Iva The Modern as Ideal 343, wants to triumph over Nature and to resolve the opposition in a new unity nd this process is consummated in the fight of the spirit against the material world, The spirit creates for itself a new life other than the life of nature Each of these departments in the course om the theory of form functions in lose association wth the workshops, an association which prevents their wandering off into academicism, ‘The gual of the Bauhaus curriculum the culminating point of the Bauhaus teaching is a demand for a new and powerful working correlation of all the processes of creation, The gifted student must regain a feeling for the ipterwoven strands of practical and formal work. ‘The joy of building, in the broadest meaning of that word, must replace the paper work of design, Architecture unites in a collective task all creative workers, from che simple artisan to the supreme artist, For this reason, the basis of collective education must be sufficiently broad to permit the des¢lopment of every kind of talent. Since a universally applicable method for the discovery of talent does not exist, the individual in the course fof bis development must find fr himself the field of activity best suited to him within the circle of the community. The majority become interested in produc- tion; the few extssordinarily gifted ones will suffer no limits to their activiny After they have completed the course of practical aed formal instruction, they undertake independent research and expenment Modern painting, breaking through old conventions, has released countless suggestions which ate still waiting to be used by the practical world, But when, in the furure, artists who sense new creative values have had practical training in the industrial world, they will chemselves possess the means for realizing those values immediately. ‘They ill compel industry to serve their idea and industry will scek out and utilize their comprehensive training 2 Paul Klee (1879-1940) from On Modern Art Suiss by birth, Klee spent most of his working Ife in Germany, latterly 2 the Baunaus, Unt forced into exte by the victory of the Nazis n 1933. For much of ths tine he was, involved in a creative dialogue with Kandinsky. ‘On Madern Art was first delvered as 2 lecture to the Jena Kunstueren in 1924. was first published, a5 Pau! Klee: Uber die ‘moderne Aunst, by the Verlag Bertel, Sermumnplz, in 1945. The present extracts are taken from the translation by Paul Findlay in Herbert Read (intra), Pau! klee: On Modern Art, London, 1948 May [ use 2 simile, the simile of the tree? The artist has studied this world of variety and has, we may suppose, unobtrusively found his way in it, His sense of direction has brought order into the passing stream of rmage and experience340. Freedom, Respansibity and Power This sense of direction in nature and Ii T shall compare with the root of the tree this branching and spreading array From the root the sap flows to the artist, flows through him, flows 10 his ese, ‘Thus hhe stands as the trunk of the tree, Battered and stirred by the strength of the flow, he molds his vision into his work. As, in full view of the world, the crown of the tree unfolds and spreads in time and in space, so with his work Nobody would affirm that the tree grows its crown in the image of its roor Between above and below can be no mirrored reflection. Tt is obvious that different functions expanding in different elements must produce vital diver- But it is just the artist who at times is denied those departures from narure which his art demands. He has even been charged with incompetence and deliberate distortion, And yet, standing at his appointed place, the trunk of the tree, he does nothing bother than gather and pass on what comes to him from the depths. He neither serves nor rules he transmits His position is humble. And the beauty at the crown is not his own. He is merely a channel The creation of a work of att the growth of the crown of the tree ~ must of necessity, as a result of entering into the specific dimensions of pictorial art be accompanied by distortion of the natural form, For, therein is nature reborn What, chen, are these specific dimensions? First, there are the more or less Limited, formal factors, such as hine, tone value and color, OF these, line is the most limited, being solely a matter of simple Measure. its properties are length (long or short), angles (obtuse or acute), length of radius and focal distance, All are quantities subject to measurement. Measure is the characteristic of shis clement Where the possibility of measure ment is in doubt, line cannot have been handied with absolute purity Of a quite different nature is tone value, oF, 26 it is also called, chiaroscuro the many degrees of shading between black and white. ‘This second element cam bbe characterized by Weight. One stage may be more or less rich in white energy another more or less weighted toward the black. The various stages ean be ‘weighed against one another. Further, the blacks