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.This effort falls into twodivisions:(1) Simple composition, which is regulated according to anobvious and simple form.This kind of composition I call theMELODIC.(2) Complex composition, consisting of various forms, subjectedmore or less completely to a principal form.Probably theprincipal form may be hard to grasp outwardly, and for thatreason possessed of a strong inner value.This kind ofcomposition I call the SYMPHONIC.Between the two lie various transitional forms, in which themelodic principle predominates.The history of the development isclosely parallel to that of music.If, in considering an example of melodic composition, one forgetsthe material aspect and probes down into the artistic reason ofthe whole, one finds primitive geometrical forms or anarrangement of simple lines which help toward a common motion.This common motion is echoed by various sections and may bevaried by a single line or form.Such isolated variations servedifferent purposes.For instance, they may act as a sudden check,or to use a musical term, a "fermata." [Footnote: E.g., theRavenna mosaic which, in the main, forms a triangle.The uprightfigures lean proportionately to the triangle.The outstretchedarm and door-curtain are the "fermate."] Each form which goes tomake up the composition has a simple inner value, which has inits turn a melody.For this reason I call the compositionmelodic.By the agency of Cezanne and later of Hodler [Footnote:English readers may roughly parallel Hodler with Augustus Johnfor purposes of the argument.--M.T.H.S.] this kind of compositionwon new life, and earned the name of "rhythmic." The limitationsof the term "rhythmic" are obvious.In music and nature eachmanifestation has a rhythm of its own, so also in painting.Innature this rhythm is often not clear to us, because its purposeis not clear to us.We then speak of it as unrhythmic.So theterms rhythmic and unrhythmic are purely conventional, as alsoare harmony and discord, which have no actual existence.[Footnote: As an example of plain melodic construction with aplain rhythm, Cezanne's "Bathing Women" is given in this book.]Complex rhythmic composition, with a strong flavour of thesymphonic, is seen in numerous pictures and woodcuts of the past.One might mention the work of old German masters, of thePersians, 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 veryclosely allied to the melodic.This means that fundamentallythere is a composition founded on rest and balance.The mindthinks at once of choral compositions, of Mozart and Beethoven.All these works have the solemn and regular architecture of aGothic cathedral; they belong to the transition period.As examples of the new symphonic composition, in which themelodic element plays a subordinate part, and that only rarely, Ihave added reproductions of four of my own pictures.They represent three different sources of inspiration:(1) A direct impression of outward nature, expressed in purelyartistic form.This I call an "Impression."(2) A largely unconscious, spontaneous expression of innercharacter, the non-material nature.This I call an"Improvisation."(3) An expression of a slowly formed inner feeling, whichcomes 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, whetherconscious or unconscious, really underlies my work, thepatient reader will readily understand.Finally, I would remark that, in my opinion, we are fastapproaching the time of reasoned and conscious composition, whenthe painter will be proud to declare his work constructive.Thiswill be in contrast to the claim of the Impressionists that theycould explain nothing, that their art came upon them byinspiration.We have before us the age of conscious creation, andthis new spirit in painting is going hand in hand with the spiritof thought towards an epoch of great spiritual leaders.*** END OF THE PROJECT GUTENBERG EBOOK CONCERNING THE SPIRITUAL IN ART***This file should be named cnspr10.txt or cnspr10.zipCorrected EDITIONS of our eBooks get a new NUMBER, cnspr11.txtVERSIONS based on separate sources get new LETTER, cnspr10a [ Pobierz całość w formacie PDF ]