Wassily Kandinsky | III - The Spiritual revolution, 1910 | Tutt'Art@

Concerning the Spiritual in Art, 1910

The spiritual triangle moves slowly onwards and upwards. Today one of the largest of the lower segments has reached the point of using the first battle cry of the materialist creed. The dwellers in this segment group themselves round various banners in religion. They call themselves Jews, Catholics, Protestants, etc. But they are really atheists, and this a few either of the boldest or the narrowest openly avow. "Heaven is empty", "God is dead".

In politics these people are democrats and republicans. The fear, horror and hatred which yesterday they felt for these political creeds they now direct against anarchism, of which they know nothing but its much dreaded name.

In economics these people are Socialists. They make sharp the sword of justice with which to slay the hydra of capitalism and to hew off the head of evil.

Because the inhabitants of this great segment of the triangle have never solved any problem independently, but are dragged as it were in a cart by those the noblest of their fellowmen who have sacrificed themselves, they know nothing of the vital impulse of life which they regard always vaguely from a great distance. They rate this impulse lightly, putting their trust in purposeless theory and in the working of some logical method.

The men of the segment next below are dragged slowly higher, blindly, by those just described. But they cling to their old position, full of dread of the unknown and of betrayal. The higher segments are not only blind atheists but can justify their godlessness with strange words; for example, those of Virchow - so unworthy of a learned man - "I have dissected many corpses, but never yet discovered a soul in any of them".

In politics they are generally republican, with a knowledge of different parliamentary procedures; they read the political leading articles in the newspapers. In economics they are socialists of various grades, and can support their "principles" with numerous quotations, passing from Schweitzer's EMMA via Lasalle's IRON LAW OF WAGES, to Marx's CAPITAL, and still further.

In these loftier segments other categories of ideas, absent in these just described, begin gradually to appear - science and art, to which last belong also literature and music.

In science these men are positivists, only recognizing those things that can be weighed and measured. Anything beyond that they consider as rather discreditable nonsense, that same nonsense about which they held yesterday the theories that today are proven.

In art they are naturalists, which means that they recognize and value the personality, individuality and temperament of the artist up to a certain definite point. This point has been fixed by others, and in it they believe unflinchingly.

But despite their patent and well-ordered security, despite their infallible principles, there lurks in these higher segments a hidden fear, a nervous trembling, a sense of insecurity. And this is due to their upbringing. They know that the sages, statesmen and artists whom today they revere, were yesterday spurned as swindlers and charlatans. And the higher the segment in the triangle, the better defined is this fear, this modern sense of insecurity. Here and there are people with eyes which can see, minds which can correlate. They say to themselves: "If the science of the day before yesterday is rejected by the people of yesterday, and that of yesterday by us of today, is it not possible that what we call science now will be rejected by the men of tomorrow?" And the bravest of them answer, "It is possible".

Then people appear who can distinguish those problems that the science of today has not yet explained. And they ask themselves: "Will science, if it continues on the road it has followed for so long, ever attain to the solution of these problems? And if it does so attain, will men be able to rely on its solution?" In these segments are also professional men of learning who can remember the time when facts now recognized by the Academies as firmly established, were scorned by those same Academies. There are also philosophers of aesthetic who write profound books about an art which was yesterday condemned as nonsense. In writing these books they remove the barriers over which art has most recently stepped and set up new ones which are to remain for ever in the places they have chosen.

They do not notice that they are busy erecting barriers, not in front of art, but behind it. And if they do notice this, on the morrow they merely write fresh books and hastily set their barriers a little further on. This performance will go on unaltered until it is realized that the most extreme principle of aesthetic can never be of value to the future, but only to the past. No such theory of principle can be laid down for those things which lie beyond, in the realm of the immaterial. That which has no material existence cannot be subjected to a material classification. That which belongs to the spirit of the future can only be realized in feeling, and to this feeling the talent of the artist is the only road.

Theory is the lamp which sheds light on the petrified ideas of yesterday and of the more distant past. [Footnote: Cf. Chapter VII.]

And as we rise higher in the triangle we find that the uneasiness increases, as a city built on the most correct architectural plan may be shaken suddenly by the uncontrollable force of nature. Humanity is living in such a spiritual city, subject to these sudden disturbances for which neither architects nor mathematicians have made allowance. In one place lies a great wall crumbled to pieces like a card house, in another are the ruins of a huge tower which once stretched to heaven, built on many presumably immortal spiritual pillars. The abandoned churchyard quakes and forgotten graves open and from them rise forgotten ghosts. Spots appear on the sun and the sun grows dark, and what theory can fight with darkness? And in this city live also men deafened by false wisdom who hear no crash, and blinded by false wisdom, so that they say "our sun will shine more brightly than ever and soon the last spots will disappear". But sometime even these men will hear and see.

