S 33

K. S.

The World as Non-

Unpublished writings

Vol.
VACnint,w/

Translated by Xenia Glowackl-Prus I Edmund T. Little

Published with grants from the New Carlsberg Foundation Edited by Troels Andersen
and the Danish State Research Foundation Borgen Copenhagen 1976
 Content

Preface 7

1/4
The Philosophy of the Kaleidoscope 11

1/4
Non-Objectivity 3 4

1/4
An Introduction to the Theory of the
in Painting 147

1/4
Contemporary Art 195

1/4
New Art 220

1/4
The World as Non-Objectivity 270

1/4
The World as Non-Objectivity 291

Appendix: From the Book on Non-Objectivity 315

@ Borgens Forlag 1976
© Stedelljk Museum, Amsterdam pp. 11-33, 147-269, 291-368 Notes 359
Typography: WIm Crouwel, Total Design, Amsterdam I Erlk CrIllesen
Printed In Denmark by Gullander, Skjern Bibliographical Notes 363
ISBN 87 418
All rights reserved List of Illustrations 369
 Prefac

In 1971, the Stedelijk Museum got the opportunity to The fate of this book is unusual. It was conceived
collection of unpublished writings which Malevich left behind in half a century ago during the period of consolidation of
Berlin in 1927. Without hesitation I accepted the offer, Soviet state. Its chapters were basically concluded in 1925,
plying with Malevich' explicit wish that his writings attempts to publish the book or part of it in the
edited with care. Thanks to the effort of many persons crowned with success. The manuscripts survived war
tutions we can now present the first book of this in two countries, and were only brought together for
editio publication in 1971. The book is an artist's dialogue with
and its predominant ideas. I t is written with great
First of all, I should like to thank the New marked by opposition against overwhelmingly
and the Danish State Research Foundation, who guiding the development in art, philosophy and society in
the funds for this publication. I am indebted to Mr. The author realised this, but he also hoped that his
dersen, whose editorial skill has once again been of great reach beyond the limitations of
us. Thanks to his knowledge and his valuable contacts he To assemble the scattered chapters of the book has been
very successful in composing a whole of the and demanding task. Even the number of chapters
I should also like to thank the translators, Mrs. X. Originally their captions were believed to refer to some
and Mr. E. T. Little, and my colleague Dr. Franz Meyer levich's earlier writings of the Vitebsk period, in
Kunstmuseum Basel for his permission to announced book Suprematism I —II, so that the
drawings in his collection in this volume. Finally, I should indicate the subdivisions of this or another
to Borgens Forlag in Copenhagen, who have agreed in two main
this edition as volumes HI and IV to their existing But as it became possible to study the manuscripts in detail, it
publication Essays on Art, by K. grew clear that no such relationship could be
The question of the number of chapters, and that of
E. de Wilde, chapters remained. The clue is probably to be found in the title
Stedelijk of the book—The World as Non-Objectivity — with
play upon Schopenhauer's The World as Will and
Amsterdam, December tion'. In the first chapter of the book Malevich directly
Schopenhauer. Revealing is also a notebook entry from 1924:
Schopenhauer's book it says The World as Will
tation'. I should have said The World as Non-Objectivity' for if
7 t h e r e is representation, then there is no World, and if the will
 exists in order to direct and conduct the representation, then 1/46 T h e limits of art, The limits of Cubist
clear that there is no world, but combat. The World complex (Lessing, tion and distortion,
outside will and representation.' (The play upon mann to
peace/world, and frredstavleniye, meaning
gining, is lost in 1/47 T h e treatment o f 'Existence and faces
The sections 41-49 in the first volume of The World as drapery, as an element more become content
Representation' all form part of the chapter entitled: ing and painter'. The subjugation
idea: the Object of Art'. It is tempting to summarise will under
of the corresponding chapters in the
1/48 History painting as The relationship
WWR W N O art nology, architecture
objective
1/41 T h e object Nature experienced as
ceived (tenuss des reinen outside artistic- 1/49 I d e a — concept — reflection The structure of
Willenlosen consciousness, thought (Vorstellung and the non-objective form of
pedienc though

1/42 T h e source o f Art as cognition. Light and

impression (cf. esp. pp. colour. Cf. the first Apparently Malevich wanted in his book to reconsider
lines M.'s autobiography ideas of Schopenhauer in relation to the art of his
considered an addition to this He tried to substitute vital, contemporary topics of
chapte those relevant to the early nineteenth century. The chapters left
out by Malevich are those irrelevant for him or those
1/43 O n Not included by towards an all-embrasive aesthetic theory. This
sumably not developed into a be supported by an examination of the general
final text, although his work between the idea of non-objectivity and the basic attitude of
centered on architecture Schopenhauer's, as expressed in the conclusive parts o f 'The
mid World as Will and
In which form the influence from Schopenhauer
1/44 O n Not included vich remains to be discovered. But it left an
upon his literary work in the mid-twenties. He sums up
1/45 T h e objective aspect o f the The theory of tude in another notebook entry
beautiful i n painting and i n element. Certain 'The new aims are rational, not because they are based
art. The human figure. tures i n themselves cause ductions of deliberating reason, but because they depart
ments of changes i n artistic form and objective study of the objects, i. e. from an explanation
8 behavio 9 p r o c e s s of formation, which is not and cannot be a result
 will, but which on the contrary commands our will 1/41 T h e Philosophy of the
nates
When people will stand up in their equality, then their shape will
be rectangular,

