Full text: The little review (8 (1922), 2)

12 
Everyone knows Pliny’s anecdote of Appelles and Protogenes. 
It demonstrates clearly the aesthetic pleasure resulting solely 
from this odd combination of which I have spoken. 
Appelles landed one day on the Isle of Rhodes to see the works 
of Protogenes, who lived there. Protogenes was not in his studio 
when Appelles arrived. An old woman was there guarding 
a large canvas ready to be painted. Instead of leaving his name, 
Appelles drew on the canvas a line so delicate that nothing sub 
tler could be conceived. 
On his return Protogenes, seeing the drawn line, recognized 
the hand of Appelles, and traced thereupon a line of another 
color even more subtle, in such a way that there appeared to be 
three. 
Appelles came back again the next day, without finding him 
whom he sought, and the subtlety of the line he drew that day 
reduced Protogenes to despair. This sketch was for a long time 
the admiration of connoisseurs who viewed it with as much 
pleasure as if gods and goddesses had been depicted instead of 
almost invisible tracings. 
♦ 
♦ ♦ 
The secret aim of the young artists of the extreme schools is 
to produce pure painting. It is an entirely new plastic art. It 
is still in its first stage, and is not yet as abstract as it would like 
to be. Most of the young painters work a great deal with math 
ematics without knowing it, but they have not yet abandoned 
nature whom they patiently question so that she may teach them 
the way of life. 
A Picasso studies an object as a surgeon dissects a body. 
This art of pure painting, if it succeeds in disengaging itself 
entirely from the ancient school of painting, will not necessarily 
cause such painting to disappear, any more than the development 
of music has caused the disappearance of different kinds of lit 
erature, or than the acridity of tobacco has replaced the savour 
of food.
	        

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