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Page 22
The inevitable desire for outward expression of the OBJECTIVE
element is the impulse here defined as the "inner need." The
forms it borrows change from day to day, and, as it continually
advances, what is today a phrase of inner harmony becomes
tomorrow one of outer harmony. It is clear, therefore, that the
inner spirit of art only uses the outer form of any particular
period as a stepping-stone to further expression.
In short, the working of the inner need and the development of
art is an ever-advancing expression of the eternal and objective
in the terms of the periodic and subjective.
Because the objective is forever exchanging the subjective
expression of today for that of tomorrow, each new extension of
liberty in the use of outer form is hailed as the last and
supreme. At present we say that an artist can use any form he
wishes, so long as he remains in touch with nature. But this
limitation, like all its predecessors, is only temporary. From
the point of view of the inner need, no limitation must be made.
The artist may use any form which his expression demands; for his
inner impulse must find suitable outward expression.
So we see that a deliberate search for personality and "style" is
not only impossible, but comparatively unimportant. The close
relationship of art throughout the ages, is not a relationship in
outward form but in inner meaning. And therefore the talk of
schools, of lines of "development," of "principles of art," etc.,
is based on misunderstanding and can only lead to confusion.
The artist must be blind to distinctions between "recognized" or
"unrecognized" conventions of form, deaf to the transitory
teaching and demands of his particular age. He must watch only
the trend of the inner need, and hearken to its words alone. Then
he will with safety employ means both sanctioned and forbidden by
his contemporaries. All means are sacred which are called for by
the inner need. All means are sinful which obscure that inner
need.
It is impossible to theorize about this ideal of art. In real art
theory does not precede practice, but follows her. Everything is,
at first, a matter of feeling. Any theoretical scheme will be
lacking in the essential of creation--the inner desire for
expression--which cannot be determined. Neither the quality of
the inner need, nor its subjective form, can be measured nor
weighed.
[Footnote: The many-sided genius of Leonardo devised a system of
little spoons with which different colours were to be used, thus
creating a kind of mechanical harmony. One of his pupils, after
trying in vain to use this system, in despair asked one of his
colleagues how the master himself used the invention. The
colleague replied: "The master never uses it at all."
(Mereschowski, LEONARDO DA VINCI).]
Such a grammar of painting can only be temporarily guessed at,
and should it ever be achieved, it will be not so much according
to physical rules (which have so often been tried and which today
the Cubists are trying) as according to the rules of the inner
need, which are of the soul.
The inner need is the basic alike of small and great problems in
painting. We are seeking today for the road which is to lead us
away from the outer to the inner basis.
[Footnote: The term "outer," here used, must not be confused with
the term "material" used previously. I am using the former to
mean "outer need," which never goes beyond conventional limits,
nor produces other than conventional beauty. The "inner need"
knows no such limits, and often produces results conventionally
considered "ugly." But "ugly" itself is a conventional term, and
only means "spiritually unsympathetic," being applied to some
expression of an inner need, either outgrown or not yet attained.
But everything which adequately expresses the inner need is
beautiful.]
The spirit, like the body, can be strengthened and developed by
frequent exercise. Just as the body, if neglected, grows weaker
and finally impotent, so the spirit perishes if untended. And for
this reason it is necessary for the artist to know the starting
point for the exercise of his spirit.
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