The present edition of Malevich's main philosophical

have been impossible without the effort of many persons and Studying the structure of the surface in imitative
institutions. I wish to express my gratitude to the raised the question: was painting the effect of an
seum of Amsterdam, which acquired the von Riesen cause or can it be considered as the effect of cognition?
manuscripts in 1971, thus securing this valuable material for nise, to be aware of the phenomena of nature is
future investigation. I am indebted to the Slavonic concern of painting; if one asserts the latter, then an
versity of Copenhagen and to the Danish Ministry ginning does not exist in painting, there does exist
for extensive grants that have allowed study and research, nition of the phenomenon: observation, analysis and
State Art Academy of Leningrad which was my host during a the observation—
research stay in 1971, to the New Carlsberg Foundation On the foundation of the law of cognition and revelation in
Danish State Research Foundation for grants securing phenomena of nature a new visual phenomenon can be
cation of this and a subsequent volume of aesthetic form and constructural structure could be built
My best thanks also to the translators, Xenia Glowacki- basis of the practical demands of utilitarianism. Both forms of
Edmund T. Little, University of Hull, whose skill what is portrayed will be the result of satisfaction or of one of
were challenged, to my wife Kseniya Grigoryeva the attempts to satisfy demand. Hence it is possible
and typed several of the manuscripts, to Mr. E. de that if by practicality one means the satisfaction of
Mr. Joop Joosten, both Stedelijk Museum Amsterdam, for all any work, if it is practical and expedient, will
support and encouragement throughout to
Finally I dedicate this volume to Mrs. Anna So in this manner everything in the life of man is
porskaya in gratitude expedient. The term 'expedient' means that every
to an aim which conforms to an 'image' already in
Troels nation, imagination which is broken up into
departments of that aim: the artistic, the aesthetic, the
Sminge, May the technical, and
Practical forms can change or disappear completely;
disappearance depends on a new awareness of the reality
world. Many things in engineering went out of use on
of man's discovery of new possibilities in nature. The
be true of artistic-aesthetic questions and of religious
it seems that artistic things are not pushed out of life,
1 1 'eternally
 We possess three paths to one practical idea which moves by Religion as a form of spiritual good promises to give
various methods of attainment to a definite goal. tual good. Thus there exists no difference among the
cannot say that one particular approach contradicts all have one word in common
science alone is the mainstay and the true way along Of course, whichever good man will choose for himself is
may proceed as though along a made up road. One he will receive. All must have faith, and through faith hope in
that by this path alone one may arrive at the true image, and for the future, by struggling they will find good, without
this reason science is but one of the expedient means of will be nothing, since they wish to find all that has
all other means mised in the name of which the struggle in faith
The question is what is genuine and what is false. First of all they are the only hopes, for in reality good does not exist,
one must prove which side of human manifestation is genuine, it unknown to us. Good exists
is possible that everything is genuine which satisfies It is possible that many believe until now in the existence
But in reality things are otherwise: men will prove to artistic beginning, as those before us, believe in
it is more useful for him to do this and not that. All things of spiritual and material good, they hope that they will
will be based on revealed principles to be found in nature achieve it in their sculpture, canvases and
only sources of things, in the knowledge
Man's activity consists in one constant scanning Everywhere there is faith and hope, and truly it can be
and seeking out in them the real point from where it happy are those 'who believe', since for those who do
to see and understand, to show genuine reality and confirm or there remains nothing, i. e. non-objectivity. There is
refute the imagined image towards which all no God, no science, just as there is no light, no art—
movements are directed, annihilating all the causes remains. So all originals exist in faith, faith in God and
the revelation of Future as artistic, scientific and religious beginnings which will
Thus for example until now in our culture man presents come to their own beginning as to a second end or
menon which consists of a threefold image: art, science coming of
gion. What is the final form to be or is it destined to Christ, according to the church's interpretation came
or reformation, striving all the time to a new, another the beginning, and his return to Him through the
All three paths do not seem to present a unity, was the Future advent to Him. I f all our aims have
emerge from one practical idea. Each one of them attempts to nature the beginning, then they will return to it in
become uniform, to secure the chief position and for The Future is the beginning which having completed
they fight among themselves and display their own path has come back to itself. In the advent of this future
All three assert that they are the aim and the meaning hope await their justification, all aims must be justified
genuine beginning, that in each of them exists the future return to the starting point. Discussing this question
and genuine good— truth. In one case in the an answer in nature seeing in her the only box in which all
as beauty, which will save the world, in the other case, as answers are enclosed; in it lies that image towards
true beginning, cognition —cognition will save man directs the aims conforming to the path through science, art,
ness through its own light, and such creation of religion, and thus I thought to find an answer—are
12 t h i n g s will reach the 13 n i n g s really the means of finding the sought after
 window of my workroom served me as that slit through which I Chaotic nature has only to subject itself to beauty, to
sought an form of man, to his psychic law: It is characteristic that
The painterlys surface of the canvas reflected the answer. or the sculptor in the majority of cases will reject
covered that landscapes consisting of innumerable chase it out of his art, as though affirming through this,
of differences in form, colour and light showed me only artistic beginning lies in the unconscious elemental action of
essence was created outside artistic-aesthetic laws, nature and outside the psychic [with him it is artistic
sciousness, thought and inseparable phenomenon]. Then she is eternally
Blue distances, like the colour of leaves, grasses, water, sky, stands outside time like man. Then reason,
clouds are only the results of the interaction of sciousness—these are a mere collection of words and
tions which have taken on this or that form and hue, of man,—
nothing and not bound by force of physical harmony Another school of human thought affirms that in nature
logy or artistic-aesthetic relationships. The precipices no artistic beginning except en soi, but this en soi cannot
tains—are simple variations of physical displacements of this or served in its pure form from within my own eyeless
that element summoned without conscious scheme creation of things in myself as a form of refracted nature
draftsmanship. So everything reacted upon everything own prism, that only refracted nature in my
out knowing whether the form deriving from the is an artistic beginning which consists of two
would be artistic me and within me. But if nature is eternally beautiful, i f
Neither the sun, the moon, the stars were created according to eternal harmony, then that which is refracted, as the result of
a prearranged plan for neither stars, nor sun, nor the refraction, — harmonious, then within the en soi
matter-aspect, as nothing is created in human life, not exist that prism which changes chaos
does think that his every step is premeditated action. A third school of thought may assert that in nature there
no future and no plans for it, she is a process of today aim, no logic, no substantiation, no organisation other
glance into the future and so it must be if she is material is found in me, that my scientific substantiation is only
movements and non- of scientific research work and an organising
If nature as an artistic beginning is outside existence no longer appears as chaos but as an
world, outside consciousness, science, reason, struggle ning of all that arises within me, yet as it is the
faction, outside objective limits and intuition, then nature will consequently I too am organised, for I am only a particle
not be an artistic beginning and there can be stence neither escaping from it or
in My own point of view is that neither within nor
Man can only observe her outside any change in does there exist an artistic, practical or religious
since matter does not change. Whence then imagination is no organising factor, I the result of tireless interactions
and how can it change if existence is transcend non-objective nature, and if I manifest
If then the artistic beginning is in the consciousness, all my forms of manifestations are nothing but a new
science, reason, satisfaction, in the intuition, then the of phenomena in an endless chain of influences, and as
ginning is not in nature but only in man. Then man not possessed of an idea, then there is no movement
1 unlike nature, separated from it by a power to 15 C o n s e q u e n t l y nature can be defined as tranquility; matter is
 tranquility; if this is correct, then the artistic beginning is that heating by gas, regulation of the temperature by air
same tranquility thus in movement there is no ultramarine, moving into a new condition, gives dark
ning. But tranquility itself is defined by movement, it marine. From the chemical composition of ultramarine it
be otherwise, both are our psychic hallucinations, with dent that only with the addition of chemically pure
tion that rest is the termination of visions and changes, it ammonium carbonate salt of sodium sulphate will the
thing beyond consciousness and imagination, it is that product of ultramarine be found. The injection of a dilution of
matter consists and what the soul desires sodium sulphate into soda will also have a beneficial
Colour in nature is not created by force of the order to achieve a good product both in colour and
but only from the interacting influences of whereas the richer the mixture of silica the deeper
and what colour is I do not know, I know only my colourful will be the tone of ultramarine. Here
which appeared through my own incapacity. Reaction is not the colour of ultramarine it may be said: 'it has a
based on the creation between two hues of as though it were possible that a law and measure of
The origin of coloration has not been determined by beginning should appear. I want to produce a hue that
it is unlikely that it will be possible in the future exist in nature but if I were to observe all the processes
the artistic meaning of reactions. According to its natural chemical laboratory man would discover for
position ultramarine is the same as the mineral each of them an endless harmony of colour mutations,—
analysis of both dark blue and green ultramarine harmony, a form, a structure. I t would seem logical to him, it
ultramarine may be considered as nepheline to would appear to him that everything is logically
sulphate has been added. I f one considers these constructed, even planned, but in fact a blind movement
correct, the composition will consist of the following nomenal forces would be taking place, and only
to establish scientifically the correct boundaries for the world, like nature expresses and
phenomenon and It may seem to man that he manifests himself and
For dark blue but there is a difference between what seems and what
2 (2Na0) SiO2 -I- 2 (A1203Si02) N a S 2 . In nature there are none of the things, none of the
For green: 2 (Na0) SiO2 + 2 (A1203Si02) N a S 2 . man poses himself, she does not reveal, she has
For nepheline: (2Na02) SiO2 + 2 beyond definitions and justifications. The desire to
The chemical composition has revealed that a situation artistic culture remains that same phenomenon, a
louring has not come about on account of some sort revealed, similar to ultramarine, the genuine colour
beginnings, but on account of circumstances in which remains hidden amidst the reactions. In order to reveal it,
substance has found itself, and from reciprocal necessary to isolate it from all possible influences, the
received a certain tint. I t is possible that we attempt plies to artistic culture, it is a whole which has to
under the colour of ultramarine, is so endlessly changeful independent unit. Only then will I be able to say,—
reactions, that one cannot find the genuine thing. We culture is revealed'. If I cannot isolate it from all the
a single genuine thing in the two beginnings of I cannot say that this is an artistic phenomenon. Autumn
nepheline into which a whole row of other substances effect on the artist, but one cannot say that it is artistic,
1 we find kaolin, sulphur, water, salt, temperature, there 17 t i n t of the leaves has come about through artistic
 the interaction of phenomena proceeds in such measures as to by the organism i. e. without that distinctive quality,
produce, a satisfactory form; one also cannot say that all will only be variations, not changing essences. I cannot
non-artistic remains beyond the limits of their non- a dumb-bell of one pud, which I am lifting, is a
A broken image in a mirror does not mean that it is broken in a dumb-bell of ten pud is not a weight, but weight
artistic form, one may (not) therefore say that All nature, gilding the forests with autumn, the purple,
through me will become artistic harmony. According to sets and the blossoming fields is one and the same
mical composition ultramarine is similar to nepheline; interactions bringing joy to man who finds all
one of them is the more artistic, which of them beautiful and attempts to describe this beauty in poetry,
artistic colouring? Which one represents the painterly music; this technical means of expression we call artistic
which reactions does it encompass in order to create in the same way all our desires to put across beauty
hue? If it consists of a multitude of variants, and nothing but one form of all these influences. The influence built
from a multitude can it create an artistic hue? Therefore up by the poet, the artist, the sculptor, the engineer, will
not have the limits of chemical harmony and cannot discover in influence man, as he was influenced by the phenomena
them an artistic law of harmony. In them there is no making him reject or accept them. Consequently the
non-artistic order. Further it seems there exists a violet ginning cannot be objective, and it can exist for only
ultramarine. I f one could isolate it, we could possibly say that In this rejection or acceptance a new phenomenon will
the violet colour belongs to the substance ultramarine. pressed i. e. the form of acceptance or rejection. Man,
then have become genuinely real,— in reality this does thing in nature represents one substance in an
Violet is created by a whole sequence of of phenomena. Nature is a kind of kaleidoscope into
at a temperature of 2900 in a flow of hydrogen, the little piece of painted glass has been thrown and
changes to the tint of dark blue, 'the beauty' of which a multitude of form-structures but remains unchanging,
to that of aluminium ultramarine. Furthermore the does not allow it to be called an artistic reflection.
colour at a temperature of 300° becomes violet-blue. through the small slit of the kaleidoscope will have
chemical palette leads us through the same endless conception of its colour, form and construction nor of
the mutations of the substance ultramarine in its own cal, material, artistic or religious conditions. I t is
lette. But the sensations of refraction cannot be for us nature is the same moving kaleidoscope. It is
or non-artistic. It is not possible to establish an our eye is that slit through which we see nature as a
to define a phenomenon by means of it would be a tating unchanging substance or cell which, when reflected
on one aesthetic organic receptions of physical satisfaction. But eye, evokes a multitude of phenomena whose
it is possible that we should distinguish among the different be perceived:—where is authenticity and where is its
varieties of taste, and according to taste satisfaction we All reflections seem real in their physical effect, the
difference between an apple and a pear without seeing their its reflection have one and the same effect: we, like
shape. Art therefore may be like one of these variations in break the kaleidoscope in nature and attempt to
of products of satisfaction, its distinctive quality find the authentic cell from which everything seen
artistic-aesthetic. In this definition the rejection of slit has come. Here we desire to find the artistic
1 8 m e n a will be effected because they are non-artistic, 19 m a t t e r , and spirit. But nature has constructed
 shrewdly that we will not find anything authentic. beyond the limits of nature and through its own
alleged cell or substance. Mirrors are hung about but you matter along a natural path, by this means he attempts
know where reality is, in them or here, but you and the same time to cognise reality and also to break
the kaleidoscope for that would entail smashing your nature through his own supernatural means. But his
1.e. to see yourself, to see that there is nothing in the is linked with the body of nature — it is an indissoluble part of
will find the brain but we will not find a chair there, essence linked in such a way as to be impossible to
nor the spirit. We can point out that God was in such or to go beyond its limits. Nevertheless we try to create
a place, the chair here, the spirit there, but where they are now beginnings which do not exist in it: in one case to found
unknown. In the spirit or in matter or in the with a defined image of God, secondly we try to
Is my physical existence, or my spiritual or the with reason and the image of a thing, having established it in
authentic: is it beautiful, conscious, subconscious, aesthetic. Or the world of nature, in the third case we try to establish
perhaps I am like the reflection of a reflection. If I am tistic beginning, as an image of beauty and, through
tion of reflections, then it can only be under two to impart reality to the three faces of matter. But reason,
of the reflected and of the reflection. But if there is its consequences, only appeared in man because before
flected, then the latter cannot exist. On the other nature which is both unfathomable and incomprehensible like
thing came from the cell. The cells created the ape [and an unconscious beginning of simple physical
ape-man]. The formation of the cell is hidden in aroused the concept of thought in man and led him
haps in such a case the physical cell is only the reflection the causes of phenomena. A means was created—
which is hidden in darkness, and then everything that we call must rationalise phenomena which were controlled before
physical in the kaleidoscope of nature is only a reflection side reason which we feel relatively. If we are to speak
flections. Almighty man cannot know himself, cannot natural and the supernatural then one can say that
of himself for he is like that cell in the kaleidoscope longs to the natural; reason to the supernatural,
know the limits of its visual reality, for it changes with nothing physical and has no sensation whereas my
But we try to struggle for our reality with the nature the influences affecting it, issuing from the
tions, in order to be aware of it and of ourself. We are rounding me, not understanding them. The concept of
pared to organise, to establish it as something of which world exists only for reason, for analysis and perhaps they
conscious. But what is the order in which man wishes can be relegated to the psychic category. For nature
reality? I have observed that the order of establishing ditions do not exist. Nature is not an organism and is
of nature is developed on the following planes: it is freed from the latter. One may say that there is
cal, religious and artistic, the reflection of nature should split in man, that the concept of nature is non real and if
into these three beginnings and they must be organised like nature, is endless, then reason is unable to comprehend it,
volume of authentic reality. By three paths man desires both are infinite, beyond absolutes, or they are
all and to know himself. The new path of events must selves; in both cases they are equal to zero, there
three planes with all their consequences. Establishing two absolutes or one absolute is all cognition, an awareness of
man seems to possess the real world, to possess the end, another is beyond the beginning and the end;
2 in which reality is hidden, similar to something never been, and there will be nothing in the world, and
 and the absolute are the same. If nature had and the imperfect do not exist, if they did, the world
then, evidently, she would be faced with something exist. It seems that something exists in man which does
she has to comprehend. Nature would be in the in nature. He has reason, consciousness, and if the
as man in nature, just as man had to construct a mass matter, then he controls the elements which go beyond
apparatus, to start science, astronomy, to establish dary of matter to something higher, above matter,
typing presses, to print scientific books,—and from that matter had set a guiding master above itself to which
establish various beginnings: science, religion, art, and itself with ever greater struggle. It seems absurd:
way, and this way all her phenomena must be based on with matter for its own existence. Strictly speaking
the other foundation. The rainbow would be not fight, but in man there obviously exists something
to the law of the artistic beginning, the colour must be fights for its own existence, and it is obvious that
quality and the combination must be an artistic harmony; is not matter, matter is a body outside the fight, with whom will
not be otherwise, for nature like man would build it fight and for what?—for its material existence? but
values based on science and art. Everything must thing is material, matter like, inconquerable,
by reason. This is man's way of looking at the world, Matter, like the body, does not cognise anything, it
this point of view reality is incomprehensible. Many influences, it is beyond the idea of cognition, but in
our earth see the one and the same nature, but they may there is some special process called thought—
of it in a different fashion, even if they are endowed consciousness, in this lies the supernatural element of
All creatures may be seen as prisms perceiving we have human and non-human reality. It seems to me
nature according to their own fashion, although point of differentiation was determined by a psychic
herself in the same way to everybody, reality varies. It psycho-physic line of distortion of vision,
that science once established a single cell as an absolute world lar to the cell distorted in the kaleidoscope by mirrors
broken up by all prisms into a variety of phenomena, like we call nature is this distortion, one of its parts consists
in the kaleidoscope, the cell thrown into the action of simple physical interactions, creating
which as it rotates, we receive a multitude of variations. sibilities hidden in them which are beyond reason. The
case movement does not only help cognition but, in its work of is one of thinking conscious influences turning matter into a
complication, makes nature incomprehensible; if nature psycho-physic form which expresses a
rotating in our imagination until now, she must be reality and in turn divides into three beginnings:
asserts that he possesses reason as the only technical means of rialism, religion and art with the expedient aim
cognition in refractions, but nature, like the world, good, i. e. the awareness of reality which oscillates
knowledge, reason, awareness, beyond thought, ter, spirit and beauty. Science, religion and art are
and influences, the world, as non-objectivity, is cepts of practical beginnings which lead us to the
