,rheinlande1 ,,xvii1 #aiji2 p4 #ac-ad2 illustrated4 ,die junge und die jngste ,malerei4 7,glossen zur ,sonderbund-,ausstellung in ,kln47 ,vincent ,van ,gogh2 ,czanne2 ,der blaue ,reiter1 ,deutsche ,monatshefte1 ,dsseldorf1 ,,xii1 #aiab2 p4 #bhd-cag-cee4 ,schmidt1 ,max1 ,finke1 ,igc41 ,weiss1 ,konr41 ,eine ,ausstellung des ,sonderbundes 7at ,dsseldorf71 ,hochland1 ,,xiii1 #a1 #aiaj-aa2 p4 #bde and #eaf-ag4 ,schmidt1 ,paul ,ferd41 ,ueber die ,expressionisten1 ,deutsche ,monatshefte1 ,,xi1 #aiaa2 p4 #dbg-i4 ,die internationale ,ausstellung des ,sonderbundes in ,kln #aiab1 ,zeitschrift fr bildende ,kunst1 new series ,,xxiii1 #aiaa-ab2 p4 #bbi-ch2 illustrated4 ,schoenlank1 ,m4 ,r41 ,brief an ,pechstein1 ,pan1 ,,ii1 #b1 #aiab2 p4 #gch-i4 ,schulze1 ,otto1 ,bildhauer ,bernhard ,hoetger1 ,deutsche ,kunst und ,dekoration1 ,,xxvii1 #aiaj-aa2 p4 #aaf-bc2 illustrated4 ,storck1 ,willy ,f41 ,ausstellung des deutschen ,knstlerbundes in ,mannheim #aiac1 ,deutsche ,kunst und ,dekoration1 ,,xxvii1 #aiac-ad2 p4 #i-bg2 illustrated4 ,st4 ,k41 ,die ,zuknftler1 ,der ,trmer1 ,,xiv1 #aiab1 ,,ii2 p4 #dbb-d4 ,terentius1 ,gott schtz' die ,kunst1 ,ein ,faschingskapitel1 ,die ,kunstwelt1 ,i1 #aiab2 p4 #cec-fj2 illustrated4 ,warstat1 ,w41 ,die ,futuristen1 ,die ,grenzboten1 #ga1 #aiab1 ,,iii2 p4 #baj-ah4 ,walser1 ,rob41 ,zu der ,arleserin von ,van ,gogh1 ,kunst und ,knstler1 ,x1 #aiaa-ab2 p4 #ddb-e4 ,werth1 ,lon1 ,aristide ,maissol1 ,kunst fr ,alle1 ,,xxvi1 #aiaj-aa2 p4 #bgf-hb2 illustrated4 ,zukunft1 ,die1 der deutschen ,kunst4 ,eine ,umfrage1 ,die ,kunstwelt1 vol4 #c 7#aiac71 first issue2 p4 #ai-cc4 ,contains the answers given by ,german artists and other well known personages to the following questions put to them by the editor of the ,kunstwelt3 #a4 ,how are you impressed by the creations of the latest schools of art--the primitivists1 the cubists1 the futurists1 the expressionists8 #b4 ,do you believe that in these directions or in one of them the future of ,german art must be looked for8 ,,reproductions ,,of ,,futurist ,,and ,,cubist ,,painters--,,portfolios3 ,czanne ,mappe2 ,mnchen2 ,r4 ,piper ,co41 #aiab2 #ae reprod4 ,ehrenstein1 ,a41 ,tubutsch4 #ab drawings by ,o4 ,kokoschka4 ,wien2 ,jokoda ,siegel1 #aiaa4 ,engert1 ,seven ,drawings2 ,h4 ,p4 ,s4 ,bachmann1 #aiac2 #h4 ,gauguin ,mappe1 ,mnchen2 ,piper1 #aiac4 #ae reproductions4 ,genin1 ,robert1 ,figrliche ,kompositionen2 #bj original drawings on stone4 ,mnchen1 ,delphin ,verlag1 #aiab4 ,hodlermappe1 ,mnchen2 ,piper1 #aiac4 ,kandinsky ,album1 #aija-aiac2 #hj full page reproductions of paintings by ,kandinsky with text written by himself4 ,berlin1 ,verlag der ,sturm1 #aiad4 ,kokoschka1 ,oskar1 ,dramen und ,bilder4 ,leipzig1 ,kurt ,wolff1 #aiac4 ,kokoschka1 ,oskar1 #bj drawings4 ,berlin1 ,verlag der ,sturm1 #aiac4 ,reinhardt1 ,sig41 ,simson2 #dc pen and ink sketches4 ,mnchen1 #aiac4 ,schwalbach1 ,karl1 #aj original lithographic drawings4 ,mnchen1 ,delphin ,verlag1 #aiac4 ,senna1 #ae original lithographic drawings by the artists' association ,senna4 ,mnchen1 ,delphin ,verlag1 #aiab4 ,van ,gogh ,mappe1 ,mnchen2 ,piper1 #aiab4 ,,index ,academic attitude1 #fa ,advertising1 art of1 #aga-agb ,age and new experiments1 #ff ,alexander and ,sargent1 #aii2 ,van ,rees1 #aii2 post-,impressionistic1 #aii ,america and virile ,impressionism1 #aia2 new movement in #dh2 what is happening in1 #aia ,americans1 as dreamers1 #aib ,anderson1 #a ,apollinaire1 #fg1 #ha ,arrangements1 #ad ,arteries1 sclerosis of1 #fb ,archipanko1 #bjd2 his ,family ,life1 #bje ,architecture1 sky-scrapers1 #aii ,art1 archaic and primitive1 #gh2 attitude of observer and producer1 #hg2 attitude of observer1 #abg2 conflict between old and new1 #aef2 continuous1 #aaj2 creative1 #cj2 creative work by certain ,americans1 #aif-aig2 criticism1 professional1 #i-aj2 currents in1 #cc2 