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Page 30
It must not be thought that pure decoration is lifeless. It has
its inner being, but one which is either incomprehensible to us,
as in the case of old decorative art, or which seems mere
illogical confusion, as a world in which full-grown men and
embryos play equal roles, in which beings deprived of limbs are
on a level with noses and toes which live isolated and of their
own vitality. The confusion is like that of a kaleidoscope, which
though possessing a life of its own, belongs to another sphere.
Nevertheless, decoration has its effect on us; oriental
decoration quite differently to Swedish, savage, or ancient
Greek. It is not for nothing that there is a general custom of
describing samples of decoration as gay, serious, sad, etc., as
music is described as Allegro, Serioso, etc., according to the
nature of the piece.
Probably conventional decoration had its beginnings in nature.
But when we would assert that external nature is the sole source
of all art, we must remember that, in patterning, natural objects
are used as symbols, almost as though they were mere
hieroglyphics. For this reason we cannot gauge their inner
harmony. For instance, we can bear a design of Chinese dragons in
our dining or bed rooms, and are no more disturbed by it than by
a design of daisies.
It is possible that towards the close of our already dying epoch
a new decorative art will develop, but it is not likely to be
founded on geometrical form. At the present time any attempt to
define this new art would be as useless as pulling a small bud
open so as to make a fully blown flower. Nowadays we are still
bound to external nature and must find our means of expression in
her. But how are we to do it? In other words, how far may we go
in altering the forms and colours of this nature?
We may go as far as the artist is able to carry his emotion, and
once more we see how immense is the need for true emotion. A few
examples will make the meaning of this clearer.
A warm red tone will materially alter in inner value when it is
no longer considered as an isolated colour, as something
abstract, but is applied as an element of some other object, and
combined with natural form. The variety of natural forms will
create a variety of spiritual values, all of which will harmonize
with that of the original isolated red. Suppose we combine red
with sky, flowers, a garment, a face, a horse, a tree.
A red sky suggests to us sunset, or fire, and has a consequent
effect upon us--either of splendour or menace. Much depends now
on the way in which other objects are treated in connection with
this red sky. If the treatment is faithful to nature, but all the
same harmonious, the "naturalistic" appeal of the sky is
strengthened. If, however, the other objects are treated in a way
which is more abstract, they tend to lessen, if not to destroy,
the naturalistic appeal of the sky. Much the same applies to the
use of red in a human face. In this case red can be employed to
emphasize the passionate or other characteristics of the model,
with a force that only an extremely abstract treatment of the
rest of the picture can subdue.
A red garment is quite a different matter; for it can in reality
be of any colour. Red will, however, be found best to supply the
needs of pure artistry, for here alone can it be used without any
association with material aims. The artist has to consider not
only the value of the red cloak by itself, but also its value in
connection with the figure wearing it, and further the relation
of the figure to the whole picture. Suppose the picture to be a
sad one, and the red-cloaked figure to be the central point on
which the sadness is concentrated--either from its central
position, or features, attitude, colour, or what not. The red
will provide an acute discord of feeling, which will emphasize
the gloom of the picture. The use of a colour, in itself sad,
would weaken the effect of the dramatic whole. [Footnote: Once
more it is wise to emphasize the necessary inadequacy of these
examples. Rules cannot be laid down, the variations are so
endless. A single line can alter the whole composition of a
picture.] This is the principle of antithesis already defined.
Red by itself cannot have a sad effect on the spectator, and its
inclusion in a sad picture will, if properly handled, provide the
dramatic element. [Footnote: The use of terms like "sad" and
"joyful" are only clumsy equivalents for the delicate spiritual
vibrations of the new harmony. They must be read as necessarily
inadequate.]
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