ment. The world has nothing of which it could be the world of the body, leaving behind the world of the
inside itself or outside, nor does nature possess that psychic world, the nervous world. All the latter paths
—she is without subject and object, otherwise one would practical ones, material ones, they are nothing but
with that big something which divides man into transformation of matter into a material means towards
2 and the objective. The world is something in which material end which in itself expresses non reality, yet
 of imagined reality, i. e. of an idea of that very thing with the amalgamation of reality and reflection. It
not exist in matter. To allow one of the suppositions of that one may still call this physical and psychic, and
gious order which strives towards a non material and to two conditions man appears. It is from here that man—
tual good through a material image to the imagined ticular apparatus or body made of special
[the world of the spirit] means that one already foresees actions in which physical existence is reflected. In man
ning and an end not as a material truth which, only reflections of existence which transform themselves into
attained, renders material means unnecessary. Art new physical forms, or man amalgamates the
too see in material only means to express the material image of existence takes on a new form, erasing and mutating.
the thing, [the idea] of beauty. Here occurs a division and may draw the conclusion that everything in nature
ferentiation of the double concept of nature's reality reflect, refract as a psychic reality is outside existence, i.
sists of two beginnings—matter and spirit, and lity. These reflections can still be called imaginings of reality
tiated one and the same essence into two variants, like and for this reason in man, in one part of his mirror-
light, one no longer talks of the artistic beginning. I f existence will be 'the world as imagining',5 but man is not
consists of these two or three beginnings, then man authentic for imaginings for this will depend on the
of them too. The artistic beginning seems to have movement in the 'world'. Consequently all three
in him, he cognises the beauty beyond existence, it was ginnings: science, religion, arts are reflections of our
reality which gave a new law for the shaping of imagining amalgamated with existence, except
discovered within itself not only awareness which is desires to live only psychically as a reflection in a pure
existence— in being there is 'chaos', consequently where not materially. They are all expressed by matter which
have come from if being is chaos, for then it will direct transformed into the material of psychic concepts
sciousness to that same end. In relation to chaos I shall [images]. I f the world is as matter then in it there must
establish a somewhat different order and erect reactions at all, but if they exist and occur infinitely
If my consciousness is akin to a prism or a kaleidoscope, infinity will never be justified by anything, whether
chaos which is hurled into it will build a new chaos in be split up into mountains, water, light, or any
order of refractions, reflections. A kaleidoscope is a tube with a of human materialism,—in the same way nothing is
mirror into which several coloured pieces of glass of nothing is violated. Bronze, silver, gold, we see them all
have been scattered rotating forever in disorder, whereas forms, forms which have created their own
our eye see everything ornamented, thus an order is anschauungen. The cross is the spiritual form which
'the beauty' of the reflection has similarly started to act matter. Also all the practical forms of the material
conditions surrounding it, creating a form, having that very same matter subject to form, a form alien
the reality, chaos. But this form does not exist, perhaps which subjects itself to abstract human creations of
brain is the mirror in which reflections alone exist while reality material views, but in all cases where we speak of
remains in its own unchanging state, and only with victory by nature over matter, it then appears that no
mation of reflection and reality do we get the law of is victorious, nothing changes its essence. All things come
there is no ornament in the mirrors of the amalgamation of the psychic and the physical, they
2 reality is taken away. Consequently the creation of 25 c o m p l e t e l y different form to that given by existence. For
 circumstances did not exist in matter itself, then, evidently, it that which consciously wishes to incarnate in the form of
would be impossible to create a new phenomenon, but stract imagining of the human reason, desires to
'new' will never be new as this possibility has always existed in non existent imagining, wants to render non abstract, but
its own immutability. If this is so, then there is no movement in only real materially, it wants to make non
it now, there never has been and there never will be, All three paths are materialistic in their imagining and
not be divided into the old and the new. The Spirit, Thing, the material and the spiritual are one,
which bears witness to factual movement is not proof built up in the same fashion on the basis of
one can rely and accept the movement as existing appear to man not as abstraction but as material reality.
there is an aeroplane, this is not new and is not old. cases matter is the material and from material form
as will and imagining' is not the world as will; the idea, content. By spiritual or material scientific life
movements asserting what does not exist, representing understand that human affairs, ideas, subjugate matter
not be born at the beginning and the end, outside material form or another revealing itself as the
and space, that through which will can change nothing sence of
press itself, in order to become will, for to become will, i t is If man were only matter and there were no reflection of
necessary to create materials or that nature in which in him, then he would be free of ideas, since ideas are in
be made manifest, imagining itself cannot be created without of reflection and cannot be anything else other than
will, it is always a reflection of the will, but will spiritual. Man has become an inseparable particle
gining cannot exist, so that will and imagining are united with it by the spirit of reflection and for this
under different names, just as artist's paints are divided into consists of existence and non-existence, beyond
colours and names. There is no imagining without will or will dient things, and also outside the concept of awareness,
without imagining, both are as one, they never sciousness and movement. But as he consists of matter
selves singly for there is no such reality in which they and, it would be more correct to say that he has
manifest, if 'the world' exists, then it exists outside will in his imagining of them, he divides nature into
gining, immutability 'the world as will and imagining' whereas in reality spirit and matter are variants of
Knowledge, light, matter, material, spirit, God, the thing, the and the reflection of a phenomenon, mountains in water, like will
idea, science, time, space, solids, temperature etc., and imagining. Imaginings which have created the world as will
ment of the latter is expressed in things as and imagining, move them to struggle with the element, i.
on various planes of Religion, Art and on the practical path of fight with their own imagining and will, and strive to
materialism which they want to adapt to the shape of a chair in innocuous by transforming matter into material
order to sit on it comfortably, of a house, of a machine, with our knowledge of form, the aim of which will be
bends the branch, melts the bronze, the metal and pours nical preservation of all its images imagined in their
its own body so that the melted matter fits the body well, but for Matter is wrathful and dangerous — elemental. The world is
matter it will be irrelevant whether it is to assume the shape of malicious like will and imagining, but the world is
a chair—the practical material idea, or the cross— as non-objectivity, outside will and imagining. Matter
religious idea, it remains immutable in its essence of divested of its malice according to man's supposition in
2 stence. Only the will and imagining remain unstable, 27 c a l thing when it will do for him only what is pleasant
 for this reason he transforms it into three shapes: which in its turn travels along that path through
ideas, the idea of good, of the utilitarian thing, of reason and will are represented catastrophically,
thing and of the artistic thing. The last things catastrophe it moves again through an organised
the most important for they are eternal beauty which to non existence, i. e. to a condition outside will
the world, will save man from the world, from will The last effort is similar to the painter who strives
gining, which have created in the 'world' elemental the element into the harmony of the artistic beginning
etc.—By means of our reason we wish to conquer matter, thing chaotic, he strives to do so not already on the basis
create technical things, these things of consciousness. sciousness but subconsciousness, finding in this the
elements by technical means of will and imagining for it secures more hope than the path of consciousness
nated that form which can render the material and which hurls overboard things that have been made
danger innocuous for man. One may ask whether being of no use today. But things in the subconscious are
is incarnated into a 'thing' will take on a material form things of beauty'. The structure of the painterly
material form equal to the spirit, reason is material, on which the incarnation into material form of the
the thing saving it from the elemental danger must of the imagined element is attempted, proves that
the physical is opposed to the physical [technology]. I f is material, that all three dimensional concepts are reduced
that nature is conquered, then we must understand that it flat plane as though proving that there is no space in
prived of its element, dangerous for the depth, and that all differentiations in values of the
being, spirit, reason, will, imagining, they all are his duced are devoid of reality, having lost any
imagining with which he is fighting, he is fighting among material realities. In such a way, by means of
having divided the imagining of the world into canvas we discover non existence, no gold, no silver,
reason which must materialise the element into a no
of which one was made aware not by means of The painter's attempt to convey reality in painting
but reason. It wishes to conquer having assumed its fruitless, it does not exist in fact on the canvas or in
will and imagining and above the supernatural beginning of of life. All differences will be levelled out by the
which one was not aware in any way other than stance in which there are no things, there are visions but
phenomena which are transparent reincarnating for their materialisation lies only in imagining, it is
metamorphosing themselves, but not ridding lised, made materially
theless of The implacability of the artist who wants to represent at
Matter is subjected to the will of reason, to a power the artistic beginning as something physical, real,
itself, that which has subjected the blind element ginable forces him to abandon his canvas and seek space, to
which finds itself outside the reason of awareness to realise in space what was imagined as material reality
law of form, such a law which must establish the not in the image of impressions and not in the
awareness and save the rational material beginning from the in the authentic fact. Here he operates with nature but
catastrophe of man, from his non material existence which will the impression gathered from it, here he is factually
arise at the moment when will and imagining are lost i. e. from here it is possible to legislate new painterly
28 w h i c h he is afraid, against which he fights by means 29 m a t e r i a l constructions which are built from authentic
 express the imagined reality as material, torn from gined content has arisen psychically distorted, for
In this case I encounter a new question—does my is necessary, religious content has put forward the cross, i.
struction express the reality of 'will and imagining' if which does not exist in the body of matter— [a drowned
gining itself lies in the 'material' or does it exist outside not afraid of the element, he is in reality with it].
the means are realised through which the imagining would like taken on the form of material, the psychic level, but as
to become a material reality. If the world is nothing but material was transformed into form [the second
imagining', then in fact one cannot get to know then already some of its significance was lost, it lost its first
ticity, for my imaginings about reality and visions psychic level. Form has become of prime significance
dreams exist and is expressed by the symbol of the imagined image
The world, nature, as physical, material, cannot be proved, for —it has become conscious for the psychic. For matter, just
nature, like proof, is imagined. In this way the an omnipotent, conscious element no form is necessary, i t is
into space with all the materials cannot in any beyond will and imagining, and consequently power does not
matter into material culture, on the other hand his exist in it, it is outside content [two
to be physical, and what is expressed by imagining Moving water washes away the shores and destroying
physically unrealised. Consequently it seems that not appear to have the desire to form the latter according
does not exist, if it did exist then the world would exist not as will law of the artistic
and imagining but as a material reality outside will Man on the other hand directs nature according to his laws of
i. e. outside the fight with imaginings. But reason artistic beginning, he gives material a form and
tion in this way, it must be endowed with decision supernatural expression. For this reason he may say that
will and imagining are equivalent to it. Reason as and the plough, the telephone are forms, the result of
observation outside activity, only deeds of volition are judgments about imaginings of nature, but in nature
formative things of the reality of material do not exist, a multitude of other forms which are not shaped by the
the condition that the world as imagining is material, man: crystals, plants, animals with fantastic
be physical, but since the materials are imagined then observing them we may conclude that each organism
action is imagined, not real, organism contains within itself reason which has created
The rational beginning, like consciousness, and the nical apparatus recognised by us in every organism as
ginning, like the subconscious remain only imaginings, beginning, reason which according to its amazing
sence [non-existence]. Every completed fact dissolves builds planetary systems and all kinds of other
the natural essence of non-existence, the essence of which lies in built by the rational beginning. I f this reason is outside
gathering and scattering. The common denominator the place where this reason dwells
beyond any 'what', and the human attempt to establish 'what' One may come to the conclusion therefore that matter
in its imagining will also dissolve, as volume dissolves on the exist outside the form of reason. The construction
painterly surface on which a volumetric world organisms probably occurred due to conscious action
has made its built according to a premeditated plan, consequently all
If the world is as matter, then this does not mean that it is material, is subject to a rational, a practical beginning
30 r i a l , i. e. psychic, matter becomes material only when 31 a beginning exists in nature just as in man exist reason,
 gining and matter from which is created all the five moment which lies in the action of establishing
of things. Without reason, will and imagining there can relationship between circumstances, and the
changes in creation. The fact that the rational beginning which will be the system. If this system is to be
higher one, above the essence of nature subjects it the circumstances it stops functioning as it finds itself
materialism, for this is only necessary for it while it is circumstances, it destroys itself, which will be a sign of
situation of being conscious of the subconscious, tion. In this case the phenomenon does not disappear
nature cannot exist in our imagining and our will, does to be rebuilt in connection with the new
press itself in consciousness — this is one aspect The boat, the ship, the aeroplane have arisen not because
nature established by reason, it is a nature I know, endowed with reason, as a practical force of expedient
there exists another realism of nature which I do not but because of influences, of acceptances and
feel, whose influences have established my technical link with water and air,
It is possible that practical things, technical ones are not at all any expedient
the result of reason and the practical construction of The influence of colour on the artist has encountered in
has not appeared from the rational correlation of same actions of interrelations established on the surface
the contrary everything is the result of interactions of canvas. By the establishment of interrelations man
of blind forces, lying within and without, and for tions of existence with existence, as the shadow is linked
because an influence has been accepted or rejected, it body and cannot exist independently
a particular form which will consist of two One can talk neither about the artistic beginning nor
rejection and acceptance. From the last we receive practical one. Under artistic and practical one
of time and space. Acceptance and rejection create simple strivings of the link of existence with its reflections
between or bring close together interacting forces, from psychic
of rejection of one is removed the other side to that All phenomena are rejections or acceptances, the latter
which it can be removed, it also creates distance, call practical, spiritual, artistic, the essence of which will
acceptance attracts and forms the point, the distance imagining of non-
me, and as it is likely that one cannot be fully captivated by An artistic thing is not established in a final form, just
fluence nor achieve an absolute rejection of pressure, practical thing is not established, as the thing is not
have a new moment of resistant actions as a in the universe, just as we suppose that nature is
of limited possibility which is established and becomes aspectual change in the matter of one immutable essence.
of constant action in a given circumstance. In this way she does not manifest herself, for phenomenon is
we already have a plan or a law of a built body. By law festation and immutability of essence annuls movement
understand a simple registration of the distinctive qualities of and any
the body, knowing these distinctive qualities of resistance, we Nature manifests nothing and reveals nothing, so it seems
build this or that phenomenon which has been established Human manifestations remain the same phenomena of
act of rejection of the active influences of a given changing zero on which all our hopes of manifestation
This system remains immutable while the
32 u n c h a n g e d . In this action we have two moments— 3
1/42 N o n - realism, therefore realism is that external objective
is not absolutely mortal, dynamic, changing.
invention of the engineer is constant, and that art is
which reflects objective life. The path of Art goes
sance to abstract expression and reflection, as it were, of
crete cognisance based on concrete everyday objects.
People in the distant past satisfied their need to represent ration of an ornament must be observed as an
fluences of nature by means of simple linear of scientific material in aesthetic form, in such a way
and this was already a great evolution in the sense of object ('the thing') acquires another meaning and arouses
lation of natural phenomena in their awareness. The interrelationship between the object in general and
and realisation o f influences occured under different forms relationship of the utilitarian form and the form of
which arose from organic necessity, thus these image, by means of this link the whole thing has
divided, from my point of view, into two categories, i. e. artistic expression. 'Something' abstract becomes i n image a
knowledge of phenomena and the realisation of what `something', an aesthetic `form' o r a utilitarian one; every
so that assimilation is pure abstract science whereas drawing on the object points to this inasmuch as man
is the science about the changes of the order of nature to know the abstract `something' — nature, and inasmuch as it
order of necessity. Consequently the necessity generally has become to him—concretely-real, but as soon as
three possible fundamental categories: religious cognisance of aesthetic form communes with the concrete thing, then
phenomena, the material and the aesthetic; each of subsequently becomes `abstract' (in the sense of its utilitarian
two moments in its process: nature and realism, possibilities). This activity arose in all branches and
decision. I n this process nature remains unchanging and the themselves which had a utilitarian aim were derived
changing is realism. The first is static, the second cause of abstract discovery. It is possible that man
for this reason every decision and cognisance are forms of the abstract order which later on he guessed how
Therefore the realism of these three categories which so that not every object arose by virtue of
entered nature is not absolute realism, it has not and did not stem from a given need. Man does not
immutability nor is it eternal and therefore the necessities before he uncovers them by means of
sance of nature is expressed in God as something which is Moreover every uncovering of an abstract
mortal beginning, always existing, ubiquitous, omniscient, in a new fact about the existence of new abstract causes,
which one has to see the absolute static, for to quently, in order to overcome them, man would create
means to move no more, and that which does not die crete, real tools, guiding them into his consciousness.
static and absolute. For this reason, from the point of view of received two moments in life: the world as an awareness
religion, the spirit does not die, nor does the soul, and concrete and the world as an abstraction outside
point of view of scientific materialism matter does not objective. The world and its manifestation did not
quently it is also static in its essence. Consequently in the consciousness, for consciousness did not exist,
matter are one and the same beginning with the existed and hence the world was the world, i. e.
34 e s s e n c e on to which man tries to put on the objective cap of 35 o n l y thanks to the developing organisation of man, `he'
 from this 'nothing of the world' to realise 'something' lies in the arts, inasmuch as they are not cognised.
strength of which he destroyed the world, doing this in of man we have called artistic, we could have called it
of the real that this 'something' was maturing in his activity, like any manifestation of nature, but under
as an imagining in this or that form, but this was no that artistic functions are functions of the subconscious,
world, this was its destruction, division, therefore the word art, one should understand a manifestation
which arose has two purposes: the destruction and in some part with the consciousness, this part is the
sation of the immutable, and reorganisation of the destruction in in the wish to achieve harmony, i, e. concretise 'the
the immutable. All its functions seem to direct it both to 'a world of artistic harmony', and here is where the
nisance of phenomena and, according to the awareness for the world is still not in the process of being
shattered world, they would be transformed into a real artist therefore it would seem is subconsciously aware that
a new attempt at re-ordering 'the world' in the world' exists in pure art and wishes to understand it only
e, to transfer it from its abstract condition into the world of own part of the subconscious, and from here stems
concrete awareness: concrete awareness will be 'the thing that finds itself outside time. For the artist, therefore, all
opposed to the abstract. In this, it seems to me, are contained all utilitarian, concrete things are not harmonic, for in
