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causes man, and, since the dawn of historic times no European
artist has dared to do that. The new artists must have an ideal
beauty which will no longer be merely the proud expression of
the species, but the expression of the universe, in so far as it has
been humanized in the light. It is the art of painting new
ensembles with elements not borrowed from visual realities, but
created entirely by the artist and endowed by him with a power
ful reality.
The works of the Orphic Artists must present simultaneously
a pure aesthetic charm, a construction which strikes beneath the
surface and a sublime significance,—that is to say, the subject.
It is pure art.
The light from the works of Picasso contains this art, which
Robert Delaunay invents on his side and for which Fernand
Leger, Francis Picabia and Marcel Duchamp also strive.
Instinctive Cubism, the art of painting new ensembles bor
rowed not from visual reality but from suggestions made to the
artist by instinct and intuition, has long tended to orphism. The
instinctive artists lack lucidity and artistic faith. Instinctive
Cubism includes a very great number of artists. It sprang from
the French Impressionism and now this movement extends all
over Europe.
The Art of today clothes its creations with an imposing and
monumental aspect, which surpasses in this respect everything
that has been conceived by the artists of our age. Ardent in pur
suit of beauty, it is noble, energetic, and the reality which it
brings us is marvelously clear.
I love the art of today because above all else I love the light,
and all men love light,—above all else Man invented fire.
(to be concluded)
GUILLAUME APOLLINAIRE