But when we get still higher there is no longer this bewilderment. There work is going on which boldly attacks those pillars which men have set up. There we find other professional men of learning who test matter again and again, who tremble before no problem, and who finally cast doubt on that very matter which was yesterday the foundation of everything, so that the whole universe is shaken. Every day another scientific theory finds bold discoverers who overstep the boundaries of prophecy and, forgetful of themselves, join the other soldiers in the conquest of some new summit and in the hopeless attack on some stubborn fortress. But "there is no fortress that man cannot overcome".

On the one hand, FACTS are being established which the science of yesterday dubbed swindles. Even newspapers, which are for the most part the most obsequious servants of worldly success and of the mob, and which trim their sails to every wind, find themselves compelled to modify their ironical judgements on the "marvels" of science and even to abandon them altogether. Various learned men, among them ultra-materialists, dedicate their strength to the scientific research of doubtful problems, which can no longer be lied about or passed over in silence. [Footnote: Zoller, Wagner, Butleroff (St. Petersburg), Crookes (London), etc.; later on, C. H. Richet, C. Flammarion. The Parisian paper Le Matin, published about two years ago the discoveries of the two last named under the title "Je le constate, mais je ne l'explique pas". Finally there are C. Lombroso, the inventor of the anthropological method of diagnosing crime, and Eusapio Palladino.]

On the other hand, the number is increasing of those men who put no trust in the methods of materialistic science when it deals with those questions which have to do with "non-matter," or matter which is not accessible to our minds. Just as art is looking for help from the primitives, so these men are turning to half-forgotten times in order to get help from their half-forgotten methods. However, these very methods are still alive and in use among nations whom we, from the height of our knowledge, have been accustomed to regard with pity and scorn.

To such nations belong the Indians, who from time to time confront those learned in our civilization with problems which we have either passed by unnoticed or brushed aside with superficial words and explanations. [Footnote: Frequently in such cases use is made of the word hypnotism; that same hypnotism which, in its earlier form of mesmerism, was disdainfully put aside by various learned bodies.]

Mme. Blavatsky was the first person, after a life of many years in India, to see a connection between these "savages" and our "civilization". From that moment there began a tremendous spiritual movement which today includes a large number of people and has even assumed a material form in the THEOSOPHICAL SOCIETY. This society consists of groups who seek to approach the problem of the spirit by way of the INNER knowledge.

The theory of Theosophy which serves as the basis to this movement was set out by Blavatsky in the form of a catechism in which the pupil receives definite answers to his questions from the theosophical point of view. [Footnote: E. P. Blavatsky, The Key of Theosophy, London, 1889.]

Theosophy, according to Blavatsky, is synonymous with ETERNAL TRUTH. "The new torchbearer of truth will find the minds of men prepared for his message, a language ready for him in which to clothe the new truths he brings, an organization awaiting his arrival, which will remove the merely mechanical, material obstacles and difficulties from his path". And then Blavatsky continues: "The earth will be a heaven in the twenty-first century in comparison with what it is now", and with these words ends her book.

When religion, science and morality are shaken, the two last by the strong hand of Nietzsche, and when the outer supports threaten to fall, man turns his gaze from externals in on to himself.

Literature, music and art are the first and most sensitive spheres in which this spiritual revolution makes itself felt.

They reflect the dark picture of the present time and show the importance of what at first was only a little point of light noticed by few and for the great majority non-existent. Perhaps they even grow dark in their turn, but on the other hand they turn away from the soulless life of the present towards those substances and ideas which give free scope to the non-material strivings of the soul.

A poet of this kind in the realm of literature is Maeterlinck. He takes us into a world which, rightly or wrongly, we term supernatural. La Princesse Maleine, Les Sept Princesses, Les Aveugles, etc., are not people of past times as are the heroes in Shakespeare. They are merely souls lost in the clouds, threatened by them with death, eternally menaced by some invisible and sombre power.

Spiritual darkness, the insecurity of ignorance and fear pervade the world in which they move. Maeterlinck is perhaps one of the first prophets, one of the first artistic reformers and seers to herald the end of the decadence just described. The gloom of the spiritual atmosphere, the terrible, but all-guiding hand, the sense of utter fear, the feeling of having strayed from the path, the confusion among the guides, all these are clearly felt in his works.[Footnote: To the front tank of such seers of the decadence belongs also Alfred Kubin. With irresistible force both Kubin's drawings and also his novel "Die Andere Seite" seem to engulf us in the terrible atmosphere of empty desolation.]