man's affairs which in their development have is no form, and he meddles with their technical organisation in
selves into aesthetics of the artist and religion, science and order to add artistic form, which leads things into
engineerin world or, in other words, one can say that art is that action of
In one of these divisions in the general cognisance of man by which he reestablishes the world divided
the point of view of my argument, lay imitative art as ness. In the given notes I have set myself the task
of cognising the phenomena and circumstances of imitative art on the cognisive plane, the concrete and
world which, later on, became as though aesthetic artistic, one of the methods of a scientific problem, of natural
a concrete expression. From that time the sphere of through
non-objective cognisance formed by art began to be Thus there are many causes which it seems are
this or that form of life pattern, things, tools, and tions for the creation of things and artistic works,
a special meaning, it became expedient with its religion as a spiritual beginning and a material
terial in the forming and, adding to the formlessness, from these two causes a life pattern is created. All
everyday tool by means of the aesthetic form and remained a secondary aesthetic aspect, seemingly
the latter, as I have already said, links the concrete again these beginnings, and in such a way arose from these
of art to pure abstraction, and if I suppose that they, it would seem, gave birth to artistic culture. But
derived from 'the world', 'the world' is abstract the causes of artistic culture stemmed from another
not concrete but non-objective, for that reason we have let slip from view, let us say it arose from
then consciousness wishes to cognise, transform into of a purely painterly order, which itself arose from the
the comprehensible, whereas the artistic beginning does the cognisance of nature as such. Therefore artistic
in consciousness, for consciousness divides the abstract give form to a life pattern and a whole production
the concrete, consequently the artistic beginning can only be in from the point of view of Art. In such a way the necessity of
36 t h e unconscious as an abstract, and hence the cognising the World created religion and gave birth to
 of new interrelationships between God and man measuring—everything is authentic which is built
Him. These forms of religious interrelationships entered the and at the same time consciousness faces the
sphere of artistic culture and became integrated in the is everything which touches it real, does it possess
its artistic aesthetic structure of colour. They will not city which has been reflected in its image or in a tool
authentic colouring or their concrete expression in form of expression or perhaps all this classification and
for form will change by virtue of interrelationships gories of expression of these or those aspects are its
i. e, it will be violated by the latter which has entered of imaginings, in the pure unconscious, there are
forming of Art. In such a way the shape of the Madonna in Art or unpleasant sensations (acceptance or rejection). This
is not the Madonna and vice-versa. But by virtue of attaching Art viously where abstract realism lies, after it comes
to life, material and religious, it has become imitative, when the immutable body strives to reincarnate itself into
of its own line which consists in the independent lucinatory
a genuine colouring of the objects and the life of colour Just try to prove to a boy at the very moment when he
ral. This is the only task for imitative art, outside at being a steam-engine or expressing himself as
For objects, portraits, events of historical development, with all its functions, that in fact he is not a steam-engine
fall of man's life are not events that bear colour, they aeroplane, but a little boy like all the others. It seems to
forms for the painter, which have not arisen from the we will not convince the little boy, the boy in the condition of
the Art of painting, or of Art in general, the the aeroplane, who has severed all relationship
of these movements are not the interrelationship of ness, we cannot talk to him, and will only be able to do
order, and therefore they are always false for the latter, and if he again becomes a boy; in this case we will be able to talk
the artist reflects their artistic order then he will not be faithful about the questions of the given circumstance. In the
to history, (they) will not be concrete. In such a will at first occur a possible muddling of action, or
science and Art strive towards cognisance 'of the ment of one centre by another, of the conscious and
each one with his own method, united in the end by scious, the normal and the abnormal creative, by virtue
'the cognisance of the world as such', for this reason the boy is hypnotised by this or that thing, and acts in
have forms of this cognisance in the form of 'the soul', conscious state; in one case he creates, i n another the thing
and we attempt to concretise it, therefore all the tools changes him, and he starts to sense within
must be concrete, and everything that is abstract must that he has seen, or which, in one way or the other,
but if the world is abstract then it can be cognised through his consciousness, his subconscious, whether one is
stract as the body is cognised through the body. We the fact that, having subjugated himself to the idea of
to one another through concrete things that we engine, he expresses the steam-engine in an artistic form, or
the abstract world only through its concrete expression, conveys the actual reality of the steam-engine as it is.
words, we assure one another in our consciousness that it seems to me would be authentic for him, he is
relationships only become true when they have trodden exactly with the steam-engine. In the given case
conceived in the consciousness. Thus in one case Art wishes to mixed together and it is difficult to distinguish the
know the law, and later to build the artistic thing ference, where cognisance of himself and of the
3 based on another foundation. Consciousness has one method of begin, or, it would be more correct to say that, at the
 ment, he does not want to cognise himself at all, sence of human definition of existence as 'the world'.
as he cognises himself, he destroys the reality of the moments occur: one moment—the destruction of 'the
here the consciousness is overcome by the cause it did not appear authentic to him, for there in
forming him into a steam-engine. There is no question it is not organised, only the organisation of
case of the artistic expression of this steam-engine, in the world into a new worldly order seems to man to
can also be found not only in children but also in authentic reality, for he begins to feel his presence in
transfer themselves from one reality to another, every and the reality of this world will be expressed in his
the wish and the aspiration to transmigrate from his own existence which, it would seem, will become one with
to another, and the first signs of this reincarnation arise him. Of course, how far this attitude and expression
imagining and they often become, later on, a new and real is a protracted and debatable question, but
dream becomes true. It is impossible to find one single life, put together from this attempt at manifesting the
would be simply a real non-objective man, this does built all sorts of contrivances in order to remove
him and he strives to transform himself into that which so that all world relationship could merge into one. In
to be t h a t which he wishes to escape from, his own festation arises an answer to the question, where and
his own 'something' and this is not all, for from that do I find myself and exist, what do I see, what do I feel,
he strives to become a new 'something' he exchanges move, or do I not move in real space in time, or is all this
of the 'something' for another, for he did not consider cination of a body that never moves, which remains
to be truly concrete. He strives to cross from one reality the world, which is like man who finds himself in a state
other only because he wants once to transfer himself into that i. e. a moment which coincides with the world for the
reality by which he considers himself expressed, and his body does not move anywhere, only the
a person becomes an artist, another a warrior, the third move. Is there some kind of difference between sleep and
an accountant, a scholar, they all wish to enter from waking world, is there that which one can call natural,
into a concrete condition and people reincarnated in such dreams in which we see ourselves in many guises as a dog,
discover in their creative centre a particular point of view of and yet man, I am something which flies, although I
existence, and of phenomena, a point of view which wings, I see all this in a dream, and all this seems
one in forms (sculpture), others in painting, the third in to me, and I see nothing unnatural when a boy in
the fourth in numbers, sums, etc. and in this they see state becomes a steam-engine, a man an artist, an
concrete expression. Imitative art is a function like all though the boy who is playing at being a steam-engine is
means of which man attempts to discover the authentic that same dream state which has lost its waking reality, for at
a phenomenon and communicate it, for that which he the one and the same time he is a little boy and a
not satisfy him, therefore everything that is done by man as and the distortion of objects by perspective is it not
science is concerned is the result of one and the same cause: of in dream, be they real or not, where is their reality, in
the discovery of reality, of type and origin of ment of state can we define their real reality? Does a
everything created by man is nothing but an organisation of a exist which removes objects from me, or are these
phenomenon discovered by man, imagined, or of non-existent objects to which I go or from which I
40 r e a l i t y . All such actions of the creative state differ from and do I in waking reality move away from or
 objects, for after all the same thing occurs in sleep in can testify that my body did not move and was not in
body lies immobile while my freed consciousness moves I do not think anybody ever dreamt that he was deprived
and cognises all objects surrounding it in that life and became dead, although one often sees
And this is not all, for in sleep I also sense my body, I things go as far as murder, but in such a case one can always
same authentic one, real, I move as though I am in of the situation somehow or other by change of aspect
My body moves, it meets a mass of hindrances, mation of circumstances, either you wake up at that
it has to overcome, and the latter is in no way different you feel yourself another person. A departure is
barriers which I encounter in waking reality for, at this physical envelope or circumstance threatened by
moment, I do not know anything else. In sleep I am blow, and when the moment of awakening comes, this
and I feel in that same physical body and state. Yet if that my 'I' has returned from the physical container
to put it to the test, keeping watch on the sleeping man, threatened by danger to my 'I', threatening destruction
will see that his body went nowhere, in reality the body in which my 'I' found or
away from the guard and was free. When I woke, Here rather strange combinations occur: during my
form of the same naturalness occured, and again I centre of cognition is situated in another place, I do
to act, meet hindrances and live through various but I am awake, I walk about and I endure many sensations.
again I run in my body and the same space surrounds also aware, just as when awake, of every step of
height, width, the same objects either decreasing and it seems that I am torn away from my body for it
(I have woken up and gone to sleep) they comprise one in bed, yet I am aware of myself in movement, not as a
same reality, perhaps in different variations in that physical body in which I live when awake,
So what is real here and there? Everything, both here whole in the sense of an organism, and when in sleep I
existed for me as an authentic physical phenomenon, and yet blow which is threatening me, then when the blow or
when I slept my body looked like some comes a fading out of consciousness occurs, though for
through which occurred the movement of my consciousness or ment it has disappeared, and I do not recollect myself. But at
of the 'I' in one direction, which is called sleep, and the same moment waking occurs. The fact of waking
which is called waking reality. One may ask which of re-entry into memory of a new waking reality, of a
phenomena is real? What does it consist of? Is my body feeling which leads from unconsciousness into a
container in which hallucinations take place, my eyes If sleep is the reflection of non-sleeping reality which
through which the unknown gazes, and comes into contact with by the consciousness, if sleep is the second reflection of
my 'I' or, conversely, reflections pass through slits on to sciousness of waking reality, then it is possible that
sitive plate of my brain and make it active by means itself is only the reflection of circumstances of the
reaction. This 'I' or my cognition thus exist inside and forming the first and
body, when I am asleep it frees itself and when I get up Children's drawings indicate that their actions are carried
enters that container, everyone feels this strongly in many cases as though in sleep, and that they find
yet all this was false, nothing goes further than side waking reality, they make for example unnatural
In my sleep I have walked many miles, I have stumbled they make these unnatural images not because they
42 g e r o u s events threatening my life, and the guardians of 43 o f them. They cognise this marvellously and it appears
 a completely conscious and real thing, and a waking their images, they draw people larger than houses, but their
learning of identity between image and appearance does not distortion is justified in the future by perspective, and
mean that the image is all authentic and true, and sider this conscious work, and the child's work subconscious, for
this learning one can bring man into waking reality and they do not cognise reality, but adults cognise no differently.
will act in authentic waking reality, we can learn about this Long ago perspectives did not exist, which made an
authenticity partly only in the subconscious, but we do or smaller, this would have been a false imagining
nise it, for even when we are awake we do not cognise of authenticity. The conveying of phenomena in
the consciousness wishes to awake into reality and cannot size of the first, second and third plans would be
although it attempts with all the strength of its organism expression (the icon), but people had recourse to
whole army of weapons to awaken itself into it. Thus, stick of size, i. e. to a new perspective based on essence,
call consciousness is only the second platform above the significance of things. For example, Egyptian drawings of
scious, the subconscious is the first step, the second step Pharaohs who were depicted large and their wives
conscious which finds itself above the non-consciousness of happens because the wife plays essentially a small role.
world', it is that which swallows up time, and drawings by one little boy who drew a cow according to
finds rest in it. There, all that is concrete disappears, for in of the paper, i. e. according to circumstance, i f the
essence it is only a distortion of 'the abstract world'. small then he drew it as a calf, because a calf
the consciousness cannot penetrate so far, 'there sleep I came across a similar case when I saw a little girl
consciousness ceases to had a doll and changed its age depending on the
which she found herself, this doll was both a mother,
a cook and sometimes it became a wolf or a fish.
The whole 'abstract world' is built in our concrete such facts very important, for these reasons show that
in perspective, and we see it this way in sleep, although of one and the same phenomenon in the consciousness
it too does not change, in this reflection I feel myself changes; a body for them can evolve, reincarnate itself, the
in physical waking reality, whereas in fact depth and mother became a wolf, a cow became a calf, in
spective are the same whether awake they gave witness to this reincarnation as a true
quently the reality of things in the consciousness of the
measured not by what the eye sees but by the
In waking reality those objects are changed according stance in which the body falls, he could go even further
tive which in reality do not change size, their pict his father for example younger than himself. All this
is different to appearance in perspective, perspective is in the drawing of those imaginings which become reality in
cumstance in which reflections of reality occur in false waking life but not in sleep. What happens to the drawing
and this occurs in the waking condition; consequently adult man who has come to grips with his consciousness?
of things are distorted just as much by phenomena of depicts a tower under several aspects, it can be small
world as by phenomena viewed in sleep. In both cases we sometimes it can change into a spot and towards the
the supernatural visual transformations, behind which it its authentic reality is elusive, even for his consciousness, for
44 p o s s i b l e to see reality; the same thing happens with 45 e v e r y moment of my movement there will be a new
 which will change the tower. The boy acts in the same way who remain alive will attain the future. Hence one can
adult. They are both occupied with one and the same the following conclusion, that every movement of man
depicting and manifesting the authenticity of things which ferent in form, tactics and methods, all proceed to one
space, 'the concrete world', but it appears that there is essence, everything moves through death, and
concrete circumstance, there is no such point from which the wishes to live forever, it wishes to become immortal, i. e.
visible could appear a point, there is not therefore to become God, (the world) and for this it has to
point of view which would give a concrete, authentic sciousness, for the non-conscious, the non-rational
something', it will be impossible to catch it in non- death, the death of man like the death of any animal
For me the case of the little boy, pointed to many things, and it only in the centre of consciousness, and of the subconscious, for
indicated that the boy saw things not in a senseless fashion or in him there is an element of consciousness, therefore the
stupidly, as the people who were around him said, religion is deprived of any physical matter and has to
thought that, if only one could teach him, then he rational, it has to go away to the kingdom of heaven
phenomena really — naturally. What does this 'as it good which is found beyond any idea or imagining, and
or 'naturally' mean? (And how can one learn this, so other case the idea of imagining transfers itself into
can put across phenomena under their real aspect). the leader and his teaching. Thus consciousness and
attempted, for all he was worth, to prove that the reality conscious are what give us the possibility of differentiating
father cannot incarnate itself in reverse into that time the living from the dead; the living and the dead are defined in
passed, that it is only a phantasy and false, naive imagining of man by his consciousness, life after death or the future
the little boy about reality. And yet the boy was same and represent one and the same condition of the future
when he explained his position, the boy noticed that a reincarnation of phenomena existing now, life after
free in time, although he did not know that for him time be expressed not only in the existence of myself after
exist in the guise of a hindrance, on the contrary, a it exists in every step of mine the moment I move from
sessed time and space and created it by itself. Objects cumstance into another, for me it is all the same, whether I
themselves into a different time of the past and the the cemetery or to the town of the future, for in both
objects can manifest themselves in the future, and the future in incarnation awaits me. What will happen to
the past. Therefore there is nothing funny when we when death comes what signs will be revealed by means
the existence of life after death, for we are talking people can be assured that I am dead? These signs
future, life after death is the hope of life in the future, in the disruption of the cognisance of phenomena and
ment. Every leader leads to that particular life after death, in contact with my imagining, but what if one were to ask
a future life, and he cannot promise anything else to who is not dead what he understands and cognises in reality,
the people believe in the guiding star which he will whatever his answer may be it will only be a relative
and they will follow. The one and the other say that relativity is very far from a true answer. A difficult state
are the future kingdoms of hope, and one says, too, that we call a nightmare, but the space in which a nightmare
vanquished by death and has given life to the One Who was in out does not exist, but the man who is asleep feels it in
the tomb, another says war to war, death to death to give less than in any other condition of waking life. I had
4 those under oppression, having overcome death by 47 t h e moment of my shooting in waking life, I could not
 whether it was reality or a nightmare, and when I Imitative art attempts to halt the changing pattern, to fix
at home I sat for a long time and I could not come in an immutable pose, to lead it into the artistic
I did not know whether it was sleep or waking. So acute condition outside time, such a relationship is the essence
sufferings. I woke up as though I were authentic, tative art, but in reality the artist understands this essence
in sleep on the other side of being, and I had lost my body, for it different way and it is assumed to be a method of
had been made dead, when 'I' ran into that container by means of depicting a phenomenon on canvas. But
I had emerged during my time of sleep. But it is possible is vain, there is
new fact on this side of life which we call 'waking reality' The mountain which is growing before me changes its visual
the repetition of some other circumstances. The body reality as I move towards it or away from it, and the fact
been killed remains outside consciousness just as it does moving towards it changes all the circumstances of
but when visions begin, then the conscious begins to ship, and there arises a new visuality which one firmly
then it is different from what has been killed, lity. In such a way all images of the mountain will be
in sleep together with all the functions of the body although it tive visualities, but not proofs of its authenticity. Visuality
does not move, it seems at though we transfer ourselves into a painted mountain cannot be real for one reason alone, that
new container and ourselves create new phenomena a simple depiction and does not express its many sides,
in depict all the points of scientific suppositions about
On the canvasses of the artist it is possible to find all tain, about the construction of the matter of which its
movement of human life, he fixes everything that sists, its visuality will fall apart into a multitude of
on this or that side, this fixing is called endowed with spirit, and they will no longer be the aspect of the mountain. If
'a spiritual fixation of the artist', expressed through the body of vey all the circumstances which is of course
colour and form, consequently there differences the expression of this mountain will be more complete,
the material and spiritual functions, the one and will hinder its expression, for all circumstances
organism produces different manifestations, some are linked with a whole row of other circumstances, and
others are not, and one must not forget that the superiority of the entire mountain for us, it is impossible to isolate
the latter over the former is enormous, the body which and consequently the expression of the mountain on
ped manifesting, functioning in the spirit, is not canvas cannot be attained. Disregarding this complication we
and is even defined as dead, it is carried in one case to attempt, nonetheless, with our primitive cognisance,
tery when it has lost consciousness, but if it had lived in to depict a phenomenon with all the force at