decorative1 correspondence regarding cubist pictures1 #ej-eb2 definition of1 #hg-hh2 expression of inner self1 #aab2 extravagances in1 #cd2 evolution of new movement1 #aa2 gains from controversy1 #eh1 #ei2 in offices1 #afa2 is cubism art8 #hf-hg2 its relation to life1 #aih-aii2 jargon1 #i-aj2 laws of1 #ajf2 modern expression of inner self1 #aa2 modern pictures in newspaper office1 #afj2 movement from studio to nature and back again1 #ad1 #ae2 movements from perfections to imperfections1 #i2 movements of recent years1 #fj2 movements in1 #h2 new movement a spiritual offering1 #aae2 new movements in relation to origin of art1 #aaa2 new movements profoundly interesting1 #ajh2 objective1 #ij2 on the horse-block1 #g2 part played by subject1 #aei2 philosophy of movements in1 #bj2 private galleries graveyards of1 #afj2 revolution in1 #c2 ridicule of great men by their own generations1 #h2 sign of life is flux1 #fj2 subjective1 #ij2 thrives on controversy1 #a2 ugliness in new pictures1 #aed2 works of observation and works of imagination1 #ad-ae ,barbizon school and later developments1 #aa-ab2 imaginative1 #cj2 its method1 #ae ,barnard1 #bjc 8,bathsheba10 record of sales1 #f1 #g ,baum1 #aaa ,beautiful1 our notions of the1 #aee-aef 7see also ,ugliness7 ,bechtejeff1 #dg1 #aaa ,bell1 ,mrs41 #dh ,bellows1 #a ,berlin1 new movement in1 #dg ,bernard1 #cf1 #dc ,blaue ,reiters1 organization of1 #aab ,blue ,riders1 #ee ,boccioni1 #agi2 exhibition in ,paris1 #ahd-ahe ,borghlum1 #bjc ,borgmeyer1 #ba ,bossi1 #aaa ,bourget1 ,paul1 style obsolete1 #agj ,bracque1 #dg1 #aab ,brancusi1 #ahb1 #bjd2 article on his sculpture1 #ahc2 8,sleeping ,muse10 #ahb-ahc ,bloch1 #aae ,books in ,french and ,german1 #ajg ,breton1 protest against ,cubist pictures1 #ea ,brinley1 #a ,browning clubs1 #ajh ,browning1 ridicule of1 #fj ,burljuk1 #dg1 #aab ,cardoza1 #bjj ,carter1 #fd ,czanne and ,cubism1 #dc1 #ha2 and ,gauguin1 #db2 leaders of ,post-,impressionism1 #bh2 a painter's painter1 #bji2 and substance of things1 #ce2 a substantial ,impressionist1 #bjh-baj2 and the ,impressionists1 #ce2 career of1 #cf2 compared with ,monet1 #aie2 method of work1 #cf-cg2 scientific theories1 #dc ,chabaud and ,millet1 #ae ,charmy1 #bjj ,chicago ,tribune1 article on ,london ,exhibition1 #ee ,chicago ,symphony ,orchestra1 #i ,chilton-,brock1 #cj1 #ca1 #dj ,chinanpin1 #adg-adi ,chinese art1 blue hair1 #aea2 esoragoto1 #adg ,chinese painting1 #cj2 four warnings1 #aec2 perspective in1 #gh2 principles of1 #adg-adi ,cinematograph1 secret of popularity1 #agj-aga ,civilization1 material and spiritual1 #add ,clarke1 #a ,color1 compositions of1 #ia2 effects in theater1 #adb-adc2 harmonies1 #ab1 #ie1 #adf2 in offices1 #afb2 music1 #adj-adf 7see ,music72 notes of in still lifes1 #ade ,colors used arbitrarily1 #aea-aeb2 used constructively1 #cg-ch1 #db2 used decoratively1 #ic1 #add-e2 used imitatively1 #ic1 #adf ,color waves1 #adc ,columbian ,exposition1 #a1 #c ,compenetration of planes in ,futurism1 #ahe-ahf ,compositionalists1 #ac ,compositional painting1 #abd-abh2 no radical departure1 #acg ,conservative and radical tendencies in exhibitions1 #eg1 #eh ,convictions1 the courage of1 #g-h ,corot1 ridiculed in ,france1 #h ,courbet and followers1 #aa-ab1 #ag ,cramer1 #di ,creative art1 #cj ,critic1 the ideal art critic1 #acd ,criticism of great masters1 #aee-aef2 rage against great painters1 #aa1 #ab2 two comments1 #bad-bbj2 violent1 #fa ,cubism1 and broad technic1 #hj2 and ,futurism1 #agc-agd2 and geometrical figures1 #hj-ha2 a misleading term1 #hb2 and sincerity1 #aeh2 and the substance of things1 #ih2 attitude of observer1 #cb2 derivation of name1 #fg2 development and exhibitions of1 #fg-fh2 drawings by first year art students1 #gc2 effect on ,american art1 #aji2 explanation of by ,picabia1 #ie-ih2 explained by music1 #ajf2 ,gleizes and ,metzinger's book1 #ajc2 is it art8 #hf-hg2 its technical side1 #gb2 largely esoragoto1 #aeh2 no object to help out picture1 #aei2 not a plea for1 #fe2 8,nude ,descending the ,stairs10 #afd2 one form of prevailing reaction1 #ca2 significance of new movement1 #ff2 the different tendencies described1 #fh-gj2 the elemental in1 #gh2 the theory of1 #ij2 transparency of objects1 #ahj-ahb2 two extremes1 #fi2 what is it8 #fj2 when a puzzle1 #fi2 will pass away1#fg ,cubists1 ,american1 #dh2 and ,el ,greco1 #aaj2 and certain ,american painters1 #fj2 child-like faith of1 #aji2 esoragoto1 #adg2 free to express themselves in their own way1 #ajc-ajg2 getting away from cubes and angles1 #hb-hc2 impression of ,new ,york1 #if-ig2 in business or profession1 #fb2 more favorably considered1 #ee1 #ef2 mostly young men1 #ajh-aji2 named by ,matisse1 #bb2 nothing strange in their theories1 #fc2 protest against pictures1 #ej2 quotation from ,plato1 #ajb2 see nothing in ,futurism1 #ei2 too serious1 #aeh2 understanding them1 #hc-he ,dabo1 #a ,dasburg1 #di ,davidson1 #a1 #bjc ,davies1 #a1 #bja2 a creative painter1 #aif ,decoration and pictures1 #aei2 of offices1 #afb-afc ,delauney1 #dg ,denissow1 #dg ,derain1 #bh1 #dg1 #aab2 8,forest at ,martigues10 #fi ,de,zayas1 #ih ,dove1 #dh ,drawing1 modern men are masters of1 #acj ,dresden1 new movement in1 #dg ,du,bois1 #a ,duchamp1 8,chess ,players10 #fh1 #ga2 8,king and ,queen10 #gj1 #ga2 8,nude ,descending the ,stairs10 #afd ,dufy1 #dg ,durand-,ruel1 #bb1 #bc1 #bd ,durer1 elemental lines in human figure1 #gc-gg ,duret1 #ab1 #ba ,emotions1 painting of1 #aa1 #ib1 #ajb2 sclerosis of1 #fb ,england1 new movement in1 #dg-dh ,erbsloh1 #aaa ,esoragoto1 #adg-aec2 all great paintings are1 #aej ,etchells1 #dh ,exhibitions at #bia ,fifth ,ave41 #baa-bac2 by ,impressionists1 #ba-bf2 independent1 #aid2 ,morgan1 pictures in ,metropolitan ,museum1 #aih-aii ,extremists in art1 #b-c ,fauvism1 what it means1 #dg ,ferguson1 #dg ,ferment of new ideas1 #d ,fiction1 future development of1 #aga ,fischer1 #ch1 #gb1 #aab ,freedom to express one's self1 #ajc-ajg ,french1 #bjd ,friesz1 #bh1 #dg ,fry1 ,roger1 #dh1 #aaf2 article on ,brancusi1 #ahc ,fry1 ,s4 ,e41 #a ,futurism1 #afd-ahi2 development of1 #afe2 exhibition of sculpture1 #ahd-ahe2 first exhibition in ,london1 #age2 manifestoes of1 #afe-ahj2 manifestoes not to be accepted too literally1 #ahh-ahi2 pictures and theories extreme1 #aff2 sculpture1 #ahb-ahf2 theory of1 #afe2 theory of literature1 #afg-agb2 theory of sculpture1 #ahe-ahf2 transparency of objects1 #agf-agi1 #ahj-ahb ,futurists1 and reaction1 #cb2 patriotism of1 #ahi-aif2 see nothing in ,cubism1 #ei ,gauguin1 #cg2 a dreamer1 #db2 and ,strindberg1 #da-db2 career1 #dj-db ,genin1 #dg ,gill1 #dh ,girieud1 #dg1 #aaa ,glackens1 #a ,gleizes and ,metzinger's book1 #ajc ,gleizes1 8,man on the ,balcony10 #gj ,gore1 #dh ,grant1 #dh ,graveyards of art1 private galleries as1 #afj ,great artist1 quality of1 #bf1 #bg ,greek painting1 portraits1 #aac ,greek sculpture1 painted1 #aeb ,grieg1 #ajf-ajg ,haller1 #aab ,hearn collection in ,metropolitan ,museum1 #aih-aii ,hegel1 philosophy of art1 #bj ,henri1 #a2 a virile ,impressionist1 #aic ,hoetger1 #aab ,hofer1 #aaa ,hokusai1 terra cotta horse1 #aeb ,homer1 a virile ,impressionist1 #aib2 absorbed his subjects1 #adi2 his technic1 #gi2 work compared with recent pictures1 #aih ,ideals1 demand for1 #ca ,ideas1 accepting ready made1 #fd ,imagination and observation in art1 #ad-ae ,impressionism 7see ,virile ,impressionism72 ,american1 #aic2 and ,monet1 #cd2 definition of term1 #bh2 different forms of1 #aie-aif2 growth of1 #ai2 of ,les ,fauves1 #cc2 method of1 #af2 realistic1 and the great portrait painters1 #bjh2 realistic leads to1 #bjg-bjh2 substantial leads to1 #bjh-baj2 substantial1 leads to ,post-,impressionism1 #baj2 summing up of1 #bjg2 superficial leads to1 #bjg ,impressions1 reaction to1 #fb-fc ,impressionists1 #aa2 and ,futurists1 we all are at times1 #fb2 derivation of name1 #ba2 early exhibitions of1 #ba-bf ,impressionist pictures bought by ,chicago woman1 #bg ,international ,exhibition1 #a1 #c1 #d1 #bf2 coincided with other upheavals in life1 #fe2 effect of on society1 #g2 indignation of older men1 #aid2 no ,futurist pictures1 #afd2 plenty of ugly pictures in1 #aeg2 younger men curious1 #aid-aie ,jakulof1 #dg ,james1 ,henry1 style obsolete1 #afh ,japanese art esoragoto1 #adg2 painting bamboo forest1 #aej2 sumi1 #aej2 perspective in1 #gh2 principles of1 #adg-adi ,jargon in art and other departments of thought1 #aj ,jawlensky1 #dg1 #aaj1 #aaa1 #aac ,johnson1 #di ,journal1 ,reno1 ,nevada1 editorial from1 #bag ,kahler1 #aab ,kanabe1 #dg ,kandinsky1 #aaa1 #aab2 and ,turner1 #bi2 article in 8,der ,blaue ,reiter10 #aca-ace2 estimate by other artists1 #ach1 #aci2 extreme in theories and work1 #aae2 his improvisations1 #aaf2 his pictures in ,london exhibition1 #aaf2 his writings1 #ajg2 ,improvisations1 #abd-abh2 letters from1 #abd-abh2 personal letter regarding his development1 #ace-acg2 praised by a critic1 #aaf-aag2 spiritual values and necessities1 #acc-ace2 qualifications and theories1 #aag-abh ,kanoldt1 #aaa ,kantsch1 #dg ,koga1 #aaa1 #aad ,kramer1 #a ,kroll1 a virile ,impressionist1 #aie1 #aif ,kuhn1 #a ,kuznezoff1 #dg ,lempu1 letter from1 #ej ,larionoff1 #dg ,laurencin1 #dg ,laughing at what is strange1 #fc ,laughter at the pictures1 #g-h ,laurvik1 #hf ,lawson1 #a ,lee1 #di ,le ,fauconnier1 #aaa ,le,fitz ,simons1 #bj ,lehmbruck1 #ahb ,les ,fauves1 #cc1 #cg ,lewis1 #dg1 #dh ,lewis1 #dh ,lie1 #a ,life and rhythm1 #h ,life1 romantic and realistic periods of1 #ah-ai ,light1 painting of1 #aa ,light1 waves1 #adc ,literature1 objectionable books1 #aeg ,lloyd1 ,george1 #fb ,london1 ,allied ,artists' ,exhibition1 #ahc2 first exhibition of ,futurism1 #age ,luks1 #a ,mac,monies1 #bjd ,manet1 a realistic ,impressionist1 #bjg-baj2 and followers1 #aa-ab2 studio painter1 #ag ,marc1 #aab1 #aae ,marinetti1 #afe ,marquet1 #dg ,maschkoff1 #dg ,materialism and idealism1 #ah-ai ,matisse1 #bh1 #cg2 career of1 #dc-dg2 element of ugliness in1 #aeg2 inevitable after ,bouguereau1 #aeg2 8,madras ,rouge10 #aac2 sculpture1 #bjb2 theories of1 #dd-dg ,mc,fee1 #di ,mc,rae1 #a ,metropolitan ,museum1 #bf ,metzinger1 #dg ,millet1 a subject painter1 #ad2 and ,chabaud1 #ae2 and others ridiculed by ,paris1 #h2 manner of working1 #af ,miller1 ,kenneth1 a creative painter1 #aif ,mogilewsky1 #aab ,monet1 a superficial ,impressionist1 #bjg-baj2 and painting of light1 #bi2 and surface of things1 #ce ,morgan ,exhibition in ,metropolitan ,museum1 #aih-aii ,mourey1 protest against ,cubist pictures1 #eb ,movements in art1 #h1 #ai2 never devoid of force1 #ec2 new in music1 drama1 etc41 #cj-ca ,munich1 atmosphere of compared with that of ,paris1 #aaa2 new movement in1 #dg2 ,secessionists1 #ee2 the new art in1 #aaj ,mnter1 #aaa1 #aab1 #aad ,mther1 #af ,music and painting1 development of1 #ib-id ,music1 changes of appreciations in1 #i2 ,chinese1 #abh-abi2 color organ1 #adj-adf2 ,greek1 #abh-abi2 imitative1 #ajf-ajg2 in color1 #adj-adf2 of ,schoenberg1 #i2 ,oriental1 #abh-abi2 ,russian ,ballet1 #i2 sound waves1 #adc2 understood in different ways by different hearers1 #hd-he2 used to explain1 #ajf-ajg ,myers1 #a ,nankivell1 #a ,national ,academy in ,new ,york conservative1 #eg ,nature is living spirit1 #acd ,neo-,cubists1 #fg ,neo-,impressionists1 #ac2 logical outcome of ,impressionism1 #bg ,new and strange1 average man bewildered by1 #aec ,new ideas and work1 #e ,newspaper1 pictures in editorial room of1 #afj ,new ,york1 impressions by a ,cubist1 #if-ig ,nieder1 #aab ,nocturnes1 #ad ,objects