This atmosphere Maeterlinck creates principally by purely artistic means. His material machinery (gloomy mountains, moonlight, marshes, wind, the cries of owls, etc.) plays really a symbolic role and helps to give the inner note. [Footnote: When one of Maeterlinck's plays was produced in St. Petersburg under his own guidance, he himself at one of the rehearsals had a tower represented by a plain piece of hanging linen. It was of no importance to him to have elaborate scenery prepared. He did as children, the greatest imaginers of all time, always do in their games; for they use a stick for a horse or create entire regiments of cavalry out of chalks.

And in the same way a chalk with a notch in it is changed from a knight into a horse. On similar lines the imagination of the spectator plays in the modern theatre, and especially in that of Russia, an important part. And this is a notable element in the transition from the material to the spiritual in the theatre of the future.] Maeterlinck's principal technical weapon is his use of words. The word may express an inner harmony.

This inner harmony springs partly, perhaps principally, from the object which it names. But if the object is not itself seen, but only its name heard, the mind of the hearer receives an abstract impression only, that is to say as of the object dematerialized, and a corresponding vibration is immediately set up in the HEART.

The apt use of a word (in its poetical meaning), repetition of this word, twice, three times or even more frequently, according to the need of the poem, will not only tend to intensify the inner harmony but also bring to light unsuspected spiritual properties of the word itself. Further than that, frequent repetition of a word (again a favourite game of children, which is forgotten in after life) deprives the word of its original external meaning.

Similarly, in drawing, the abstract message of the object drawn tends to be forgotten and its meaning lost. Sometimes perhaps we unconsciously hear this real harmony sounding together with the material or later on with the non-material sense of the object.

But in the latter case the true harmony exercises a direct impression on the soul. The soul undergoes an emotion which has no relation to any definite object, an emotion more complicated, I might say more super-sensuous than the emotion caused by the sound of a bell or of a stringed instrument. This line of development offers great possibilities to the literature of the future. In an embryonic form this word-power-has already been used in SERRES CHAUDES. [Footnote: SERRES CHAUDES, SUIVIES DE QUINZE CHANSONS, par Maurice Maeterlinck. Brussels. Lacomblez.]

As Maeterlinck uses them, words which seem at first to create only a neutral impression have really a more subtle value. Even a familiar word like "hair," if used in a certain way can intensify an atmosphere of sorrow or despair. And this is Maeterlinck's method. He shows that thunder, lightning and a moon behind driving clouds, in themselves material means, can be used in the theatre to create a greater sense of terror than they do in nature.

The true inner forces do not lose their strength and effect so easily. [Footnote: A comparison between the work of Poe and Maeterlinck shows the course of artistic transition from the material to the abstract.]

An the word which has two meanings, the first direct, the second indirect, is the pure material of poetry and of literature, the material which these arts alone can manipulate and through which they speak to the spirit.

Something similar may be noticed in the music of Wagner. His famous leitmotiv is an attempt to give personality to his characters by something beyond theatrical expedients and light effect. His method of using a definite motiv is a purely musical method. It creates a spiritual atmosphere by means of a musical phrase which precedes the hero, which he seems to radiate forth from any distance. [Footnote: Frequent attempts have shown that such a spiritual atmosphere can belong not only to heroes but to any human being. Sensitives cannot, for example, remain in a room in which a person has been who is spiritually antagonistic to them, even though they know nothing of his existence.]

The most modern musicians like Debussy create a spiritual impression, often taken from nature, but embodied in purely musical form. For this reason Debussy is often classed with the Impressionist painters on the ground that he resembles these painters in using natural phenomena for the purposes of his art. Whatever truth there may be in this comparison merely accentuates the fact that the various arts of today learn from each other and often resemble each other. But it would be rash to say that this definition is an exhaustive statement of Debussy's significance. Despite his similarity with the Impressionists this musician is deeply concerned with spiritual harmony, for in his works one hears the suffering and tortured nerves of the present time.

And further Debussy never uses the wholly material note so characteristic of programme music, but trusts mainly in the creation of a more abstract impression. Debussy has been greatly influenced by Russian music, notably by Mussorgsky. So it is not surprising that he stands in close relation to the young Russian composers, the chief of whom is Scriabin.

The experience of the hearer is frequently the same during the performance of the works of these two musicians. He is often snatched quite suddenly from a series of modern discords into the charm of more or less conventional beauty. He feels himself often insulted, tossed about like a tennis ball over the net between the two parties of the outer and the inner beauty. To those who are not accustomed to it the inner beauty appears as ugliness because humanity in general inclines to the outer and knows nothing of the inner.