then its spiritual activity is elevated into life, but it is The imitative art of our primeval ancestors indicates to
differentiate where spirit is, and where matter is in slow depletive scientific cognition of phenomena in
for nothing moves in it and consequently it is in a the desire to depict them accurately, to naturalise them. The
which one can desclose only by the process of movement, simplest ornaments, the simplest images of an animal in
latter are relative only in our creative process. On the of primitive schemes disintegrate into a multitude of
all imagining is in movement, and consequently is ments, complicating and augmenting the reality of
change in which it is difficult to define the reality of Whether it is in the name of the artistic that the
4 for it does not exist in them, for they do not exist in 49 c o g n i s e d , or whether it is artistic necessity which pushes
 cognition or whether the fact of visuality remains the fact diency excludes itself from faith, love and hope tomorrow, for,
piction, everything is levelled down to the fact as a lie it has not justified itself, and could not justify itself, for
naturally, authentically, everything that is seen. hope, faith and love are abstract, since the world is
to be built according to an open law of the object, the before
analysed and researched into, and the data are Thus every practical construction is an outward appearance in
the work of artists. Hence like the artist, the depictor, as which there is nothing practical, for it is mobile,
the scholar, study phenomena, and convey them in one immobility it seems that it is possible to see the attainment of
form, formula, science and art are divided into two the aim by means of all practical constructions, but at
one department I would call pure science, the the aim becomes non-objective, aimless, outside time
science; the second which applies all the data of pure and in this way and from this point of view, is justified
the construction of things, as useful tools. Such a position objectivity of the world which is itself the basis
although it is an obvious establishment, is only temporal, made by man. The arts are not there to serve religious
categorical. The categorical element remains nonetheless aims, but stand above this, they are non-objective, already
establishing of abstract Art, I t is possible that people with a world are such works which live outside time, beyond
practical turn of mind will rise against pure turies, and practical things transient in time and dissolving
pure abstract science, and pure abstract art, i. e. consequently in a practical relationship they will not
sciences, and non-objective arts, for they need data criticism for 'the world' is not dissoluble. Thus pure art
from their practical realism, necessities, whereas science have travelled, and still travel, on two abstract
will be contained in the attainment of 'the world' (i, concrete ones, they have anticipated those who change their
relationships, and i t is they which will be the useless data into expediency. Imitative art is one of
necessity), not understanding the essence of the problem, in a multitude of aspects of expression of the real world and in
crete thinking men will attempt to hinder the whole this lies its mistake, one cannot express the world but
relationship to the phenomenon, they will attempt to in it, and to act in the abstract, for the World must
abstractionists. For example, the concretists demand from art and it is not cognised, and consequently not expressed
that it should represent the contents of this or that idea, therefore every action or act which contains in itself
tical or expedient purpose, to help or to further the of the expression of practical authenticity is a mistake
of the idea of the interrelationship of people to 'the thentic acts are
art has already attained it, and thereby justified its The growth of imitative art from lines, scratches, from
we encounter here the fact that the arts in themselves images', was enriched by knowledge of the object, and
longer be practical, for the arts are outside time and object was constructed according to the method
and propaganda Art is ephemeral in time, and therefore to be primitive and reaching high cultural perfection, this
be divided into two: the timeless and the temporal, scientific and progressive measure. This method is one
images are temporal. The essence of practical aims is a means which deepens the reality of the object in general
asmuch as a thing exists, the only aim is the object, pression of the formal side in particular. Such an
as all objects are tools of attainment of the abstract wholly scientific, concrete, taking note of progress i n art, in
5 will be authentic and faithful, every object expressed 51 r e a l i t y there is no progress in art, for it is an abstract
 of the world, like the abstract observation of science, all with the natural authenticity of the expressed
be only in the pure imitative sense as a false art, it can the sense of anatomy and painting, but by now all this
ded in the scientific order of progress, the second, the directed towards concrete propaganda art and has
tive cannot be regarded this way, Art is outside a false path. I would have called this relationship
after progress in art, of its formal side, man became aware of the scientific painterly approach to the knowledge
the colour contents of the phenomenon and already nearer Further after that comes the new school of Impressionism.
we see the phenomenon in a new real surrounding— development of methods and means, everything to
linear as well as aerial. In the midst of light painterly or real authenticity of nature in general.
a new naturalism opened before us of those same objects sionists strove to convey an impression of air, light, in
circumstances. It is impossible to say that the perspectival line end for ever the problem of learning, through art,
was not felt by our ancestors so far away from our nature of air and light in which form lives, the first and
tury. They felt it and strove to represent these cond can be related to science `of the painterly
tionships just as we attempt to link all objects which lie science
perspective And yet impressionism was only the forewarning of a
The museums of painting and sculpture present a whole tific extraordinary painterly experiment — Pointillism, which
facts which represent perspective attempts to convey objects was invented by Impressionism and ended up
spatial, linear and aerial relationship, they are built, spots on the canvas in such an order that the vibration
ding to the method of art but by scientific method. spots, when the eye was moved away to a certain
ment of phenomena on the surface of the canvas in the no longer give an impression of real live air or light,
of perspectival correlationships as in nature proves that give that transparency, that consistency, that vibration
strove to put across the same similarity which appeared to in which nature
Such creation and perception of phenomena are a The pointillists prove by their own existence that
ception, but not an artistic perception, which is not not only to artistic-aesthetic decisions, but also to
the eye and is not controlled by it. Another stage in scientific work in which one could achieve reality.
tion of objects is the striving to convey the full anatomy approach or scientific work are beyond impression.
structure of each phenomenon. Of course by identity one tillists no longer need the artistic, only that physical
understand the possible knowledge, conditioned by which exists in nature, they need first of all her
in which the subject acts, i. e. the level of science. In such Thus I have before me a science of painting,
the striving to establish the imitative painterly authenticity of in its approach to the research of phenomena and
nature becomes similar to the establishment of that same matio
natural phenomena in science, for example in the science of Art has become for me not only the means of
plants, one or the other can be `as such'. It is possible to questions, but also the means of cognising, through a
learned men—painters, for example Shishkin and of painterly experiments in colour, light, form and
many others, who worked on the expression of theoretical and philosophical forming. So in this case
relationship in nature. A l l peredvizhnichestvo, except for the divided, like any scientific discipline, into theory,
52 a d m i x t u r e of ideological popular contents, was 53 p h i l o s o p h y , the abstract division and the
 II but a tape of the spatial kinetic movement of the
One could say that Pointillism ends and exhausts finds itself in rotation, forming various straight and
problem of a huge period of imitative art in the expression of volumes, halfvolumes. Every such aspectual difference is
nature, and through science forms the forms of the ment of the whole which is completed only in the form
With Pointillism the last analysis of light is completed, cube. Such is our new cognition of bodies which have
was absent in previous painterly experiments. Thus the one state
establish a synthesis and complete the artistic picture, Under this new formula, i. e. the formula of the cube
into i t luminous naturalism. The completed only painting but also science and they both make
Pointillist work functions as a new attainment in painting, effort to calculate the cubic content of the
gress in the practical use of the philistine for his investigation. The discovery in painting of the four-
faction, although this work did not arise from the measure7 of phenomena was, for the artist, a last
vation of the world cognised by him in three-dimensional vision.
The achievements in luminosity complete the activity stroyed the reality of a world he had made his own, a world
tillism, as well as the perception of phenomena in which completely accepted the new organisation linked
dimensional space, and phenomena from now on are fourth point of measuring. Hence all the attacks and
forms of spatial relationships which have clear, the entire rebellion of the old painters against
in time. The Impressionists and the Pointillists tors who were dispersing all the phenomena assimilated
selves in an irreconcilable work, i. e. to express phenomena in others. He saw that in the world there are three
three-dimensional reality from one unchanging point which he had, nonetheless, gone, in time, in three
dimensional perception, and this was already enough strictly speaking, he forgot that pain when, at some
a new epoch of painterly, scientific analysis and synthesis. This two-dimensional consciousness was torn into three parts,
was enough to destroy the codes built up by centuries of together and his organism became more supple, for at
painterly-scientific approach, to destroy three- the same time he was moving in three directions
lity and to prove that not everything is conveyed faithfully, for nature and life, now his cognition of phenomena undergoes
nothing can be observed from an unchanging point of view, for surgical operation, they wish to tear the consciousness into
such a point does not exist, neither in the portrayer nor of sides, they suggest to him that he should walk in
portrayed. In the latter it was disclosed that everything manner as the whole world walks in reality, they suggest
in time, that everything is in movement, and in order to that he should be natural and on a level with the
authentic it is necessary to stand on that particular point wise he will not be in step
ment, because in it we receive new correlationships of And it is true one cannot say anything against the reality
menon which has been researched or conveyed, as well fourth dimension, it was an inflexible fact, it is a
perspective city, which will always leave me in an equilibrium
Thus a new problem is born in the science of painting. ships with phenomena. The fourth dimension is a kinetic
equally determined to express the phenomenon in which the object is unrolled in the fourth state, disclosing its
natural reality, through a new point of movement ... whole in
5 menon is observed not statically but in extent, no longer 55 A l l the changeability of man's affairs is built on this
 mension and the fact that in each place it is measured in 'the world' as some part of a building whole in form, for
ferent way in accordance with circumstances which surround it, building also does not exist either, they arise from
and they are rich in their multiplicity of points. In intention, the material for which being what we call
ness a new yardstick has been adopted for us, the fourth, which serves for the realisation of the intention and
as we began to search for its structure, we search for can be nothing else but in the expression 'of the world',
in time, and in that same way we form space. So we world's is that towards which everything proceeds, and
line in a whole series of geometrical refractions, as aspects of reason nobody can strive or build themselves a
time, the structure of which is similar to the crystal which is different from another, for 'the world' cannot be in different
formed from the movement of its matter according aspects of Weltanschauung. 'The world' is 'the world'
circumstances, it changes direction, coming together cannot be various points of view about it. The silence of
angles of its length, building itself into an organism or system in world' troubles our brain and a wish arises in the brain
space as an aspect in time. Thus I explain to myself the this silence and to find in it a tongue and a word, as
the body and the structure of every phenomenon. It is possible, in is a wish to smash the wisdom of silence with a word
such a case, to build a structure of man's duration and length, of fore, in order to pierce, it destroys visuality, and organises
his behaviour, i f he is regarded as a piece of matter, then, in strument of insertion, but instruments cannot
movement, he will be drawing one or another line, for they are part of the silence, by virtue of which tools
which in their amalgamation will create a series of built only by consent, only on the basis of tools. Here
figures and forms, this graph or track, consisting of tability of its organism which is conducted by the
elements of the body, will manifest in itself that form, most recesses, and at the same time it searches for
nisation of those circumstances, through which man tionship, of 'a world' completely destroyed by it, in order
like silent and not to move, and in these searches it is similar
Only in movement can one see the cause of realisation flow of the river which separates and comes together again in
terly, sculptural or architectural form in art, as well as its various branches, and forms abstract forms of
changes. The formation of elements begins in movement, and in with the aim of flowing into the sea as the abstract kingdom. It
the process of movement interrelationships develop is possible that phenomena were formed on this basis,
selves, establishing between themselves functions of sent those elements of matter which has been
by means of relationships they form an organism. reintegrated in various circumstances, creating in itself
ship will be the linking moment of two differences, it dom of rest, and in our consciousness an element and hell of
the law of their existence, this law is the same for movement, therefore movement has become for us both
is constructed, it organises elements, and if the elements and a means, both an evil and good thing in the
meet new circumstances on their path they could both bliss and hell, bliss is not hell and not movement,
organisation or disorganisation, they could continue progress. I do not want progress, I want rest. All
not having changed themselves in form. The element is a new dissipation amongst new conditions, and this is
a form, the form only begins when the link of elements begins, in change outside the forces of nature and outside destruction, for
the main guided by the artistic beginning and even then in the disappearance of the aspect is not the destruction of
56 t i v e concept. As, in the final reckoning, elements do not 57 w o r l d ' . Matter in movement is an unchanging,
 'world' situated outside time progress, which on the other hand there are no circumstances, and in it
conditions of universal nature and a force, which no registration of the concrete, and therefore our own point of
aspectual forms of phenomena. A resemblance to this view in relation to the whole is defined as follows: the
found in the painterly development of one and the 'something', and to arrive at the whole, means to set out
of colour or generally of coloured matter. The paint reverse path, and to arrive at one's source, to be
into numerous colours and in its movements of circumstances, and if to be outside any circumstances
phenomena, shaping various forms which take on different to change one's aspect, to return to `the world', into 'nothing', it
aspects. All possible constructions of these aspects is possible to change only through the widening of oneself
structure of the physical canvas, the canvas is covered with a and in space, through such technical means which do
whole series of movements of the latter elements and in 'the world'. If this state does not exist, then there is
gams. Hence we can see that the canvas, as a plane, there is no face, there is no image, there is no form,
plan of energy moving according to various i. e, the signs do not exist according to which we
conditions, amalgamating into one whole, forming construction from another, there are no relative
body. Thus the paint, as matter, has remained unchanging in of measuring, and hence we see that there is no time,
essence, as the world is unchanging, only its aspectual In other words one can say that there are no signs of
changed, the same thing happens with all the other arts. Yet stence, it seems as though the painterly canvas proves
what we put across, i. e. add to that canvas, does not by the fact that representation of space, time, depth, and of all
essence, the basic energy of matter; the fact of the that which exists in true authenticity, does not exist. On
mains stable, since what we add will only be by means vas nothing is mobile, as it is only mobile in me, but it
stances organising our thoughts, awareness, for matter, on the that, in me too, is that same canvas in which there is
other hand, the circumstances will be one whole, they will fested, real authenticity. It is not manifested in life,
an image or a reflection of the world. Here, of course, it to have manifested the aspect, and this aspect is called
to ask the question what does a whole unit represent, something which one can touch, which exists physically,
this question is very interesting and demands an answer, for in dissolution in death leaves only one photographic shade
the whole unit it is possible to understand that real this is all the physical proof of its
we are searching Only in such a way can I answer the question about
We, actually, see the world as some completed whole, and the unit. Thus, whoever wants to express the wholeness of
understand it as real only in one whole, outside this the world the world must come only to this 'nothing', for
does not exist. Physically one cannot prove unity as a of the world does not exist. The same person who wishes
it is not possible to register it physically, which implies press i t through means of dimension, has already created its
sided, it cannot be calculated either, it is possible that even multiplicity of facets and has annihilated the world,
in our consciousness cannot imagine wholeness, for there created an inclined plane which has become an element
a single point of view of the world, although even the world faceted; amalgams giving birth to two, three, four
cannot have many points, it does not possess a multiplicity of If the world is endless, i. e. has no end, neither a
facets. Consequently, the unit, just like 'the whole' is a finality, then the circumstances of the movement of
tical registration of one circumstance with another, in also endless. The facets, therefore, are endless, if this
 it proves that the reality of the world cannot be expressed, for analogy of two physical existences, of phenomena both
there is no limit, there is no beginning, there is no and that side of my relationship, to check their oneness, their
under this condition there can only be a 'nothing', but physical identity, it is necessary to prove by means
is a fact of my compositions, then it can also be graphs; only this photographic proof can assure
and finally. As my creation is 'something' which I strive asmuch as society of course believes in identity, verified
back by means of my concrete culture, sooner or later physical experiment. I suggest, that this is one of the
ning and end is swallowed up by abstract non- science which searches for the real cause in
fore scepticism arises in me towards everyone who which attempts to establish the limit of the real and the
everything which wishes to express the world's reality or to of the conscious and the
express 'something'. Hence arises the sceptical relationship to Indeed, in what and where is the limit of the concrete,
concrete existence, for there is no such thing in the non-real, is my body real, or that which acts by means
The painter must, more than everyone else, be a sceptic Is it possible to consider everything that is physical
possesses experience that not a single scientist or is it only that through which the real acts? We see
as he attempts to express authenticity, identity, inasmuch sical shifts and find their causes and register them.
experience proves that there is no such thing, for above because it exists, there exists, let us say an incline, it is
canvas indicates this that nothing represented by him a globe, because it is held back by atmospheric
tangible, real, and authentic on canvas, that all his atmosphere is held by another whale which rests against
vain, without or is held back by the sun, etc. .. . All this construction is
Everything else which attempts to express the other side of life, imagining about the real state of phenomena and of
the practical thing, in a whole series of innumerable links vers
chain of things, shows that this sphere too is At some stage science began to joke about the darkness
simply is no universal, no mono-thing, and only a science which sank into ignorance and, therefore,
could prove that yes, the thing exists, and also that the world rests on water, and the water on whales, and
exists, i f only we would approach such a thing, such on poles. Now of course everything is different, there is
thing', if only we would come to the place where we must find rance, there is no darkness either, as though everything
such a 'universal', then we would meet before and neat, as though divided, dispersed into component
greater than the empty place, we would disappear in in the latter we see authentic natural phenomena. Water fell
trace, we would become non-existent for we would into the formula H20. It appeared that it is not the
come movement. This 'nothing' is in everything holds water but atmosphere which is held by the sun, and
tangible to us, existing in reality, in me authentic is held by Hercules, previously, they also thought,
and they are also physical, they impinge upon my shell Hercules, generally without strength, nothing can move,
that they make me scream, groan in my sleep. But or fight. In order to hold several two frud weights one has
sleep, although I remember it in waking, and see as it strong, one has to be Hercules. This fact is irrefutable, it
passing reality beyond, on the other side of obvious and evident experience. This realism is transferred to
Everything here, in the waking world as in sleep, is the universe by astronomic science, which also builds
6 summed up in my consciousness and in order to draw the full 61 v e r s e , the universal reality with Hercules, without whom
 stand, without whom no weight can be held or lifted. Earlier attraction, then somewhere they will be able to
ignorant science reached the absurd, drawing the universe in and create Hercules, who will have nothing
the aspect of Hercules who had a wedge of the planet Secondly, to embody the reality of the world in one
each of his hairs. True, it is still unknown to what impossible, firstly because the principle of relativity will
self was attached, or what was his point of support, now developed in people, and one must understand that
rance' has passed, and it is proved that like Hercules, all ding to this principle can they cognise anything
