DOI article:
Charles H. [Henry] Caffin, The New Thought Which Is Old
DOI Page / Citation link:https://doi.org/10.11588/diglit.31082#0040
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The final aim in Cézanne’s simplification is to reach an organic unity,
in order that the expression may be a single and harmonious one. Thus the
process of gradual elimination to which he subjects his vision of appearances
is twofold. It is regulated by the double purpose of reaching the ultimate
suggestion of abstract expression and of organizing that expression into
a unit.
Cézanne’s influence is appearing sporadically and in bulk. It is inciden-
tally affecting a variety of painters in their use of color; at the same time
operating in a more complete way upon that group of new men who have been
nicknamed “Les Fauves.” But the “Wild Beasts," among whom Matisse is
conspicuous, are not imitators of Cézanne, nor have they the outward signs of
being united with one another. Their methods vary. Yet their purpose is one
in common: to attain to abstract expression by means of simplification and
organization. In this Matisse, by force of character and example, has come
to be regarded as a leader, especially by the outside world, which knows of
the movement only through him.
Trained under Academic methods to be an expert draughtsman, he has
been intent for several years upon the effort to disengage himself from the
motive of representation which the Academy upholds. He is no upstart who
would kick aside the great art of the past. On the contrary, he has been a
close student of it; but always with the idea of measuring himself alongside of
it, in order to fortify himself by discovering what there was in it for him to
accept or reject in pursuance of his own development. The latter, as he
planned it, was to proceed from a knowledge of what others had done to a
complete forgetfulness of everything except what was in himself; and then to
develop himself by reliance upon an instinct which leads him back continually
to first principles. He would put himself in the attitude of the primitive man,
who, impressed with the weight or bulk or movement of an object, might try
to express those abstract qualities by line and color. On the other hand,
Matisse combined with this the later art-man’s instinct to organize a complete
and single ensemble.
In this effort to replace the representation of form by the rendering of
its abstraction, Matisse has found himself compelled to violations of the
appearances of form that he himself regrets. They were the necessary
stumblings and faltering steps before he could learn to walk. They are
continually diminishing in frequency and in violence, while at the same time his
control of color has gained in power and effectiveness. But it is not my
purpose here to dwell upon Matisse. His art is still in the flux. Meanwhile,
it has attracted so much attention that his name obscures the movement of
which he is only a part. He and not Cézanne has been regarded as the leader
of the new thought. My present object has been to set this right, and to
suggest the general principle of the movement. A lengthened consideration
of Matisse must be reserved for another occasion. Charles H. Caffin.
24
in order that the expression may be a single and harmonious one. Thus the
process of gradual elimination to which he subjects his vision of appearances
is twofold. It is regulated by the double purpose of reaching the ultimate
suggestion of abstract expression and of organizing that expression into
a unit.
Cézanne’s influence is appearing sporadically and in bulk. It is inciden-
tally affecting a variety of painters in their use of color; at the same time
operating in a more complete way upon that group of new men who have been
nicknamed “Les Fauves.” But the “Wild Beasts," among whom Matisse is
conspicuous, are not imitators of Cézanne, nor have they the outward signs of
being united with one another. Their methods vary. Yet their purpose is one
in common: to attain to abstract expression by means of simplification and
organization. In this Matisse, by force of character and example, has come
to be regarded as a leader, especially by the outside world, which knows of
the movement only through him.
Trained under Academic methods to be an expert draughtsman, he has
been intent for several years upon the effort to disengage himself from the
motive of representation which the Academy upholds. He is no upstart who
would kick aside the great art of the past. On the contrary, he has been a
close student of it; but always with the idea of measuring himself alongside of
it, in order to fortify himself by discovering what there was in it for him to
accept or reject in pursuance of his own development. The latter, as he
planned it, was to proceed from a knowledge of what others had done to a
complete forgetfulness of everything except what was in himself; and then to
develop himself by reliance upon an instinct which leads him back continually
to first principles. He would put himself in the attitude of the primitive man,
who, impressed with the weight or bulk or movement of an object, might try
to express those abstract qualities by line and color. On the other hand,
Matisse combined with this the later art-man’s instinct to organize a complete
and single ensemble.
In this effort to replace the representation of form by the rendering of
its abstraction, Matisse has found himself compelled to violations of the
appearances of form that he himself regrets. They were the necessary
stumblings and faltering steps before he could learn to walk. They are
continually diminishing in frequency and in violence, while at the same time his
control of color has gained in power and effectiveness. But it is not my
purpose here to dwell upon Matisse. His art is still in the flux. Meanwhile,
it has attracted so much attention that his name obscures the movement of
which he is only a part. He and not Cézanne has been regarded as the leader
of the new thought. My present object has been to set this right, and to
suggest the general principle of the movement. A lengthened consideration
of Matisse must be reserved for another occasion. Charles H. Caffin.
24