Almost alone in severing himself from conventional beauty is the Austrian composer, Arnold Schonberg.

He says in his Harmonielehre: "Every combination of notes, every advance is possible, but I am beginning to feel that there are also definite rules and conditions which incline me to the use of this or that dissonance". [Footnote: "Die Musik," p. 104, from the Harmonielehre (Verlag der Universal Edition).]

This means that Schonberg realizes that the greatest freedom of all, the freedom of an unfettered art, can never be absolute. Every age achieves a certain measure of this freedom, but beyond the boundaries of its freedom the mightiest genius can never go. But the measure of freedom of each age must be constantly enlarged. Schonberg is endeavouring to make complete use of his freedom and has already discovered gold mines of new beauty in his search for spiritual harmony. His music leads us into a realm where musical experience is a matter not of the ear but of the soul alone - and from this point begins the music of the future.

A parallel course has been followed by the Impressionist movement in painting. It is seen in its dogmatic and most naturalistic form in so-called Neo-Impressionism. The theory of this is to put on the canvas the whole glitter and brilliance of nature, and not only an isolated aspect of her.

It is interesting to notice three practically contemporary and totally different groups in painting. They are:

(1) Rossetti and his pupil Burne-Jones, with their followers;

(2) Bocklin and his school;

(3) Segantini, with his unworthy following of photographic artists.

I have chosen these three groups to illustrate the search for the abstract in art. Rossetti sought to revive the non-materialism of the pre-Raphaelites.

Bocklin busied himself with the mythological scenes, but was in contrast to Rossetti in that he gave strongly material form to his legendary figures.

Segantini, outwardly the most material of the three, selected the most ordinary objects (hills, stones, cattle, etc.) often painting them with the minutest realism, but he never failed to create a spiritual as well as a material value, so that really he is the most non-material of the trio.

These men sought for the "inner" by way of the "outer".

By another road, and one more purely artistic, the great seeker after a new sense of form approached the same problem. Cezanne made a living thing out of a teacup, or rather in a teacup he realized the existence of something alive. He raised still life to such a point that it ceased to be inanimate.

He painted these things as he painted human beings, because he was endowed with the gift of divining the inner life in everything. His colour and form are alike suitable to the spiritual harmony.

A man, a tree, an apple, all were used by Cezanne in the creation of something that is called a "picture", and which is a piece of true inward and artistic harmony. The same intention actuates the work of one of the greatest of the young Frenchmen, Henri Matisse.

He paints "pictures", and in these "pictures" endeavours to reproduce the divine.[Footnote: Cf. his article in KUNST UND KUNSTLER, 1909, No. 8.]

To attain this end he requires as a starting point nothing but the object to be painted (human being or whatever it may be), and then the methods that belong to painting alone, colour and form.

By personal inclination, because he is French and because he is specially gifted as a colourist, Matisse is apt to lay too much stress on the colour.

Like Debussy, he cannot always refrain from conventional beauty; Impressionism is in his blood. One sees pictures of Matisse which are full of great inward vitality, produced by the stress of the inner need, and also pictures which possess only outer charm, because they were painted on an outer impulse. (How often one is reminded of Manet in this.) His work seems to be typical French painting, with its dainty sense of melody, raised from time to time to the summit of a great hill above the clouds.

But in the work of another great artist in Paris, the Spaniard Pablo Picasso, there is never any suspicion of this conventional beauty. Tossed hither and thither by the need for self-expression, Picasso hurries from one manner to another. At times a great gulf appears between consecutive manners, because Picasso leaps boldly and is found continually by his bewildered crowd of followers standing at a point very different from that at which they saw him last. No sooner do they think that they have reached him again than he has changed once more.

In this way there arose Cubism, the latest of the French movements, which is treated in detail in Part II.

Picasso is trying to arrive at constructiveness by way of proportion. In his latest works (1911) he has achieved the logical destruction of matter, not, however, by dissolution but rather by a kind of a parcelling out of its various divisions and a constructive scattering of these divisions about the canvas.

But he seems in this most recent work distinctly desirous of keeping an appearance of matter. He shrinks from no innovation, and if colour seems likely to balk him in his search for a pure artistic form, he throws it overboard and paints a picture in brown and white; and the problem of purely artistic form is the real problem of his life.

In their pursuit of the same supreme end Matisse and Picasso stand side by side, Matisse representing colour and Picasso form.

Concerning the Spiritual in Art / Lo spirituale nell'arte, 1910