planetary solar systems to a great extent hold on to aspectual differentiations, only thanks to this do
according to the principle of attachment by the hair, the
ding to the principle of individual or common Thus the world's mind has built the reality of the
quently being attracted one to another, they hold one in order to be physically aware of this, it created three
it were, and in order to moderate too strong an gravity, negation and relativity — this is all that it
exists another principle, a negative one, everything is built in to invent for the time being, and to check the invention
proportion so that there is no great attraction of observations and experiment and so, out of the gloom
Everything is built by the world's reason which foresees existence, to manifest the universe as 'the world', as
tical concrete side of the universal systems that are These are no longer the three whales on which
nised and their interrelationships. They are established by but reality which has passed through the scientific mind
and it is well known that the law determines sin and crime, if riment and
the interrelationships are built on the law, then the Twenty five thousand learned, lined foreheads are
already predetermined, for it is only possible to transgress law, studying the laws of the world's appearance in order to
not lawlessness, law creates distinctions and differences i n real physical world of things on earth according to
weight, and in the universe there are no weights. It would And what does a constructed world of things represent,
foolishness if, for example, there were only one Hercules were these things the result of? Man's world represents
whole universe, firstly there would be no attraction attempt to link things constructed by it. Their
there would have been no possibility for Hercules to hold one functioning organism, the creation of things itself
anything, and inevitably he would be threatened by a fall. This the combination of various forces which are linked with
presented itself very vividly to the world's reason ment—powerlessness, in such a way strength and
constructed only one Hercules at the beginning, create the thing. The construction depends' as it were
with ancient legends, but the world's mind was design, and it is a thing of thought. Thus it comes about
aware of this mistake as soon as it saw its Hercules fall thing exists and divides itself into a multitude of
integrate, it started to direct the pieces into space and purposes, as though it justifies itself by clear and
the law of gravity, this was one of the methods of establishment of conformity towards
reason. Incidentally, the world's mind had unfortunately If in such a way every construction of forces comprises
same time singled out of itself another mind, a critical then it must, of course, be completely clear in its
together they considered that not all the pieces of on an aim and
be given one principle of gravity, they must be given It would seem that in nature the same work occurs:
62 p r i n c i p l e , of negation, for if they are left with one principle of 63 a n d negation, acceptance and rejection of forces
 selves, by virtue of which occurs in nature a whole series touch the brain, and the brain in its madness does
objective aspects, in the human structure of things. word
arises what was nature in her creations and Our earth, if it is practical for us in the productive sense,
cretely expedient or only eternally imagic, abstract lutely useless in the practical sense of moving from one
aim. It is, after all, impossible to consider from my point another. Man has much work to do on it, to do the same for it
that the globe is the manifestation of an as for the train and show it the direction we need, so
people, and various plants, to live there, and could travel in it 'wherever he wishes', so that he
which exists on earth, in air and in water has been according to the principles, established by himself,
together and dissolved for the needs of man, that our and negation, and differentiate it according to the principle of
simply represents a material — a spiritual food larder, relativity, and convey these various principles onto
rant car in which a prudent butler (God) has which he wishes
which must last until a particular stage of the Let us suppose that we have the technical development
Then God is the marvellous engineer who has means of motion to move in space as by train, then
for man who possesses matter from which to make will not enable us to reach the aim, for even now two
build his world. In the same way the Divine ... not established in our consciousness: whither
This is how it should be if one is to believe in the The principle of attraction and negation can be compared
aspects in nature, and of things created by man on the basis of other word: need; all attractions and all negations
practical realism. Of course the reality of our globe must marily on the basis of need, outside which existence
garded like our trains, the movement of which is able, but do needs exist in nature, was there a need to
seen and manifested in reality; if only it were possible world, the sun, the moon, and, in connection with this,
such a train in which people would seat themselves, and the whole universe created for the sake of mutual need? It is of
rush them along, stopping never and nowhere, it would course difficult to answer this question, whether
a single station, not a town, such a train, as well as practical, expedient, whether there is reason in all
who invented the eternally moving machine, would mena, whether all this is conscious, logical, whether there is a
senseless and mad, and his business impractical for nature which is expedient or only imagic, whether all
jump out of it, one cannot approach it, one are expedient, or whether they are only imagic, and that all
For the time being our globe represents such a train, built nature is no more than an image in our creative work. It
mad engineer (God), Who has not stopped at those me, that in order to define expediently and imagically,
interest us very much, and we cannot approach our decide once and for all the position of final things. If a
bours who are devoid of practical intelligence, and final, universal, it exhausts in itself everything that
any aim they fall, powerless, God the function of today and of the future, and then we
Our patience crumbles and we begin to build towers single thing, one single form, which is compounded from
aeroplanes, zeppelins, radio-towers, so that somehow pieces of series of expedient things, elements of the past, of the
our body in the aspect of sound, in the aspect of words, of the future; it will express in itself the final aim; if we
onto our neighbours who lie on the ground, touching find this solution in it, then neither the future, nor
64 t h e m with ourselves, but alas, our words, probably 65 n o r the past will be able to create the aim. If this is
 all our universe, all our work on earth is only the result to a fourth principle, the principle of conditionality, and
gamations and dislocations outside any expediency reason it is impossible to build anything authentic,
imagic, as well as laws, for in their aspects there is not thing relative and conditional, and yet there exist
for no ideas exact mechanics,
The attempt to manifest something concrete, From all that has been said above, one sees that the world
is a vain attempt, for by some combinations one according to the image of that which man does on earth,
whereas, with other combinations, something else occurs. The that the structure of a house is not at all built from
reality of the world at one epoch is unique, every according to the law of fortification of material units,
phenomena accepted as real. One epoch built the world structure consists of a whole series of elements fortified
the other on atmosphere, on Hercules. All these materials law of linking and unlinking. The old science supposed
together 'as known to science', from atoms, and atoms stands still, on the grounds that if it rotated, then
trons and ions, future science will prove that electrons would be destroyed, and every experiment showed
consist of other x-s. The house made of wood, the house that all things stand on earth and do not hang in the air.
stone, the stone made from sand, sand made from a large earth must lean on something stronger, and
of sand, and endless other elements, everything must consist of on earth was the fish; a whale or an elephant,
something else, for only then can we receive a piled the globe onto them, and everything was built
house, world, stone, and, in fact, the world cannot be people started to live happily on earth, on a strong basis,
nothing. Let us say that God has shrewdly managed to reform of sciences crept like a heretical thief into
for he is nothing, and I fear that he was correct in the piness and started to spread another heresy: 'it is true
there is nothing, but this is of no particular use or interest earth rotates, and yet nothing can fall from it, for
body, neither to the merchant, the artist, science. What of pressure and gravity presses everything to the
do if there truly was nothing, if there was no existence all these new scientific proofs the reality of the
he fights with non-existence. God said that I had more probable and therefore acceptable, but matters do
therefore, to build the world as only 'this nothing' here, there is another side to mutual phenomena,
and will be nothing. For this reason God's world is the old science of the same level, there was the science
man's world is 'something', having seen this episode ces. Influences arose from two powers, God and the devil.
selves took to building the world, but nothing comes of influences of the latter depended this or that state
in place of the world comes life, it is only existence which became religious or non-religious, this
the world, some people build it on whales, some on carnage, and all the good times and bad times were
some on atoms, on ions, on principles of attraction down to the influence of the latter, God and the devil (I
ideas and they could not establish the exactitude of this well say that the devil is a dark spot and God a light
thing', they accepted it as reality, relativity. Hence were the causes which created the variety of human
third principle: the principle of relativity as a true method of and, by the way, society never ascribed any fault to itself,
making something one's own appropriation of 'the world', but fault was always the devil's or God's. Contemporary
this method too in its essence has doubt, no power to tinues to be convinced that the old concept that
6 tude and to define the form of the real. Therefore it gives birth 67 c a u s e d by God and the devil is absolutely ignorant, and
 troduced a considerable amendment. The influence it has finished the casting down, that it is all to do with
cording to scientific premises and proof given by that there are dark spots on the sun, that the sun is failing,
ments, from the following: social movement, war, happy virtue of a change in its temperature the end of our earthly life
happy times do not come from God or the devil, these will come, the sun will become a cold globe.
the causes of all phenomena arise from the sun on phenomena are noted on earth, they observe unknown
spots appear, and if they were light, everything would their apparatus, etc. Earlier they were in the clouds,
In very ancient, ignorant society there were two trends, tions, in voices speaking words incomprehensible to
the other evil and they both arose from sources inimical which became comprehensible to high priests or to scholars. Of
another, God and the devil, they influenced society, course how can one argue with science if it knows that
influence was at work then good things occured, if will be extinguished, and it will of course become clear
then wars and other unhappy events occured. body that, if there is no sun, there will be no
were terribly muddled, and people defending good deeds, ground will no longer give birth, people will die and
the influence of God, committed bad deeds, i. e. defending judgment or darkness will arrive in which all human
fluence of God, they committed evil deeds, for they killed. life will disappear. The lamp has gone out in the room, it
a way defending their happiness as the work of God, possible to work, everything stops until the lamp is kindled
med evil. Hostility arose, evil affirmed itself through agai
good through evil. And it happens like that today, the Science must reform itself quickly, heresy is not beyond
enced society and a war occurred, it is possible that its tains, the heretics, like devils, stand behind one's back and
evil or, on the other hand, a good beginning of a deed, murmur their heretical speeches; the world does not rest on
sun one may await wrath, and it will punish and save whales or on the atmosphere, the world structure is not
It will depend on whether it grows darker a divisible structure. Put on your spectacles and you will
Ignorant ancient society believed in various phenomena the atom is not an atom but only an electron or an ion.
and created those signs, the learned priests saw see that the atom has split and divided itself into two
tions, sometimes in drawings of clouds, in comets, often between which is space, between which exist new, invisible
secret writing, they heard voices, and saw portents Now the world of our building has fallen, it was
elemental changes. Many predictions and signs you on a non-divisible atom, you cannot go away,
cated the approach of the end of the world which sneak away from the undermined stones, the iron
either from God or from the devil. 'All this must be, for the flood, the water and fire of the destroyed world,
stage there must be an answer to all the actions of man'. collapse everywhere within and outside your
what happens on earth, the thief answers before the of the brain, there is fire, steam, and water everywhere, in all
upright man is rewarded by the court. Contemporary places eruptions and destruction, and not one roof
finally arrived at the authentic and has cast down all tion, you see the eternal fiery scorching heat, in which
dictions and all the signs, and has proved that none of no beginning and no end, the extinguished worlds
that this all is an invention of the priests who cast a their hour to burst in flame again, and again in hell,
the heads of the people, nothing comes from God or fire, writhing in the spasms of the common element
68 a n d there cannot be an end to life, and immediately 69 t i o n
 But do not be afraid, you are created out of material to whether light exists in general, capable of
not perish. Only consciousness perishes, and with it or is it on a level with all elements of matter from
In your brain occurs that same conflagration, the white mena are created, and does there not exist in it
burns to fury, but you are whole, you cannot burn, which manifests, clarifies, illuminates, is there not in it
mable, but we fall further and further into the tempest ment superior to
into the terrible fiery draught. The world that has passed According to my reasoning, light is equal to all the elements of
brain burns to the end, disappears and reappeares again. It will matter, for all materials manifest a phenomenon in the
slip through our brain like a meteor through the atmosphere, it consequently they illuminate it in the
will catch fire and will go out again, the light of fires The latest developments of painting have revealed a
elements that we strive to use as light to obtain dary between light and non-light. All painterly
values in darkness, but this light too is not light, i t is only a in expressing light as strongly as possible, so that through
shining rotation, you cannot light up anything in gloom, in it they could show what was expressed. This light
cannot express anything, for light and darkness are one time reflected, and, in the reflected ray, things
same matter on two in indirect
Incidentally, light, like colour began to play one of the With such an approach, the body or the texture were
in man's construction, light even takes up a greater part light, the authenticity of the surface of the body slipped
business. Doctrines quarrel about whose torch bums though everything that was manifested seemed to be
illuminates truth, is it a torch of religion, of science or art? Light menon woven from light and with no other texture except for
is a resource without which man cannot be, for him light is like the luminous texture. In another sense painters
a torch through which he can see his authentic path and their design without reference to light sensations, they
away from it, through light he hopes to manifest any master or inventor who constructed his own
sought after world and all other causes of things, it is materials outside light, leaving light to illuminate
problem and a new narcotic for the people. Light is the thing. For example, Impressionism and Cubism, the
all arts, for technology, science, as well as for objects in luminous bodies, the second excluded
tecture, sculpture. For the painter, and for the sculptor, was the prism which divided light into colours, and only
always existed, as a power that illuminates and manifests isolated colour from light did they compose the
nomenon or for the expression of the structure. Light played
Light stood in some separate relation to itself and was part in painting and became the main thing, its rays
it seems to me, equal to the resources of all the colours thread or the veil in which they manifested painting. But
palette, on the contrary, all the colours were the means incorrect, light is not painterly, the painters, through
festing the phenomenon illuminated in the space loped painting, consequently i n light they were
Not only have things in natural space been painterly stratifications, avoiding the light effect. In
light, but also those things situated in the gloom of one could say that all objects, or the subjects, were
creative centre (the subconscious), the interior framework for the manifestation of light and the things
outside by light, the light situated outside. This become the main essence. In another case all the things
70 g r e a t importance for me, as the problem must be solved main objects of manifestation, whereas light was only
 to help the painter solve a problem, in the third case light object which one should represent in exhaustive fullness,
play any part in the changes of structure of the bent the will of the painter and made it a tool of its
except as colour; as an element of the painterly Here light too is no longer a motive from which a
example, in Cubism, a light place is reckoned to be phenomenon can arise, but a fact which is conveyed in
work is comprehensible, clear, although it may be onto the canvas as an impression. Besides, in order to
marked a limit of a new concept of light but, in light phenomenon one had topass through analytic,
light disappears completely, like darkness, leaving the For the Pointillists light no longer served as a motive for
the ideological enlighteners, who have assembled to production on canvas as an impression, here there is
blind the people with the light of the impression, the Pointillists have posed the question,
Some said that the problem of the painter and the sculptor is in says, point blank. They decided that the painterly
the conveying of external things, others said that it was receive live physical light by means of a spot-like
blem of conveying internal things, that for the painter of
nal object did not exist, except inside him, illuminated It would seem that Pointillists attempted to solve the
fracted. The third declare that neither one nor the blem, to carry out the task of their predecessors who
separately, that all that is in me and all that is outside and did not know the method and the motives which
in the third case at my creative centre and forms the will The Pointillists took this business on themselves
or that form. They say that everything is subjected not object, considering the object only as a place on which one
an external law, but to the law of my will. choose the colour ray creating light. The Pointillists
If one is to believe the last declaration there cannot be out that painting, striving to convey the identity of
tive, about which painters and sculptors have talked canvas, wanted to render on canvas not only an impression of
here both the inner will of the artist and will of light but also to construct light in the same way as it
reason can serve as a motive. Of course in the in nature. The Pointillists have done much to achieve
the will is expressed more strongly, and expresses one form or The painter could envelop his picture with living light.
another in which all motives have dissolved in the will pened, therefore, that one part of painting in its
artist, and have created a attained authenticity in form, the other, working in
In the first case, the will depends on the will of of light, attained new possible results with regard to light, it
and is subject to it, and represents their identity, in the fulfilled another analytic work, that from two concepts
it wishes to free itself completely from everything that it created a synthesis of one whale naturalism
and proposes that things exist inside. The second position The Pointillists complete a definite scientific work
threshold to the third, which observes internal and they conclude a whole period of that painterly
as one material unit, in which the will of the painter is strove towards authentic identity, to natural expression
it suggests that the painter does not know other The task of the Pointillist to manifest colour by means of its
those which are created by him, things can be created by physical reality indicates that one cannot seek an
ter which do not exist in nature, in that case the ciple in this task. Here only the scientific physical
completely. For the painterly consciousness of the of the phenomenon exists, apart from the question
7 light became a problem of painterly movement, i. e. it 73 c o l o u r waves move artistically
 •Here we have a scientific approach to the phenomenon, which built for reasons of practical expediency, also represent
turned my attention to another fact, whether in essence abstract formula and form of that which is known, and
terly thought was artistic or scientific, imagic or present one of the forms of knowledge of the
it represented an exclusively aesthetic solution or whether of nature, and if this formula has started moving about, then it
a particular science of painting which strove to express does not yet mean that it is expedient, for I have
sical authenticity of phenomena. I f one studies groupings of and have thrown my burden on it. The more deeply
painters, then we will see that they all strove particularly to the anatomic side of a phenomenon, we not only reach
master nature by scientific method, which means realism haustive end but we meet more and more new
ralism, to which painters did strive, in various groups we have an ever greater need of instruments which we
made their way to this realism, and they divided their build in order to achieve mastery. It is possible that at the
two periods: the first period is its manifestation by means the art of painting lie cognisable circumstances,
study of anatomy, assimilation, and only when the latter themselves on the canvas by means of a whole series
tained by means of studying does the artist step into the role of planes, volumes, into one linked construction, similar to
the artist who can already, on the basis of scientific sical, scientific device expressing in itself
his aesthetic needs by adding to the laws of nature those which will be reflected in the consciousness and
curves leading to that ideal reconstruction which was forms of
imagination, he enters into the world of artistic realism. The image of painting, too, is the result of what is
case I see a complete identity with all sciences which it is that which effects, somehow or other, the realisation
phenomena of nature, they create purely abstract, thought
naturalism of scientific calculations and then describe The last point gives me the right to suppose that the
nomenon in scientific books by means of direct of painterly essence, expressed in the new arts,
words, and in these figurative words arises literary the same but the extraordinary approach to the
and moreover, practical reason on the basis of natural the relationship to nature has provoked a hostile relationship of