flow through one another 7see chapter on ,cubism7 ,objective art1 #ij ,observation and imagination in art1 #ad-ae ,offices1 decoration of1 #afb2 pictures in1 #afa ,official exhibitions and independent1 value of1 #eg ,old and new men1 #d1 #e ,old masters and the new art1 #aaj ,old masters1 works belong to public1 #f ,opera not understood1 #hc-hd ,orphists1 #fj2 theory of1 #ij-ia ,organ1 for color music1 #adj-adf ,pach1 #a ,painters like inventors1 #ai-bj ,painting1 a terrible problem1 #b2 and music1 development of1 #ib-id2 and sculpture compared1 #ahg-ahh2 in ,france1 #aith century1 #ab ,paris compared with ,munich1 #aaa ,peploe1 #dg ,perfections of ,impressionism to imperfections of ,post-,impressionism1 #i ,perfection unattainable1 #a ,periods in work of artist1 #bj ,photo-,secession ,gallery1 #a ,picabia1 calls ,cubism a misnomer1 #hb2 comparison made by1 #ia-ib2 8,dance at the ,spring10 #fh2 explanation of abstract painting1 #ie-ig2 impressions of ,new ,york1 #if-ig ,picasso1 #dg1 #aab2 changes in style1 #fg2 his development1 #ajj-aja2 his theory1 #ih-ajj2 8,woman and the ,pot of ,mustard10 #fh2 8,woman with a ,mandolin10 #abc ,pictures1 easel1 #add ,planes1 as used by ,picasso1 #aja2 drawing in1 #gc-gh2 illustrated in modelling an orange1 #hj ,plato1 quotation from1 #ajb ,pointillists1 #bh ,porter1 #a ,portrait painting and cubism1 #aei2 and the modistes1 #ie2 the average1 #aei ,post-,cubists1 #fg ,post-,impressionism1 #aa2 aim of1 #cj2 and reaction1 #cj2 fundamentally different from ,impressionism1 #bg1 #bh2 what it means1 #aa2 ,exhibition in ,london1 #ee ,prendergast1 #a ,prices1 absurd for old masters1 #f-g2 of famous ,impressionist pictures1 #bb-bf ,private buyer1 his opportunity1 #f ,progressive ,political ,convention1 #d ,progressive ,political ,party1 #ff ,protest1 a futile1 #ej ,public instinctively feels1 #aeh ,public1 normal attitude toward new pictures1 #aef ,reaction in art1 #b ,realism and ,courbet1 #ab ,redon1 #dg ,rembrandt1 sale of 8,bathsheba10 #f-g2 overpriced1 #fj ,resilient1 men who are1 #fb ,revolutionary movements1 interest in1 #ff ,ridicule1 of famous ,impressionists1 #bb-bf2 of the strange1 #fe2 which greeted great masters1 #ba ,rimington1 #adj-adf ,rodin1 #ce1 #ahb2 attitude towards sculpture1 #bjc2 his ,balzac purely ,post-,impressionistic1 #gi2 his technic1 #gi ,rohland1 #di ,romanticism1 #ab ,royal ,academy in ,london conservative1 #eg ,rousseau1 #cg ,rouault1 #aab ,russia1 new movement in1 #dg ,russian ,ballet1 #i ,ruskin1 opinion of ,wagner1 #fa ,russolo1 #agi ,rutter1 #c1 #bh1 #db ,sacharoff1 #aaa ,salmon1 #dc ,salon d',automne1 #ed2 exhibition #aiab1 #ej ,salon des ,refuses1 #aa ,salon d',independants1 plan of1 #ef ,salons grow conservative1 #eg ,sargent1 a virile ,impressionist1 #aic2 and ,alexander1 #aii2 and ,whistler1 #aic2 his technic1 #gi2 tired of portrait painting1 #ajb ,sarjan1 #dg ,schalowsky1 #dg ,schereczowa1 #dg ,schnabel1 #aaa ,schools1 effect of1 #acg1 #ach ,sculpture1 #bjb-bje2 7see ,futurism72 ,american1 #bjc-bjd2 compared with painting1 #ahg-ahh2 creative works1 #bjd-bje2 developments in1 #bjb-bjc2 ,futurist 7see ,futurism72 ,greek1 #bjc2 ,matisse1 #bjb2 observation and imagination in1 #bjd2 painted1 #aeb2 primitive element in1 #bjf2 ,rodin1 #bjc2 spiritual element in1 #bje2 work of ,brancusi and ,archipanko1 #bjd ,secessionists1 ,munich1 #ee ,segonzac1 #bjj ,seguin1 #db ,shaw1 ,bernard1 a reactionary1 #agj ,sky-scrapers1 #aii ,sloan1 #a ,socit des ,artistes ,francais1 #ec-ed ,socit des ,artistes ,independents1 #ed ,socit ,nationale des ,beaux-,arts1 #ec-ed ,sound waves1 #adc ,sousa ,cardoza1 #he ,st4 ,gaudens1 #bjd ,stieglitz1 #a1 #aaf2 his exhibitions1 #baa-bac ,still lifes1 #id1 #ade ,story-telling pictures1 #ad ,strauss and other composers1 #i ,strindberg and ,gauguin1 #da-db ,striving as an