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Page 20
So the abstract idea is creeping into art, although, only
yesterday, it was scorned and obscured by purely material ideals.
Its gradual advance is natural enough, for in proportion as the
organic form falls into the background, the abstract ideal
achieves greater prominence.
But the organic form possesses all the same an inner harmony of
its own, which may be either the same as that of its abstract
parallel (thus producing a simple combination of the two
elements) or totally different (in which case the combination may
be unavoidably discordant). However diminished in importance the
organic form may be, its inner note will always be heard; and for
this reason the choice of material objects is an important one.
The spiritual accord of the organic with the abstract element may
strengthen the appeal of the latter (as much by contrast as by
similarity) or may destroy it.
Suppose a rhomboidal composition, made up of a number of human
figures. The artist asks himself: Are these human figures an
absolute necessity to the composition, or should they be replaced
by other forms, and that without affecting the fundamental
harmony of the whole? If the answer is "Yes," we have a case in
which the material appeal directly weakens the abstract appeal.
The human form must either be replaced by another object which,
whether by similarity or contrast, will strengthen the abstract
appeal, or must remain a purely non-material symbol. [Footnote:
Cf. Translator's Introduction, pp. xviii and xx.--M.T.H.S.]
Once more the metaphor of the piano. For "colour" or "form"
substitute "object." Every object has its own life and therefore
its own appeal; man is continually subject to these appeals. But
the results are often dubbed either sub--or super-conscious.
Nature, that is to say the ever-changing surroundings of man,
sets in vibration the strings of the piano (the soul) by
manipulation of the keys (the various objects with their several
appeals).
The impressions we receive, which often appear merely chaotic,
consist of three elements: the impression of the colour of the
object, of its form, and of its combined colour and form, i.e. of
the object itself.
At this point the individuality of the artist comes to the front
and disposes, as he wills, these three elements. IT IS CLEAR,
THEREFORE, THAT THE CHOICE OF OBJECT (i.e. OF ONE OF THE ELEMENTS
IN THE HARMONY OF FORM) MUST BE DECIDED ONLY BY A CORRESPONDING
VIBRATION IN THE HUMAN SOUL; AND THIS IS A THIRD GUIDING
PRINCIPLE OF THE INNER NEED.
The more abstract is form, the more clear and direct is its
appeal. In any composition the material side may be more or less
omitted in proportion as the forms used are more or less
material, and for them substituted pure abstractions, or largely
dematerialized objects. The more an artist uses these abstracted
forms, the deeper and more confidently will he advance into the
kingdom of the abstract. And after him will follow the gazer at
his pictures, who also will have gradually acquired a greater
familiarity with the language of that kingdom.
Must we then abandon utterly all material objects and paint
solely in abstractions? The problem of harmonizing the appeal of
the material and the non-material shows us the answer to this
question. As every word spoken rouses an inner vibration, so
likewise does every object represented. To deprive oneself of
this possibility is to limit one's powers of expression. That is
at any rate the case at present. But besides this answer to the
question, there is another, and one which art can always employ
to any question beginning with "must": There is no "must" in art,
because art is free.
With regard to the second problem of composition, the creation of
the single elements which are to compose the whole, it must be
remembered that the same form in the same circumstances will
always have the same inner appeal. Only the circumstances are
constantly varying. It results that: (1) The ideal harmony alters
according to the relation to other forms of the form which causes
it. (2) Even in similar relationship a slight approach to or
withdrawal from other forms may affect the harmony. [Footnote:
This is what is meant by "an appeal of motion." For example, the
appeal of an upright triangle is more steadfast and quiet than
that of one set obliquely on its side.] Nothing is absolute.
Form-composition rests on a relative basis, depending on (1) the
alterations in the mutual relations of forms one to another, (2)
alterations in each individual form, down to the very smallest.
Every form is as sensitive as a puff of smoke, the slightest
breath will alter it completely. This extreme mobility makes it
easier to obtain similar harmonies from the use of different
forms, than from a repetition of the same one; though of course
an exact replica of a spiritual harmony can never be produced. So
long as we are susceptible only to the appeal of a whole
composition, this fact is of mainly theoretical importance. But
when we become more sensitive by a constant use of abstract forms
(which have no material interpretation) it will become of great
practical significance. And so as art becomes more difficult, its
wealth of expression in form becomes greater and greater. At the
same time the question of distortion in drawing falls out and is
replaced by the question how far the inner appeal of the
particular form is veiled or given full expression. And once more
the possibilities are extended, for combinations of veiled and
fully expressed appeals suggest new LEITMOTIVEN in composition.
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