shapes new forms of instruments. One can say therefore that the world of art and painting, everybody was embarrassed by
every instrument: a machine, a telescope, radium, etc., in the outer form. Strictly speaking, here occurred the collision of
plication is a form of the old exterior and the new science of painting
Therefore I doubt that it would be possible to of authenticity of phenomena and their expression of
realism to artistic realism, they must not be confused, because, in ward forms. Of course, the discovery of new
the first place artistic realisation is eternal, and creates new things, instruments, devices, apparatuses,
have arisen from completely different causes. At the too a well known imagining about one and the same
artistic realism exists, because it is abstract, and if at world. This well-known imagining does not yet mean
artistic thing consists of a portrait, then in such an to it, the essence changes, only the outward forms change but
ing thing, the eternal will be only in the abstract, very often at the essence remains the same, as matter in all its
the moment of realisation there is annihilation of the same
cause in it a hated individual was The main basis of the new painterly science has disclosed
7 I am inclined to believe that even those various 75 c i r c u m s t a n c e : time, and has called it the fourth dimension
 object, of course this new circumstance must change of light are applied by the painters of Pointillism.
in the world of the third dimension and of the perception of that natural light comprises a coordination of colours,
phenomena, the perception of things in the third and is only a set of moving colour rays, and they learnt
mension has, in painting, essential differences of a colours, which themselves contain no light, when in
structive nature, and it is further complicated by an ment give a new physical reality, i.
concept of the world, of objective, practical, Consequently, in their essence, like all the other
non-objective Suprematism. I shall talk about all are dark, and their mutual reaction cannot give that
variations in later could so illuminate phenomena as to make them
Thus I shall return to light. In all movements in painting, as in clear, light. The sun is a phenomenon of the same order, and it
the form of the universe, light played a great part as seems to me, that, if at the invitation of the poets we were
of manifesting these constructions or buildings, but the the sun then, it too would be dark, like our earth, and
this light in any direction changes, consequently its man were to become a sun then there would be nothing
comes different. It is possible to define the relationship comprehensible
of known periods, the colour period in painting spans After the Pointillists, painting starts to change, and
turies and derives, to be figurative, from the sun. The sun, coating of light, on the surface of the painterly
source of light, realises everything that is hidden in the pure force of colour is introduced, 'colour
the physical universe, the sun as light therefore lay at the Already in Cezanne's work one can observe a
the whole art of painting, only it could not penetrate sistency, a prevalence of the painterly mass, woven out
where exists another 'sun' but not of light waves; he produced a special
So, for example, the poets invoke the sun, and even so that in the painterly layer or fabric one could not see
not despise the latter; let us be like the sun', 'we go to rays. But this mixing of colours was not impressionistic,
The sun or light were the emblems of the final goal lours were mixed for a special significance.
movement, without light there is nothing in the tendencies after Cubist painting begin to attach great
light we do not know anything, etc. But darkness is to colour, on the strength of which the culture of
in which there is nothing except darkness, out of mass must stop, it must follow the pure colour trend,
our consciousness produces a multitude of phenomena, but the unravelling of the painterly mass into colours as
darkness those phenomena visible to you, that same sun, happens
phenomenon. Darkness is our existence which directs Suprematism is no longer a painterly phenomenon in the
sciousness towards forming darkness, the latter 'we do the construction of colours in a painterly layer of tones,
nise' already carries that radical change of meaning of important problem lay in colour (the 'Suprematism of colour') in
light, and it appears that the sun's light only manifests the first period. One cannot deny that the
is hidden in gloom, but the functions of cognition lie in period influenced the contemporary state of the school
source of ing. It became, for example, an important task to build
Here it seems that a new concept of light arises. In discipline of colour, at the head of which stood
also comes a stage when the physical mixing of colour under the influence of the Suprematist concept of
76 a t t a i n e d , and they get light. Scientific attainments in 77 c o r d i n g to this discipline of colour and form they could
 colour and form along dynamic lines, and therefore Is it correct that blue is complementary to yellow, or red
disciplines became a method and means of From the optical point of view, yes, but as far as the
rials for painterly construction, i n this way the schools o f concerned the opposite can occur, white can correspond
painting followed only the path of easel painting, for black or blue, black to yellow, etc. The study of light
of the colour discipline, outwardly comprehensible, were is one thing, there the meaning, the understanding and
understood, for what essence will they be adequate, tion of it differ from what happens in painting. Light
on the other hand of the easel painting discipline is one thing, whereas in painterly thought it is another.
been long established. Colour became the aim of sophy it has a third meaning, in Cubism a fourth; light
analogous to the manifestation of light. Of course the are not yet an objective phenomenon understood
blem of colour disciplines is only a reflex of in the same way, therefore in science there is one light,
which colour was not manifested, there was no other light is 'science itself'. Let us suppose that
in Suprematism but only a dynamic problem on which light differences in optical science one cannot apply
colouring of the form on the to Cubism, and in the same way one cannot apply the
The manifestation of colour of course was placed on colour, this science to Suprematism in its
side by the painters, it is possible that a group of In order to learn about this or that phenomenon,
who were working directly or indirectly had the right proach their study only in one sphere of human culture, i. e. in
form the study or manifestation of colour into an the art of painting, neither painters, nor scholars,
thod, because the given influence was established (in strive to study the laws of painterly phenomena, it is
The subjective establishment of the individual they do not exist, but nonetheless one cannot escape
similar to the structure of a prism, through which this or that in such a cavalier fashion, they act worse than monkeys with
phenomenon spectacles, although at least the monkey did attempt
The result reflected on the screen will be objective material for them into its
study in this case, if this material is not refracted in Thus, in contemporary painting, light and colour are
cular individuality as in a new perceiving prism. ded, for they are clearly manifested; of course the
conditions alone is the objective teaching of the of colour has a great advantage over the manifestation of light
it is necessary that the teacher himself should be able in pure painting. From the point of view of Pointillism
himself from his subjective refraction of the given object. This everything was conditioned by attainment of naturalness
is one of the most important conditions in the impression of light, there could be no question of
for in the opposite case the objective authenticity colour. To manifest colour means to assimilate it on
cannot be the resulting colour becomes the reality of the subject
Thus we can study colour only if we study the anatomy the process of textural processing changes from one of
phenomenon, or observe the prisms of colour trends mic states to another, therefore the processed colour can
assoon as we are interested in light or colour we must tive only when the mass or the group finds itself in
not in an optical order but in a painterly one. It is state. I f one were to pose the question about colour as
organise a painting in the optical order, for the question object which it is necessary for us to manifest, assimilate
7 plementary colours is very loose, and subjectively 79 c a n v a s , then of course it enters a new history, similar
 lism, which strives to express physical light on canvas. the forms are illuminated, tangible and real, they would
the nature of man, and moreover he wishes to find out dark, and neither electric light, nor x-ray could light up
causes of causes, how and why these or those for this man and express to him their
and, therefore he advances the culture of various The Cubist established for the first time in the science
picks with which to open the lock of silent nature the concepts of relationship to light which differed
fest science; they found that eye vision of shape formation
Thus the search for, and the manifestation of light enough, of forms expressed by physical light and
one of the most important and primary problems of the plate of cognition, the physical light of nature did
and society, for only in the search for light can one up anything clearly, and does not express anything,
disclose the road and the key to truth. Inasmuch as established that however wide the vision can be, though
strives particularly to manifest the nature of colour, were to turn into the sun, as a shining, luminous globe, it
other phenomena, inasmuch as it is light, inasmuch is light for convey a multitude of reflections onto that particular plate of
the painter that torch by which a phenomenon of cognition and nonetheless they will not be real, and
unseen by all, is illuminated. Light is everything and not clear, not illuminated, not expressed, for reality
every step is illuminated through light. Thus, according everything is expressed to the end, i. e. when it
John the Divine, light is God, we see that in our days hensible. Therefore the Cubists draw their conclusion and rely
is God. The new step in the art of painting, Cubism, did on light alone, on the light of knowledge, the light
the idea of light either, the Cubists also posed the question of They express everything that to man is 'comprehensible', 'real',
light, regardless of the fact that the essential conception 'manifested', and all that which is not comprehensible,
ing in Cubism was not tinged by light, i. e. the art manifested, they confirm by the words: 'it is not enough
in itself does not know light and dark, such common one also has
are not part of the painter's palette, there is no allegorical light The Cubists have established a new and clear point of
in it, for example 'the light of knowledge'. Thus what light, of course this light has nothing in common with
dark or light is a question to be considered and discussed matic refraction of light
context of what light actually is, it must be something special, it From this short discussion one can see that Cubism,
must manifest the thing, therefore it must divide itself is a new circumstance in painting which has created
thing which illuminates and consequently with a different Weltanschauung and relationship, who has left
but light which illuminates a phenomenon does not the light spectrum of the sun for the spectrum of
it in consciousness, i. e. it is not yet clear and nating his work by a different light, and his work
man, a phenomenon cannot be expressed to a spectator the spectators also possess that light, for no sun will
thing comprehensible until it is illuminated by the light Cubist's work clear and comprehensible to him except
the light of knowledge. One can paint a phenomenon light of knowledge. Besides, the Cubist has entered into
liant and brightly illuminated forms, and nonetheless, fourth order of perceiving phenomena, abandoning
spectator, they will not be comprehensible, one can find three-dimensional perception, he has transferred himself
logy with letting an ignorant man into some laboratory, four-dimensional perspective of phenomena, and in
80 h i m access to astronomical sights, telescopes. Despite the 81 s t a n c e the structure of the matter of painting has found
 structural and constructural aspect where things ever it may be, or through any light of knowledge,
their earlier forms and have taken on a new reality. may be, and no manifestations of material will
every phenomenon developing from this condition in in the world, for there is nothing dark or light, nothing
has the possibility of registering itself the world. The solar disc, like a screen, cannot be the
One may ask, therefore, whether continuity of the manifestation of the incomprehensible, there is no
knowledge and means of the past is possible, if new forces on which the sun would be clear for the consciousness. It
work in a new circumstance, their actions have a new vious that the development of Suprematism through
continuity is possible in Cubism, and in Futurism of arrived at black and white in which one must see a
list science, and the sciences of perspective and anatomy nality, imagelesness, non-objectivity, balance,
the reality of objects rests, if the structure of the body state situated outside time, but black stands behind white,
ferred itself into a new real aspect of form, and the this one may yet understand this order, that black possibly still
falls into various elements which are linked into a new order in cherishes the hope of manifesting within itself
accordance with the new known which forces man to imagine and await at
An analogy with light in Cubism can be found with colour in but the white quadrangle which follows seems to
Suprematism, many people think that colour in everything is light, and that in this disc there is not a
the main thing, that Suprematism is a colour trend, or difference, and that nothing will emerge from it in the
matism is a two-dimensional plane and colour an
investigating Suprematism, I find nothing of the Painting in one case has set itself the aim, the same, to
matism is again a new circumstance with regard to the as that of the scientist: 'to manifest' the reality of 'the world'
painting, in it truly exist all disciplines of colour, light, hidden in darkness, and to express it on the plate
struction, and it can be subjected to research or ness. Thus, painting too, in one of its parts, grows up from
was impossible in past stages the world, and is formed on the surface by the
The three quadrangles built in Suprematism, i. e. the red, the is the first stage, and it passes into the second stage
black and the white are not, by any means, the affirmation sciousne
latter suppositions, but they only point out the fact that
of painting has passed through the centres of
culture. Suprematism is one in a series of prisms of The Pointillist attempted to manifest light as something
perception, and their construction into a non- authentic, and he found that light and authenticity can
The phenomenon is refracted differently through mere result of authenticity of colour oscillations. Thus
than through the prisms of Cubism and Futurism. that the truth appears to have been found and produces
is sceptical towards all human thought and aspirations, it is possible that colour is nothing but the result of
that nothing can be manifested in the world, for in the world standing outside
there is 'nothing', and there cannot be anything, and Thus a whole chain of other x-s arises before us which
not been anything. The opposite is established to objectivity, to cognise in the future, but the future is elastic, 'every
non-objectivity, 'nothing' is juxtaposed to is 'every' for the past and the future, the past has put all
8 tism refuses to cognise anything through any cultural 83 o n every to-day, that it will represent that expected
 questions which could not be solved in the past, but the pierces the whole thickness of the body with its
will bring that light which will illuminate everything that contained in the object, which could not be opened with the
comprehensible and unclear, and will disclose the real cause of previous lock-picks, and the science of to-day has found
phenomena. But hopes remain vain, every to-day like lock pick of light, it has opened up the open by means of light
pened mind has entered more deeply into the body of rays. Thus we have now become aware of all the
but the deeper it entered the more the object Yet alas, to be aware of is not to enter, or to know,
disclosed new chains of objects which represented a new riddle quently, not to see. Intelligence has become sharper
and a new hope that in the future the multitude of transformed itself from a metal lock pick into a ray, the
and hopes will yet be known and penetrated the object but cannot take anything out of it,
The object disintegrates into multiplicity as though only infinity there, and one cannot extract anything
as though it wishes to keep its non-objectivity, to hide you can neither bypass it nor manifest it, for in infinity
the sharp edge of the mind, from that awl into the future, no ends, neither of the past nor of
mind collects all its power, presses the lever in its muscles, with Roentgen's ray of light has remained only a
new strength, hits into the object, in order to disclose bility, neither penetrating the walls or the lock of
tic value contained in its shell, since otherwise it is not After Roentgen's ray must come a more supple light
for the mind, and again the sharp edge has pierced into cognise everything that is contained, this is the light
and nothing has remained on the sharp knife, 'nothing' ledge. And with the rays of Roentgen's light man's
cut by a thrust from the blade, for everything is like sand, like pierces the object like a prison chamber without
dust, like fog, like porousness. The mind waves the and seals, just as it is stated in legends that the power,
in all directions and cannot find the point to hit, and the called an angel, entered the prison to visit the saints without
becomes mistiness—non-objective to my sight as touching the seal on
comes closer This new light of knowledge and the last light, the last
At the efforts of the Pointillists to manifest light, human efforts, is the boundary, the crown of everything that
colour, light fell to dust, disintegrated into a multitude shines in man, the highest temperature, the power of which
and colour became the new truth of to-day's future. And difficult for man to imagine, the highest inflammation
in its own turn, it is impossible to pose the problem that brain, stress which must disclose and cognise
will manifest colour; whatever colour manifests as a and manifest in reality the authentic part of
as something real, will in future be only a result of this The light of knowledge belongs to science, technology,
but not the knowledge, and consequently on this awareness, depend
The search for light remains nonetheless the doctrines and their realisations, sometimes the painters
thing. The light of the sun is not supple enough to consciousness, this light, and uphold the intuitive
all the catacombs man has cut into phenomena to find awareness, not answering the question why, for what
value is the way it pleases them and this is their only
Therefore his sharpened intelligence has discovered has disturbed the intuition of the painter, i n
of illuminative devices to light up the object sought found soulless analysis, they say it is cerebral, i. e. it is the
8 In the end they found a new receiver, Roentgen's 85 t h e brain, mathematics, etc. Consequently, for painters and for
 artists in general only the act which was outside any longer until the end, for the whole universe with all
acceptable; I relate the latter to the essence of plicity would be in the light of knowledge. Therefore
has a very sound basis, and finally it has this basis scient beginning is already absolutely unimportant,
tism, as non-objectivity; the essence of painting is immobility,
the absolute, or represents by itself an Maybe movement is possible and exists in man to-day
Despite this rejection of rational work in art, one cause 'everything' is hidden from him, everything he
less take into account the fact that rational work did cognise, for him exists 'whither'—'whence'. Nature has
during the whole history of painting. It is possible that ment, in her is neither a 'whither' nor a 'whence', there is
of knowledge like the approaches themselves, were to which she would aspire, of course man will not agree
it did not hinder the development of authentic, supposition, but astronomic science has agreed a long
and study, as well as anatomy, as clearly marked on the maps of the sky, that earth has
The latest movements in painting such as Cubism, have orbit, that it is not a circle, but an ellipse, that it has its
logy with other sciences, and also with technology as of departure and arrival, and that these spots have
The formulation of the Cubists: 'it is not enough to see, Aphelion and Periphelion, for how else can it be, even a train
has to know', spells out very clearly their concept of has a station of departure and arrival. Furthermore,
to do anything one has to illuminate ones problem with the light rotates near the sun, and the sun with all its system runs
of knowledge, i. train with carriages and is drawn by Hercules. Hercules,
Hence I see that there exists one scientific light by means of is the main and last station of the
which it is possible to manifest the realism of visible Thus, everything that exists for us also exists in
for both engineers and for art, this light stands outside Everything that is built on blueprints with amazing
and beyond disintegration, it is something final, real, it is movement is nothing but the result of something
pleted tool, nothing sharper than this mutable, faithful, given. The creation of this truth
If it is true that 'knowledge' is the authentic thing which of course, through knowledge, here intelligence has
to arrive at complete knowledge of everything, then we mark, it has drawn the lines wrongly and has erased
tained and overcome everything, we ourselves have become like everything has
the omniscient light, and we are that manifestation With the torch of the light of knowledge we will
sought, and which we wanted to express. The path most hostile enemy—darkness, as previously Christians
must evidently bring us to the point which we the devil (darkness) with the light of Christ, the light
to reach, to the omniscient, omnipotent God, and we chose for will disperse this and will manifest all values which the
ourselves the scientific method which will not be able to hidden, leaving for man's pleasure only the impression
away to another goal, except to God. For God is light, imagining of them, letting his will possess them, leaving
potent 'the world', not as authenticity, but 'the world' as
If this were truly so, than the culture of man should Thus the struggle of the light of knowledge with
to one torch in which the light of knowledge would be gloom continues, it is proud, immutable and calm, it
and in this light the world will be imprisoned, and in veloped in eternity. Wrathful knowledge cannot
8 as in a cognised, real authenticity, one would not 87 w i t h it, it doubts its own powers of to-day and seeks an
 the eternal future, having forgotten that in every day believes that the world does not have a key-hole that
soldier arises from the future, a new cannon comes with nothing locked in it, as there is nothing to
new projector, a new asphyxiating gas, a blinding blue ray, a People suppose that in the world, in the universe, things
smoke-screen, a combat aircraft, and after him, in a house of culture, divided into practical particulars.
preparations are being made for new soldiers who one say, therefore, that there are no things in the
this nitrogen, oxygen in the
This is the whole support, all hope, entire culture, Man has laws also, consequently they must exist in
and all well, otherwise where have we taken them from? Man
It is not known what hope is contained in gloom, what that one element has certain qualities, another qualities of
