18 
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