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Page 29
One of the first steps in the turning away from material objects
into the realm of the abstract was, to use the technical artistic
term, the rejection of the third dimension, that is to say, the
attempt to keep a picture on a single plane. Modelling was
abandoned. In this way the material object was made more abstract
and an important step forward was achieved--this step forward
has, however, had the effect of limiting the possibilities of
painting to one definite piece of canvas, and this limitation has
not only introduced a very material element into painting, but
has seriously lessened its possibilities.
Any attempt to free painting from this material limitation
together with the striving after a new form of composition must
concern itself first of all with the destruction of this theory
of one single surface--attempts must be made to bring the picture
on to some ideal plane which shall be expressed in terms of the
material plane of the canvas. [Footnote: Compare the article by
Le Fauconnier in the catalogue of the second exhibition of the
Neue Kunstlervereinigung, Munich, 1910-11.] There has arisen out
of the composition in flat triangles a composition with plastic
three-dimensional triangles, that is to say with pyramids; and
that is Cubism. But there has arisen here also the tendency to
inertia, to a concentration on this form for its own sake, and
consequently once more to an impoverishment of possibility. But
that is the unavoidable result of the external application of an
inner principle.
A further point of great importance must not be forgotten. There
are other means of using the material plane as a space of three
dimensions in order to create an ideal plane. The thinness or
thickness of a line, the placing of the form on the surface, the
overlaying of one form on another may be quoted as examples of
artistic means that may be employed. Similar possibilities are
offered by colour which, when rightly used, can advance or
retreat, and can make of the picture a living thing, and so
achieve an artistic expansion of space. The combination of both
means of extension in harmony or concord is one of the richest
and most powerful elements in purely artistic composition.
VII. THEORY
From the nature of modern harmony, it results that never has
there been a time when it was more difficult than it is today to
formulate a complete theory, [Footnote: Attempts have been made.
Once more emphasis must be laid on the parallel with music. For
example, cf. "Tendances Nouvelles," No. 35, Henri Ravel: "The
laws of harmony are the same for painting and music."] or to lay
down a firm artistic basis. All attempts to do so would have one
result, namely, that already cited in the case of Leonardo and
his system of little spoons. It would, however, be precipitate to
say that there are no basic principles nor firm rules in
painting, or that a search for them leads inevitably to
academism. Even music has a grammar, which, although modified
from time to time, is of continual help and value as a kind of
dictionary.
Painting is, however, in a different position. The revolt from
dependence on nature is only just beginning. Any realization of
the inner working of colour and form is so far unconscious. The
subjection of composition to some geometrical form is no new idea
(cf. the art of the Persians). Construction on a purely abstract
basis is a slow business, and at first seemingly blind and
aimless. The artist must train not only his eye but also his
soul, so that he can test colours for themselves and not only by
external impressions.
If we begin at once to break the bonds which bind us to nature,
and devote ourselves purely to combination of pure colour and
abstract form, we shall produce works which are mere decoration,
which are suited to neckties or carpets. Beauty of Form and
Colour is no sufficient aim by itself, despite the assertions of
pure aesthetes or even of naturalists, who are obsessed with the
idea of "beauty." It is because of the elementary stage reached
by our painting that we are so little able to grasp the inner
harmony of true colour and form composition. The nerve vibrations
are there, certainly, but they get no further than the nerves,
because the corresponding vibrations of the spirit which they
call forth are too weak. When we remember, however, that
spiritual experience is quickening, that positive science, the
firmest basis of human thought, is tottering, that dissolution of
matter is imminent, we have reason to hope that the hour of pure
composition is not far away.
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