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Page 35
The first five illustrations in this book show the course of
constructive effort in painting. This effort falls into two
divisions:
(1) Simple composition, which is regulated according to an
obvious and simple form. This kind of composition I call the
MELODIC.
(2) Complex composition, consisting of various forms, subjected
more or less completely to a principal form. Probably the
principal form may be hard to grasp outwardly, and for that
reason possessed of a strong inner value. This kind of
composition I call the SYMPHONIC.
Between the two lie various transitional forms, in which the
melodic principle predominates. The history of the development is
closely parallel to that of music.
If, in considering an example of melodic composition, one forgets
the material aspect and probes down into the artistic reason of
the whole, one finds primitive geometrical forms or an
arrangement of simple lines which help toward a common motion.
This common motion is echoed by various sections and may be
varied by a single line or form. Such isolated variations serve
different purposes. For instance, they may act as a sudden check,
or to use a musical term, a "fermata." [Footnote: E.g., the
Ravenna mosaic which, in the main, forms a triangle. The upright
figures lean proportionately to the triangle. The outstretched
arm and door-curtain are the "fermate."] Each form which goes to
make up the composition has a simple inner value, which has in
its turn a melody. For this reason I call the composition
melodic. By the agency of Cezanne and later of Hodler [Footnote:
English readers may roughly parallel Hodler with Augustus John
for purposes of the argument.--M.T.H.S.] this kind of composition
won new life, and earned the name of "rhythmic." The limitations
of the term "rhythmic" are obvious. In music and nature each
manifestation has a rhythm of its own, so also in painting. In
nature this rhythm is often not clear to us, because its purpose
is not clear to us. We then speak of it as unrhythmic. So the
terms rhythmic and unrhythmic are purely conventional, as also
are harmony and discord, which have no actual existence.
[Footnote: As an example of plain melodic construction with a
plain rhythm, Cezanne's "Bathing Women" is given in this book.]
Complex rhythmic composition, with a strong flavour of the
symphonic, is seen in numerous pictures and woodcuts of the past.
One might mention the work of old German masters, of the
Persians, of the Japanese, the Russian icons, broadsides, etc.
[Footnote: This applies to many of Hodler's pictures.]
In nearly all these works the symphonic composition is not very
closely allied to the melodic. This means that fundamentally
there is a composition founded on rest and balance. The mind
thinks at once of choral compositions, of Mozart and Beethoven.
All these works have the solemn and regular architecture of a
Gothic cathedral; they belong to the transition period.
As examples of the new symphonic composition, in which the
melodic element plays a subordinate part, and that only rarely, I
have added reproductions of four of my own pictures.
They represent three different sources of inspiration:
(1) A direct impression of outward nature, expressed in purely
artistic form. This I call an "Impression."
(2) A largely unconscious, spontaneous expression of inner
character, the non-material nature. This I call an
"Improvisation."
(3) An expression of a slowly formed inner feeling, which
comes to utterance only after long maturing. This I call a
"Composition." In this, reason, consciousness, purpose, play
an overwhelming part. But of the calculation nothing appears,
only the feeling. Which kind of construction, whether
conscious or unconscious, really underlies my work, the
patient reader will readily understand.
Finally, I would remark that, in my opinion, we are fast
approaching the time of reasoned and conscious composition, when
the painter will be proud to declare his work constructive. This
will be in contrast to the claim of the Impressionists that they
could explain nothing, that their art came upon them by
inspiration. We have before us the age of conscious creation, and
this new spirit in painting is going hand in hand with the spirit
of thought towards an epoch of great spiritual leaders.
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