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thin In Concentric dir

ng without end) the six colours appear that make up the three main antitheses. And to r

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en two poles, i.e., the life of

rs designate the p

words, but it will always be incomplete, and that part which the word fails to express will not be unimportant but rather the very kernel of its existence. For this reason words are, and will always remain, only hints, mere suggestions of colours. In this impossibility of expressing colour in words with the consequent need for some other mode of expression lies the opportunity of the art of the future. In this art among innumerable rich and va

pathy in different forms of art (alike on the active and passive side among the creators or the receivers of the appeal); but further and more important, repetition of the same appeal thickens the spiritual atmosphere which is necessary for the maturing of the finest feelings, in the same way as the hot air of a greenhouse is necessary for the ripening of certain fruit. An example of this is the case of the individual who receives a powerful impression from constantly repeated actions, thoughts or feelings, although if they came singly they might have passed by unnoticed. [Footnote: This idea forms, of

f violent warlike feeling, etc., are

oy in the success of others, humanity, justness, are the elements which slay those a

nts likewise have thei

m of repetition is even more powerful, for the different natures of men respond to the different elements in the combination. For one the musical form is the most moving and impressive; for another the pictorial, for the third th

ed assaults, great questions, apparently useless striving, storm and tempest, broken chains, antitheses and contradictions, these make up our harmony. The composition arising from this harmony is a mingling of colour and form each with its separate existence, but each blended into a common life which is called a picture by the force of the inner need. Only these individual parts are vital. Everything else (such as surrounding conditions) is subsidiary. The combination of two colours is a logical outcome of modern conditions. The combination of colours hitherto considered discordant, is merely a further development. For example, the use, side by side, of red and blue, colours in themselves of no physical relationship, but from their very spiritual contrast of the strongest effect, is one of the most frequent occurrences in modern choice of harmony. [Footnote: Cf. Gauguin, Noa Noa, where the artist states his disinclination when he first arrived in Tahiti to juxtapose red and blue.] Harmony today rest

o 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 effec

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, tha

he 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 ca