element of vitality1 #hi ,studios1 art and nature art1 #ad2 mostly ugly1 #ie ,subjective art1 #ij ,subjects in painting1 #ac-ad ,substance of things difficult to paint1 #ih ,sudbinin1 #aab ,symphonies1 #ad ,synchronists1 #fj ,taste1 attitude of public normal1 #aef2 change in public taste1 #ee-ef2 changes from decade to decade1 #aee-aef ,taylor1 #a ,theater1 ,cubists1 ,futurists1 etc41 in1 #fd2 color effects in1 #adb-adc2 future development of play1 #agj-aga ,things1 painting of1 #aa ,times1 ,london1 editorial from1 #bad ,times ripe for a change in art1 #i ,tolerance1 a plea for1 #fe ,tribune1 ,chicago1 article on ,london ,exhibition1 #ee ,tucker1 #a ,turner and light effects1 #bh2 forerunner of ,impressionism1 #ac2 his strange pictures1 #bi2 ridiculed in ,england1 #h ,ugliness1 #aed-afc2 a matter of taste1 #aed-aef2 and superb technic1 #aef2 a realism1 #aeh2 a touchstone for taste1 #aeg2 great masters thought ugly1 #aee-aef2 in sculpture1 #bje-bjf2 ,matisse1 #aeg ,van ,dongen1 #dg1 #aab ,van ,gogh1 #cg2 letters of1 #dj ,verhoeven1 #dg ,virile ,impressionism1 #aia-bja2 glorious future for1 #bji-baj2 material and practical1 #aib2 outcome of substantial ,impressionism1 #bji-baj ,visual music1 #aag ,vitality1 a new art1 #aed ,vlaminck1 #dg1 #aab1 #bjj ,wagner and ,ruskin1 #fa2 ,ruskin's ridicule1 #fj ,werefkin1 #dg1 #aaa1 #aad ,whistler1 #d1 #aa2 as a ,post-,impressionist1 #ah2 as an ,impressionist1 #ah2 and ,sargent and realistic ,impressionism1 #bjh2 compared with ,sargent1 #aic2 forerunner of ,post-,impressionism1 #ac2 his literal moods1 #ag2 master of technic1 #ad2 on level with ,chinese masters1 #ajc2 suit against ,ruskin1 #ac ,whitman1 ridicule of1 #fj ,wittenstein1 #aaa ,young1 #a ,youth1 and new experiments1 #ff2 radicalisms of1 #fa ,zak1 #bjj ,zorach1 #di ,,footnotes3 #a ,the names of the men who1 in a spirit of disinterested devotion to art1 organized this exhibition should not be forgotten4 ,they were3 ,arthur ,b4 ,davies1 ,j4 ,mowbray ,clarke1 ,elmer ,l4 ,mc,rae1 ,walt ,kuhn1 ,karl ,anderson1 ,george ,bellows1 ,d4 ,putnam ,brinley1 ,leon ,dabo1 ,jo ,davidson1 ,guy ,pene ,du,bois1 ,sherry ,e4 ,fry1 ,william ,j4 ,glackens1 ,robert ,henri1 ,e4 ,a4 ,kramer1 ,ernest ,lawson1 ,jonas ,lie1 ,george ,b4 ,luks1 ,jerome ,myers1 ,frank ,a4 ,nankivell1 ,bruce ,porter1 ,walter ,pach1 ,maurice ,prendergast1 ,john ,sloan1 ,henry ,fitch ,taylor1 ,allen ,tucker1 ,mahonri ,young4 ,for detailed account of earlier exhibitions held by ,mr4 ,alfred ,stieglitz--the real pioneer--in the ,photo-,secession ,gallery1 #bia ,fifth ,ave41 ,new ,york1 see ,appendix4 #b 8,revolution in ,art10 by ,frank ,rutter1 pp4 #ad1 #ae4 #c ,five short pieces of the music by ,arnold ,schoenberg were played for the first time in ,chicago1 ,december #ca1 #aiac1 by the ,chicago ,symphony ,orchestra4 8,had ,mr4 ,richard ,swiveller been present at the performance of the new ,stravinsky-,nijinsky ballet1 #8,le ,sacre du ,printemps1' at ,drury ,lane on ,friday night he would certainly have pronounced it #8a staggerer4' ,both the music of ,m4 ,stravinsky and the choreography of ,m4 ,nijinsky are more defiantly anarchical than anything we have ever had before1 and the purport of it all was a dark mystery1 even though ,mr4 ,edwin ,evans was deputed to throw light on it in a long explanatory prologue4 ,as every one knows by this time1 ,m4 ,nijinsky is the apostle of a sort of #8post-impressionist' or #8,cubist' revolution of the dance1 in which mere gracefulness is ruthlessly sacrificed to significance and force of expression1 and everything is stated in terms of symbolism1 and in the new ballet he seems to have carried his theories into the most extreme practice4444 ,m4 ,stravinsky seems as determined to make the hearer sit up as his colleague4 ,save that he condescends to regular rhythms1 his music