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You'll have to study the fashions in clothes; the fashions in handkerchiefs, and how to flirt with them; when to drink tea, and where; how to lose money gracefully at bridge; how to gabble incessantly and not know what you are talking about; how to listen "intelligently" and not have the remotest idea what your vis-a-vis is saying to you; you'll have to join 'steen clubs, and read ten new novels a day; go to every new play; know all about the latest movies; know all the latest ideas of social uplift, study art, the spiritual essence of color, the futurists, and the cubists.
This was received with violent protestations of disapproval by the Cubists, the Futurists, and the Post-Impressionists, who claimed that this was entirely unnecessary, as they were able in their pictures to reveal the most secret workings of the brain, and that upon their canvases they laid bare for the study of the scientific world all that it was necessary for it to know.
When I pointed to one of the figures, a youth holding out a long bare arm, and remarked that I had never seen an arm of such length, my criticism brought out an unsuspected principle of art. "The Cubists would say that you were altogether too literal. They are making us all understand that what art ought to do is to express not what we merely see with our eyes, but what we feel.
Denizens of these regions, I take it, are the models for some of our cubists and futurists. . . . I seem to see the same kind of influence in these Etruscan faces. I think we should sense something sinister in a people with art-conventions like theirs; and this accords with the popular view of antiquity, for the Etruscans had not a nice reputation.
Flexen had an odd feeling that they were behaving with entire naturalness and propriety; that their real interest was in the politicians, the British drama, the Cubists, the Vorticists and the New Poets, and not at all in the fate of the murderer of the late Lord Loudwater. After a while he found himself vying earnestly with Mr.
Every great effort of the human mind attracts those who merely desire their own salvation, and so it is with the artistic effort now. There are cubists and futurists and post-impressionists who are as silly as human beings can be, because they hope to attain to artistic salvation by rushing to extremes.
This is pretty much what I think of Cubism; but I am not such a fool as to deny that, experimenting in these very problems which seem to me to lead most artists into a rather unprofitable world of abstractions, Picasso and Braque have produced works of the greatest beauty and significance, while those of Fernand Léger, Jean Metsinger, and other avowed Cubists are of extraordinary merit and deserve the most careful attention.
Partly from the pressure of opposition, partly because the family characteristics of the Cézannides are conspicuous, it acquired a rather deceptive air of homogeneity. It was inclined to accept recruits without scrutinizing over closely their credentials, though it is to be remembered that it kept its critical faculty sufficiently sharp to reject the Futurists while welcoming the Cubists.
In the plastic arts, the laws of form and the criteria of beauty have been swept aside by the futurists, cubists, vorticists, tactilists, and other aesthetic Bolsheviki. In poetry, where beauty of rhythm, melody of sound and nobility of thought were once regarded as the true tests, we now have in freak forms of poetry the exaltation of the grotesque and brutal.
All conventionalization is in the interest of increased beauty of line. But too great a sacrifice of the natural contours of the body, as in some of the work of the Cubists, results in a lifelessness that cannot be atoned for by any formal beauty.
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