can be related ro 3 white norm (on a white background) and the whites to a blach norm (on a blackboard), OF both together can be referred to a medium grey norm,Iva The Modern as Ideal 345 ‘Thirdly, color, which clearly has quite different characteristics. For it can be neither weighed nor measured. Neither with scales nor with ruler can any difference be detected between two surfaces, one a pure yellow and the other ‘a pure red, of similar area and similar brilliance. And yet, an essential difference emains, which we, in words, label yellow and red. In the same way, salt and sugar can be compared, in their saltiness and sweetness Hence, color may be defined as Quality ‘We now have three formal means at our disposal Measure, Weight, and Quality, which in spite of fundamental differences, have a definite interrelationship. ‘The form of this relationship will be shown by the following short analysis, Color is primarily Quality. Secondly, it is also Weight, for it has not only color value but also brilliance, Thirdly, it is Measure, for besides Quality and Weight, it has its Fimts, its area, and its extent, all of which may be measured ‘Tone value is primarily Weight, but in its extent and its boundaries, i is also Measure Line, however, is solely Measure ‘Thus, we have found three quantities whieh all interseet in the region of pure color, twa only in the region of pure contrast, and only one extends to the region of pure line, These three quantities impart character, each according 1 its individual con- tribution ~ three interlocked compartments, The largest compartment contains three quantities, the medium two, and the smallest only ene. (...) This shows a remarkable intermixture of our quantities and it is only logical that the same high order should be shown in the clarity with which they are lused, Tt is possible to produce quite enough combinations as it is Vagueness in one’s work is therefore only permissible when there is real inner need. A need which could explain the use of colored or very pale lines, or the application of further vagueness such as che shades of grey ranging fom yellow to blue. Leaving this subject of formal elements I now come 0 the first construction Using the three categories of elements which have just been enumerated. ‘This is the climay of our conscious creative effort This is the essence of our craft This is critical. From this point, given mastery of the medium, the structure can be assured Foundations of such strength chat it is able to reach aut into dimensions far Temoved from conscivus endeavor346 Freedom, Responsibility and Power ‘This phase of formation has the same critical importance in the negative sense Ir is the point where one can miss the greatest and most important aspects of content and thus fail, although possibly possessing the most exquisite talent For one may simply lose one’s bearings on the formal plane. Speaking from my ‘own experience, it depends on the mood of the artist at the time which of the many elements are brought out of their general order, out of their appointed array, to be raised together to a new order and form an image which is normally called the subject. ‘This choice of formal clements and the form of their mutual relationship is, within narrow limits, analogous to the idea of motif and theme in musical thought With the gradual growth of such an image before the eyes an association of ideas gradually insinuates itself which may tempt one to 4 material interpreta- tion, For any image of complex structure can, with some effort of imagination, be compared with fambar pictures from nature ‘These associative properties of the structure, once expused and labelled, no longer correspond wholly to the direct will of the artist (at least not to his most intensive will) and just these associative properties have heen the source of passionate misunderstandings between artist and layman, While the artist is still exerting all his efforts to group the formal clements purely and logically so that each in its place is right and none clashes sith the other, a layman, watching from behind, pronounces the devastating words ‘But that isn't a bit like uncle” The artist, if his nerve is disciplined, thinks ro himself, ‘To hell with uncle! 1 must get on with my mind puts too much weight on the left, I must add a good-sized counter- ‘weight on the right to restore the equilibrium * ny building, This new brick is a little too heavy and to And he adds this side and that until finally the scales show 2 balance And he is relieved if, in the end, che shaking which he has perfurce had to give his original pure structure af good elements, has only gone so far as to provide that opposition which exists as contrast in a fiving picture Bur sooner or later, the association of ideas may of itself occur to him, without the intervention of 2 layman. Nothing need then prevent him from accepting it, provided that it introduces itself under its proper title Acceptance of this material association may suggest additions which, once