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I
In Cubism, as I have analyzed it, four tendencies have mani
fested themselves. Of which two are parallel and pure.
Scientific cubism is one of the pure tendencies. It is the art of
painting new ensembles with elements borrowed, not from the
reality of vision, but from the reality of consciousness. Every
man has the perception of this inner reality. It is not necessary,
for example, to be a man of culture to conceive of a round form.
The geometrical aspect which so vividly impressed those who
saw the first scientific canvases came from the fact that the essen
tial reality was given with great purity and that the visual acci
dents and anecdotes had been eliminated.
The painters who follow this school are: Picasso (although
his luminous art belongs also to the other pure tendency of
cubism), Georges Braque, Metzinger, Albert Gleizes, Mile.
Laurencin, and Juan Gris. Physical Cubism is the art of paint
ing new ensembles with elements borrowed mostly from the
reality of vision. This art is derived, nevertheless, from the con
structive discipline of Cubism. It has a great future in the
history of painting. Its social role is well marked, but it is not
a pure art. It confuses the subject with its aspects. Le Faucon-
nier is the physical Cubist painter who created this tendency.
Orphic Cubism is the other great tendency of Modern Paint
ing.
The last pictures and aquarelles of Cezanne belong to Cubism,
but Courbet is the father of the new painters, and Andre Derain
to whom I shall presently return, was the eldest of his best
beloved sons, for he originated the movement of the Fauves who
were a sort of prelude to the Cubists, and he also led the great
subjective movement.
It would be too difficult however to write clearly today of a
man who voluntarily holds himself aloof from everybody and
everything.
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The Modern School seems to me the most audacious that has
ever been. It has put the question of beauty in itself. It wishes
to visualize beauty disengaged from the pleasure which man