is the last word in emancipation from form and the cacophony of it is at times distressing40--7,london ,sunday ,times1 ,july #ac1 #aiac1 from its article on the new ,russian ballet1 the sensation of the season47 #d 8,manet and the ,french ,impressionists10 by ,theodore ,duret1 ,introduction4 #e ,testimony of ,whistler in suit of 8,whistler v4 ,ruskin40 #f ,how little the world cared for ,millet when he lived is a matter of history4 ,he painted his greatest pictures in a room without a fire1 in straw shoes1 and with a horse blanket on his shoulders1 and often he and his wife went without food4 8,all his efforts to exhibit in ,paris were in vain4 ,even in #ahei1 #8,death and the ,woodcutter' was rejected by the ,salon4 ,the public laughed1 being accustomed to peasants in comic opera1 and1 at best1 his pictures were honored by a caricature in a humorous paper40 ,his pictures brought from fifty to sixty dollars4 #g 8,history of ,modern ,painting10 ,richard ,muther1 ,vol4 ,,ii1 pp4 #dhg-h4 #h 8,the ,new ,movement in ,art from a ,philosophical ,standpoint10 by ,theo4 ,le,fitz ,simons4 #i ,see 8,manet and the ,french ,impressionists10 by ,duret1 p4 #aab et seq41 and a readable article1 8,the ,master ,impressionists10 by ,c4 ,l4 ,borgmeyer1 in 8,fine ,arts ,journal0 for ,march1 #aiac4 #aj ,april #be1 #ahgd4 #aa 8,library ,gazette10 ,may #ad1 #ahdb1 p4 #cca4 #ab 8,athenaeum10 ,may #ad1 #ahdb1 p4 #dcc4 #ac 8,revolution in ,art10 by ,frank ,rutter1 p4 #ag1 #ah4 #ad ,the interest expressed in much impressionist painting is only an interest of curiosity4 ,the painter represents facts that he has only just noticed4 ,he is like a clever journalist who makes an article out of his first observations of a new country4 ,but the aim of the ,post-,impressionist is to substitute the deeper and more lasting emotional interest for the interest of curiosity4 ,like the great ,chinese artists1 they have tried to know thoroughly what they paint before they begin to paint it1 and out of the fulness of their knowledge to choose only what has an emotional interest for them4 ,their representations have the brevity and concentrated force of the poet's descriptions4 ,he does not go out into the country with a note-book and then versify all that he has observed4 ,his descriptions are often empty of fact1 just because he only tells us what is of emotional interest to himself and relevant to the subject of his poem2 and they are justified1 not by the information they convey1 but by the emotion they communicate through the rhythm of sound and words4 ,the ,post-,impressionists try to represent as the poet describes4 ,they try to give every picture an emotional subject-matter and to make all representation relevant to it4 8,the ,post-,impressionists10 by ,a4 ,chilton-,brock1 8,burlington ,magazine10 ,january1 #aiaa4 #ae 8,the ,post-,impressionists10 by ,a4 ,chilton-,brock1 8,burlington ,magazine10 ,january1 #aiaa4 #af ,in another book1 8,the ,new ,competition10 the writer has attempted this in relation to business and economics4 #ag 8,souvenirs ,sur ,paul ,czanne10 by ,emile ,bernard1 #aiab4 #ah 8,das ,neue ,bild10 ,otto ,fischer1 #aa-ab4 ,several of the half-tone reproductions which we use are from this work on ,munich art4 #ai 8,the ,post-,impressionists10 by ,a4 ,chilton-,brock1 8,burlington ,magazine10 ,january1 #aiaa4 #bj 8,revolution in ,art10 by ,frank ,rutter1 p4 #bg4 #ba 8,paul ,gauguin10 by ,michael ,puy1 8,l',art ,dcoratif10 ,april1 #aiaa4 #bb 8,revolution in ,art10 by ,frank ,rutter1 #cb-cc4 ,now that the great ,swedish dramatist1 and pessimist1 is becoming known to the ,english-speaking world1 these words of ,gauguin's are singularly interesting--and just4 #bc ,see 8,paul ,gauguin10 by ,armand ,seguin1 8,l',occident10 ,march1 ,april1 and ,may1 #aijc4 #bd 8,souvenirs of ,paul ,czanne10 by ,emile ,bernard1 p4 #cf4 #be ,see 8,laws of ,japanese ,painting10 ,henry ,p4 ,bowie1 by long odds the best book in ,english on the subject4 #bf ,see 8,la ,jeune ,peinture ,franaise10 pas4 ,andr ,salmon1 pp4 #ah1 #ai4 #bg 8,la ,jeune ,peinture ,franaise10 ,andr ,salmon1 p4 #ai4 #bh ,from an article and interview by ,c4 ,t4 ,mac,chesney1 printed in the 8,new ,york ,times10 ,march #i1 #aiac4 #bi ,see 8,le ,jeune ,peinture ,franaise10 ,andr ,salmon1 #aiab4 #cj 8,der ,blaue ,reiter10 p4 #e4 #ca ,see 8,der ,blaue ,reiter10 pp4 #ag1 #ah4 #cb 8,l',art ,dcoratif10 ,nov4 #aiab4 #cc ,see 8,the ,new ,spirit in ,drama and ,art10 by ,huntley ,carter4 #cd ,this and the following chronological information are from 8,les ,peintres #8,cubistes1'0 by ,guillaume ,apollinare1 #bb et seq4 #ce 8,les ,peintres #8,cubistes1'0 pp4 #bd-bf4 #cf 8,das ,neue ,bild10 ,otto ,fischer1 pp4 #ab-ac4 #cg ,see 8,the ,mask10 ,vol4 ,,vi1 pp4 #fd-ge4 #ch 8,les ,peintres #8,cubistes1'0 ,guillaume ,apollinare1 p4 #ae4 #ci 8,is ,it ,art8 ,post-,impressionism1 ,cubism1 ,futurism10 by ,j4 ,n4 ,laurvik4 ,the sub-title is obviously confusing1 since ,post-,impressionism includes all the developments following ,impressionism4 #dj 8,delight2 the ,soul of ,art10 p4 #i et seq4 #da 8,delight2 the ,soul of ,art10 lecture ,v1 8,delight in ,labor40 #db ,from 8,an ,interview with ,francois ,picabia10 in the 8,new ,york ,tribune40 #dc ,j4 ,n4 ,laurvik1 in 8,boston ,evening ,transcript40 #dd 8,cubism10 ,gleizes and ,metzinger 7,eng4 ,edition74 #de 8,das ,neue ,bild10 by ,otto ,fischer1 pp4 #bb1 #bc4 #df 8,das ,neue ,bild10 p4 #cd4 #dg ,it was purchased by ,mr4 ,alfred ,stieglitz4 #dh ,roger ,fry in 8,the ,nation10 ,august #b1 #aiac4 #di ,second edition1 ,munich1 ,r4 ,piper ,co41 #aiab4 #ej 8,der ,sturm10 ,berlin4 #ea ,see pages #hg-hh for quotation from 8,delight2 the ,soul of ,art40 #eb ,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 small4 #ec 8,the ,history of ,music10 ,emil ,nauman1 ,vol4 #a1 p4 #g et seq4 #ed ,see 8,sensations of ,tone10 ,helmholtz1 ,eng41 ,edit41 p4 #beh4 #ee ,helmholtz1 p4 #beh4 #ef ,ibid41 p4 #bfe4 #eg ,for a scientific investigation of ,siamese and ,japanese scales1 see additions to ,english edition of ,helmholtz1 8,sensation of ,tone10 p4 #eef4 #eh 8,history of ,music10 ,nauman1 ,vol4 ,i1 p4 #aj4 #ei ,ibid41 ,vol4 ,i1 p4 #ab4 #fj ,by ,mr4 ,a4 ,w4 ,rimington1 ,professor of ,fine ,arts at ,queen's ,college1 ,london4 ,see his book1 8,color ,music40 #fa 8,on the ,laws of ,japanese ,painting10 by ,bowie1 p4 #ee4 #fb 8,on the ,basis of ,japanese ,painting10 ,bowie1 pp4 #gg-gi4 #fc ,signor ,marinetti is the founder of the school2 he is not a painter1 but a writer1 editor of 8,poesia40 ,he is a young man and is followed by a small band of young enthusiastic writers1 poets1 musicians1 painters1 sculptors1 whose innovations strike even the cubists as wild extravagances4 ,in fact1 ,futurism and ,cubism have very little in common except innovation2 both are revolutionary but otherwise diametrically opposed in many of their aims and theories4 #fd ,before seeing any of the ,futurist literature and influenced only by developments in the printing of newspapers and periodicals in ,america1 the writer caused a book on an economic subject to be printed in such a manner that1 so far as possible1 each page displayed on its face its contents4 ,the attempt was made to so break up the pages and so use italics and capitals that the task of the reader would be lightened4 ,the attempt attracted the very favorable attention of reviewers1 several remarking that 8the arts of the advertiser had been used to display the ideas0--and that was true4 #fe ,from an article by ,ray ,nyst1 a ,belgian critic in 8,la ,belgique ,artistique et ,libraire40 #ff ,writer in 8,the ,times-,democrat10 ,new ,orleans4