the subject is formulated, clearly stand in essential relationship co it, If dhe artist 1s fortunate, these natural forms may Gt into a slight gap in the formal composition, as though they had always belonged there The argument is thercfare concerned less with the question of the existence of an object, than with its appearance at any given moment ~ with its natureIVa The Modern as Ideal 347 J only hope that the layman who, in 2 picture, alseays looks for his favorite subject, will, as far as 1 am concerned, gradually die out and remain 10 me nothing but 2 ghost which cannor help its failings [..] Certain proportions of line, the combination of certain tones from the seale of tone values, certain harmonies of color, carry with them at the ome quite distinctive and outstanding modes of expressicn. ‘The linear proportions can, for example, refer to angles. movements which are angular and zigzag as opposed to smooth and horizontal ~ strike resonances ‘of expression which are similarly contrasting, In the sume way a conception ef contrast can be given by tivo forms of linear ‘construction, the one consisting of a firmly jointed structure and the other of lines loosely’ seattered Contrasting modes of expression in the region of tone value are given by The wide use of all ranes from black co white, implying full-bodied strength. Or the limited use of the upper light half or the lover dark half of the scale Or medium shades around the grey which imply weakness through too much ff too litle light Or timid shadows from the middle. These, again, show great contrasts in And what tremendous possibilities for the variation of meaning are offered by the combination of colors. Color as tone value: e.g. red in red, .¢, the entire range from a deficiency to an excess of red, either widely extended, or limited in range. Then the same in yellow (something quite different). The same in blue ~ what conceasts! Or colors diametrically opposed i.e. changes from red t0 green, from yellow to purple, from blue to orange. Tremendous fragments of meaning Or changes of color in the direction of chords, net touching the grey center, but meeting in a region of warmer oF cooler grey What subtleties of shading compared with the former contrasts Or: color changes in the ditection of ares of the circle, from yellow through orange to red or from red through violet to blue, or far flung over the whole circumference. Whar tremendous variations from the smallest shading tothe glowing symphony of color. What perspectives in the dimension of meaning! Or finally, journeys through the whole field of color, including the and even touching the seale from black to white348 Freedom, Responsibility and Power Only on a new dimension can one go beyond these last possibilities. We could row consider what is the proper place for the assorted colors, for each assortment clearly possesses its possibilities of combination, And each formation, each combination will have its own particular constructive expression, cach figure irs face its features | would like now to examine the dimensions of the object in a mew light and so ty to show how at 18 that che artist Frequently arrives at what appears to be such an arbiteary ‘deformation’ of natural forms First, he does not attach sueh intense importance to natural form as do so many realist erties, because, for him, these final forms are not the real stuff of the process of natural creation, For he places more value on the powers which do the forming than on the final forms themselves, He is, perhaps unintentionally, a philosopher, and if he does not, with the optimists, hold this world to be the best of all possible worlds, nor to be so toad that it is unfit 10 serve as a model, yet he says: In its present shape it is not the enly possible worl, Thus he surveys with penetrating exe the finished forms which nature places before him ‘The deeper he looks, the more readily he can extend his view from the present to the past, the more deeply he is impressed by the one essential image of ereation itself, as Genesis, rather than by the image of nature, the finished product. Then he permits himself the thought that the process of creation can today hardly be complete and he sees the act of world creation stretching from che past to the future Genesis eternal! He goes still further! He says tw himself, thinking of life around him: this world ar one time looked different and, in the future, will look different again. ‘Then, Mying off to che infinite, he chinks: it is very probable that, on other stars, creation has produced a completely different result Such mobility of thought on the process of natural creation is good training for creative work. Te has the power co move the artist fundamentally, and since he is himself mobile, he may be relied upon to maintain freedom of development of his a9 creative methods, This being so, the artist must be forgiven if he regards the present state of furward appearances in his own particular worlé as accidentally fixed in sme and space. And as altogether inadequate compared with his penetrating vision and intense depth of feeling.IVs The Medern as Ideal 349 ‘Those uncettled times have brought chaos and confusion (or so it seems, if we are not too near to judge}. But among artists, even among the youngest of them, one urge seems to be gradually gaining ground ‘The urge 10 the culture of these creative means, 10 their pure cultivation, te their pure use. ‘The legend of the childishness of my drawing must have originated from those linear compositions of mine in wh that of a man, with the pure representation of the linear element. hh I tried to combine a concrete image, say Had [ wished to present the man ‘as he is,’ then I should have had 1 use such 2 bewildering confusion of line that pure elementary representation would have been cur of the question. The result would have been vagueness besond recognition. And anyway be [40 not wish to represent the man as he is, bur only as he might And thus I could arrive at a happy association between my vision of life (Welranschawung| and pure artistic craftsmanship And so it is over che whole field of use of the formal means: in all things, even in colors, must all trace of vagueness be avuided. This then is what ig called the untrue coloring in modern art As you can see from this evample of ‘childishness’ [ concern myself with work fon the partial processes of art. Lam also a draughtsman, Thave tried pure drawing, I have tried painting in pure cone values. In color, Thave tried all partial methods to which [have been led by my sense of direction in the color circle. As a result, I have worked out methads of painting in colored tone values, in complementary colors, in multicoloes ané methods of total color painting Always combined with che more subconscious dimensions of the picture. Then 1 tried all possible ssntheses of wo methods. Combining and again combining, but, of course, always preserving the culture of the pure clement Sometimes { dream of a work of really great breadth, ranging through the whole egion of element, object, meaning, and stsle This, 1 fear, will remain s dream, but it is 4 good thing even now to bear the Possibility casionally in mind Nothing can be rushed. Tt must grow st should grow of itself, and if the time ver comes for that work ~ then so much the better!0 Freedom, Respons bility and Power We must go on seeking it! We have found parts, but nat the whole! We still lack the ulemate power, for the people are not with us Bur we seek a people. We began over there in the Bauhaus. We began there with a community to which etch one of us gave whar he hac. More we cannot do. 3 Hart Crane (1899-1932) ‘General Aims and ‘Theories’ The author as ar American poet, This theoretical essay outlines 2 charactersticaly Modernist view on te relation between the contingencies of risory and the apparent timeless demands of aesthetics. t was written in 1925, This version taken from Phi Horton, Hart Crane, The Lite of an American Post, New York, 197 It is a terrific problem that faces the poet today ~a world that is so in cransition from a decayed culture toward a reorganization of human evaluations thar there are few common terms, general denominators of speceh that are solid enough for that ring with any vibration or spiritual convietion. ‘The great mythologies Of the past Gncluding the Church) are deprived of enough fagade to even launch good rallery against, Yet much of thelr traditions are operative still in millions ff chance combinations of related and unrelated detail, psychological reference, Figures of speech, precepts, ete, These are all a part of our common experience and the terms, at least partially, of thar sory experience when it defines or extends itself ‘The deliberate program, then, of a ‘break’ with che past or tradition seems to-me to be a sentimental fallacy [ T put no particuar value on the simple abjectve of “modernity? ‘The element of che temporal location of an artists eration is of very secondary importance at can be felt to the impressionist or historian just as well, In seems to me that 2 poct will accidentally cefie fis me well enowgh simp by reacting honest ani tothe fall extent of hie sensibiliis 10 the states of passion, experience and amination that fate forces on him, frst hand He must, of course, have # sufficiently universal basis of experience to make his imagination selective ant Saluable. His picture of the “period then, will simply be a by-product of Sis Curiosity and the relation of his experience to postulated “eternity Tam concerned with the future of America, but not because T think tha America has any so-called par valve as 3 state or as 2 group of people [eis only because { feel persuaded chat here are destined to be discovered certain 25 set undefined spirteal quantities, perhaps a new hierarchy of faith not to. 9€ dlescloped so completely elsewhere. And an this process {like co feel msself 35 2 potential factory certainly T most speak in its terms and athat discoveries F may make are stunted nits eAperieace