supported by, and whom does it summon as an ally? And ferent kind, and that through the interweaving of
pose that it does not rely on anything, that it does not he has received the law of interaction. Every thing is
anybody for help, for it and light are 'the world', that consequently, it must be built on law, and therefore
there is not the world be built on law? If man can think out a
Hence flow two philosophies: one — joyous which not nature too, if man possesses reason, why should
for the future, for knowledge, which wishes to come out possess it
light. It is the philosophy of optimism, the second is of I f ! have a need, then obviously nature too has a similar
Suprematism has a sceptical attitude towards all this everything which man has must also be inherent
no hopes. I t has a sceptical attitude towards culture Thus, of course, the universal mind probably built the
tempts to open the trunk of nature with its own lock- cording to a blueprint conceived earlier, and which is
to take from it all causes and values in order to and concrete. Of course this construction must not occur only
subconscious world into a subconsciously, but a scientific analysis of suppositions
Cubism, on the contrary, retains its hope in light, the light of nomena must also be carried out, producing no less than
knowledge, and supposes that all that is incomprehensible tical, expedient result. And in our solar system, the sun
ness, and all that is light is comprehensible and clear, come the result of the synthesis from which all the
that nature is scrutinising, that in her exists an object quences arise. The sun has acquired a multitude of functions in
can scrutinise, it supposes that nature and the world the heating of the globe and in warming of all
something which can be studied by means of an mena of life. And it seems quite clear to man that he is
cess, that there exist generally some sort of actions earth, and that the sun works exclusively for him, and
soul, spirit and absence of spirit, that thing grows and lives for him; whatever does not submit
Cubism, like an practical humanity, also believes on the globe, he calls a force of nature, and wages
and in the possibility of scientific analysis and synthesis; humbling the elemental forces of nature, binding them
lieves in culture which, like a master, will construct a key to chains of the law. Thus the universal mind has thought
everything unknown, to everything hidden in thing and created everything for man, and man has
tism has a sceptical attitude towards this master, only master of the world. 'We are the new path on earth,
the reverse, that his culture brings futile destruction, trying to not wish to be gods'. The moon too has a definite purpose,
88 f i n d t h e appropriate materials for the making of this 89 u p path for the belated after the setting of
 The world's mind has built everything thoughtfully, is light, light is light depending on the circumstance.
important, practically for man, all the practical things cies in painting represent prisms, and through them one
arise from those materials which are prepared by the this or that reality; these or those different prisms of changes in
and of course are supported by the spirit, they painting, appear, of course, by virtue of the
Man inspires the thing in the process of its creation, struction of brain particles or little mirrors, and thanks to
that thing becomes alive which is inspired by man. building of these little mirrors we receive this or
to some common concept, the spirit is the warmth expressed on the canvas. This is the new and endless
warm in the thing created by it, and the thing lives of the phenomenon, immutable in essence, and standing
rounding circumstances destroy it, and the spirit leaves it. The own
whole of nature also arises from materials which have Suprematism is also a prism, but the prism through
into matter, and life grows warm in them as long does not see a single 'what'. In the Suprematist prism
exists. When the sun looses its light the assumption will is beyond limit, in its prism 'the world' of things is
everything on earth for they do not exist, they are
It is possible that things will be otherwise, and that nature
built so rationally, so practically and so expediently, it
that it is not built at all, that this something which The line of human hopes and struggles represents a
in another case, is called matter (towards which I have of centres of this movement, the centre is nothing else but a
sceptical attitude), that matter in its action not only does not gathering of cultural elements and every town is a centre of
possess definite needs and aims, but does not know either, creation of these cultural changes. The town is that
a blind action outside consciousness, and does not that prism in which a change of phenomena occurs,
thing in its processes of forming and disintegration. It force, every minute. On the line of these centres exist
that, while disintegrating the temperature has risen presenting that useful space of hope through which
a multitude of new conditions. Man has reacted developing its strength and reaching a certain limit,
a disintegration of all matter as he would towards a viously meeting occasional nuclei of these energies
strophe, from the point of view of the collapse of a house, from all sides, and they create a new centre or a new prism,
stone, etc. But as in nature the immutability of matter centrifuge in which all phenomena change anew and
ledged in the sense that it lies in fire, water, in structed. Consequently on this difference of centres, on their
under different aspects, that this something is one and speed, depends all culture. A man is convinced that, sitting
in all these aspects, one has to acknowledge that town, he manifests authentic existence, forms
not exist in the world, for the world is one immutable matter in to his impact, and that he becomes perfect in his
all aspects and processes of solution and But on the other hand, such a conviction with
The light which exists in the world is not light, just makes me think very sceptically, for in order to manifest
is not darkness, but only one of the aspects of this thentic relationship between the constructions of his intention it
something is cognised, it would seem, through the is, above all, unclear and unknown how one should put
of a prism, and in the prism we will only see one and together so that it shows authenticity, and correctly
9 thing in two or three thousand, or possibly more, 91 t h e aspect, or the image, of the phenomenon. Nature
 into various colours of the rainbow, but yet this is only one of subsequent moments will be moments of driving away.
the numerous sides of refractions of phenomena. Every consciousness there will remain a tape, recording
only a circumstance into which one and the same ments in changes of the car's aspect. Here doubt arises as
entered, and which has created from its own body both nature, about that point where I could say here lies its reality.
and the phenomenon in order to understand itself, this is Further, memory plays an enormous part, whether I
human reason rationalises and nourishes the hope that in the bered correctly a whole series of suppositions, of deductions, of
future it will grasp this reality and will draw, not an restorations of its reality. Finally, in the cognitive centre,
only the authenticity of photograph remains which is worked into such a form, that if it
Every cultural centre is a living museum of prisms, a were compared with the form of the car in reality, then
semblage of instruments and nets to catch authenticity, not be a replica, but a new independent form. Hence one
shrewdest of these instruments is the tool of knowledge, any attempt by an artist or scientist to convey
particular place strives the human technological college futile, since the apparatus, built for the purpose of
utmost zeal, aided by cunning devices such as changes and transforms that material or that image
hammers and various other scientific methods, by means been fixed in it, because of its body structure it cannot
it attempts to chase this something into the apparatus ticity in full volume, therefore consciousness, which has built it,
ledge, which must decipher this mysterious visage, but has done so only for one facet of knowledge. Moreover,
remains the same as before, it does not possess a passport or a of the car at the moment of its fixation, was only one of
birth certificate, and in the face of knowledge the path ments in its own duration in a whole series of
the path by means of which he could find this visage, it the authentic approach to the cognition of the whole
ful like a witch in a folk-tale, and possesses the same qualities of beyond the boundaries of the endless duration of time,
reincarnatio The same thing will happen in the reverse case, if
The question of manifestation can be understood in centre rotates around the phenomenon. Therefore there is no
for example in various disciplines of painting. Some volumetric consciousness, as there is no cognisable
with the investigation of colour as some power of another situation arises: whether it is possible to carry
as though they find that colour is not sufficiently developed in analysis of a phenomenon if the moments of the thing
nature, others are satisfied with the simple manifestation of final vestigation are unchanging in its duration, and change itself,
authenticity. .It is possible to pose another question moreover, is a primitive concept, the multiplicity of facets
manifestation takes place in my consciousness since nature is phenomena. For example, the analysis of volume in
immutable, immobile, everything is completed and there actual fact spreads out into layers on the canvas in a
processes, but my consciousness finds itself in sional real aspect, leaving another reality on the
in observation of the world, and for this reason alone a reality which has the aspect of volume, so that
cultivate anything, take any material, element or form which get into the little mirrors of our brain may
material in nature, since this form does not exist different from reality. We strive to manifest this reality
I will take an example, a car in movement, which has in religion and in material organisation, on canvases,
cognitive centre, one of ith moments has appeared in the rays of in the machine, but this voluminosity of manifestation is not
9 my knowledge, the fixation of a moment has occurred, 93 e n o u g h , and is not authentic, their imperfections arise.
 occurs with other prisms and in other spheres, an eternal, unchanging, inexhaustible energy, and that this
ments, or a moment, one of a multitude of moments of energy has one colouring, whether it is coloured or
a phenomenon so that every depicted and every it comprises one universe and participates everywhere and in
as the proof of the fact, must first of all represent one of everything, whether it exists as one power, or whether
titude of moments of a whole, and this moment can is divided into categories of tensions and is distributed
distorted, and consequently these distortions can be aspects, and every coloured aspect creates a
ding to the type of the aspect, and the suppositions phenomenon, or in other words, that this energy represents a
themselves: it is possible to invent theoretical and spectrum of colours and therefore the energy can be different
and to consider them as a real fact, whereas all and does not exist in the same way everywhere, in one place
formed from presented material, and from experience, are, red, in another blue, yellow and green and, therefore,
fact, false, reality is not embraced in representation. circumstance there is no green line, and in another there
prism, or another physical device, arises from imagining yellow line. In other words, in one place, a certain particle of it
self the aspect of reality which has been suspended in does not exist, a particle marked in light by this or
consequently, the aspect becomes one moment, one side Energy is outside any division, it is one in everything,
but never a volume, new moments never form an addition to it, the colouring in one of the circumstances is not manifested
i. e. they do not create the naturalness of the whole, on constructed
trary they destroy the first plane which has nothing Work on the manifestation of light in painting has led to
with subsequent circumstances just as the newly that light is the result of colour. Raindrops have
relegate the former into the past. And it is possible that selves into a prism, and divide light into two divisions,
built for research of the ray of light, gives us a side of this natural prism is colour, on the other, light.
and that, studying light which runs from the depth of ferent concepts and realities. Let us allow that this
verse, we will receive one and the same lines of colour, was so constructed that our entire globe was coloured with
will prove one part of light finds itself in the one the colours of the rainbow, or with all the colours, then
and in endless depths have no idea of real light, it would have been stopped
Having transferred this prism into another circumstance and world prisms, somewhere beyond the limits o f
comparing the spectrum of the previous circumstance, we will sibility
discover that some lines are no more, consequently a In turn colour would be studied by us through a new
ment included in one circumstance of light falls out would give new divisions of colour. The canvas of
or does not exist at all, consequently light has lost may represent a limited field on which one
there, and we can affirm that reality, in the given place functions, disintegrates and comes together again.
light ray, forms a certain number of elements, and can only work with seven colours, and even then with
place it forms other three basic ones, consequently the three bases of all
Consequently the reality of one circumstance is equal in the colour spectrum are these three basic colours. As
and one may therefore ask, in which prism the reality of they pass through all circumstances on the surface of
can be through the creative brain centre, through the
9 On the other hand, there is a scientific opinion that 95 m a t i o n of many colours. They change, and coloration
 strength of the paint depends on the integration or introduced this seven-colour law into the apparatus
of the colouring elements. This process is governed by ledg
and the conjunctive condition in which various Every man represents one of the units of the concentration of
can be removed from the composition, so that energy, the painter therefore changes the surface of
to another level, there is an infinite number of such of the canvas into different forms and grades of colour
The surface of the painter's canvas can serve as a small field, because in him is bound up the concentrated energy
and as an example of how changes of colouring matter occur in tensin
phenomena, if three or seven basic colours truly exist, it I have turned my attention to the work of the
important; we consider that three are the parents of the four study in which the colour rainbow was delineated
colours, but it is possible that the three basic colours are vividness against a dark background of cloud. This
from one, it all depends on the train of thought, and the results of my meditations were
The surface of the painting represents the best phenomena for the form of a graph of colour movement through the centres of
the study of structure as a result of movement of a human
is being coloured, through all the centres of new I argued that if a drop of water was indicative of
When studying the movement of an object which is of a new, real phenomenon, then why cannot every new
loured, the world appears as a multitude of spots, such a circumstance, that obviously all reality of
or angles of a universal structure connected by tions are endless results of created circumstances
sing space. Every spot is a circumstance of gathered phenomena are mutually refracted. Therefore nature is
every force of energy tends to be different, hence I suppose, of of one and the same thread, which one cannot
course, that according to its inner measurement, the any deduction, it cannot be divided with any
energy happens to be different, therefore seven or nor can a boundary be set between the real and
colours represent a different time of one and the Thus if a drop of water has created a circumstance in
has split into colours, then it is possible that every flower
a circumstance in which colour matter has been
If the surface of the painting is covered with various over (one may surmise) that man too represents a prism
then the colour energy is at various moments of its the whole colour world is refracted. In turn, every man is a
from such differences it forms the surface subjective individual, receiving like the flower, some sort
Hence I make the supposition that energy is capable ration. The colouring from my point of the
festing itself as colour, not only in seven colours but in on the dynamic condition, so that all aesthetic
number of colour shades and actual colours. It is possible are dictated by the same state, therefore every
infinite number exists in nature, but our eye-prism tion consists of a whole series of various colour or
ceive them because of its technical structure which we Every individual represents a prism of a different
to perfect by means of virtue of which the refraction of phenomena is different,
The painter builds the reality of his painting on the basis difference of refraction depends on the same dynamic
or seven basic colours, but this is only the basis of his that each phenomenon can be perceived in its moments
9 tion opened by an invented apparatus — the prism, 97 s p e e d s of movement, and by virtue of this we
 in form, construction, system and colouring of these The discovery took place that the object in authenticity
in every situated in light but only in colour, as though the
The movement of colour forms a white light, it is covered in fog, and when the fog disperses, the object
two individuals built in different constructions of the its authentic colouring. Hence it is possible to level
ment will receive different combinations, and matter at one another, i. e. that for one painter light will be real
on a different form in each case. People possess thenticity in painting, for another it will not be so, it will
quality of mutual proofs when they want to clarify colour. Using pure colour he will build a painterly
for the existence of one reality of the world. whereas the usage of light will give a light form, in such
proves and justifies his expression as authenticity. the painter having disconnected the colour rays from
proofs is based the moment of construction of that which nous state divides them in that form which is necessary
nised, and this cognised thing is taken out for mass and is in accord with the refractions and expressions of
for when a given construction is capable of being received nomena. Such phenomena may not be similar to
masses, the proof will become objective and a single reality on which the painter depends, who works in light,
In this I see the whole meaning of every doctrine, and this does not mean that the painter using colour is
argument, a dispute represents that moment in for all his colour constructions and everything that it
attempt to weld the variation into one Weltanschauung for him to cognise will serve as a
the process of welding the differences will stop. The difficulty For a long time I sought a line which would show me
of attaining such a welding is obvious; but it is possible that and omega, so that it would be possible to see how
painting represents an obvious demonstration of the fact that moves and whether there are laws which influence the
perception was conditioned by light, that every an unknown basis of colour
manifested only through light, and that the painters The above mentioned drop of water which has served me
course, argued with those who saw the world primarily circumstance for the disintegration of light into colour,
Painting proves to us that the prism of perception my attention to flowers as a new circumstance of colour
by the painter has changed, the contemporary perception. I have begun to conduct a line of research on
tion of phenomena has been established not by light, but man cultural structure. I have established a line through
light combinations have fallen from the painter's centres, these centres I consider places in which
The Pointillist science of painting has proved that forms of various things. As my starting point I took
city of a reproduced, external phenomenon, is situated not in side. I already imagined this point not as some prism
light, but only in colour, that the colour ray ceived one of the moments of energy of colour-matter,
coloured, in this authenticity and only thanks to virtue of which the colouring or the colorification of
oscillation of colour rays in their interweaving does it things already existed within themselves, and only
Thus if man represented a completed prism which the latter. The ornamentation of dresses was due to
light alone, then of course the reality of the world would possibilities, because if these possibilities of colouring
but thanks to the fact that he continues to work on performed on the body itself, then the body would
tive side of the expression of this world, he has built a coloured instead of the dresses but thanks to climatic
98 w h i c h has shown that light is the realisation 99 w h i c h did not allow this, one had to clothe the body into
 body, which would hide all the colouring, and therefore colour or paint a thing must be coloured. If one were to
rification was transferred onto the second body, i. e. the actions of a given capital into the painterly state,
The multiplicity of colours that is to be found in would see that its painterly surface will be very different
almost completely coincided with the spectrum of colour and tonal relationship. From this confrontation
field. If one now grants that all people are similar receptors of found that the influence on painterly awareness must
colour energy and, moreover, generally represent mous. Two painters, one from the country and the
the fact of forming new centres appeared as large the town, will find themselves under different influences
mulations. Consequently colour matter is already in a surfaces of their paintings will be different. Here I
and its multiplicity of colours must be different. I n that one cannot even talk about an influence but about a
centre not only does the multiplicity of colour change, action of colour matter. This law tells me or legalises me
sciousness too, knowledge, mastery, art, science. The circumstance to cover the canvas with various paints
stance by virtue of its dynamic tension demands In this case not a single aesthetic system has the power
tions as well as a new fortifying link, on the strength anything for it is dependent on, and is subjugated to
one form or another depends. Hence it is evident that movement. Developing the graph of movement, one
tinuity of the past circumstance will possibly be useful and, if it new town or centre in which there must be two groups
exists, it will only confirm that in the new circumstance louring, white and black. One envisages this through
is transferred into the new. Consequently in one of tional graph, showing the transference of one field
of the new circumstances a dynamic point is created by other, and the graph represents a link network of
sion of the towns moving in their orbits, a district town and a
But whatever happens, whether the colours are of villages create the provincial town, and the
the field into the town, they nonetheless will not the capital. The graphs will show that the capitals of
general dynamic state of the town but will only get according to the law of movement and intensity of energy
The district town is a highly elevated energic centre, capital, precede the manifestation of a new centre
plicity of colours of which is noticeably lower, its the capitals. I would call such a capital a Hercules field
compared with the spectrum of the field or the village, activity. As the graph develops it is not difficult to
very different. The colour lines of the three or six place of such a field. The action of the capital is strong,
will be considerably dimmer, they will become tonal with an graph one can see that the rays of the colour matter
increased number of black and the centre are swallowed up by it, only black and white
The capital, as the highest tempo of the accumulation of tained. The black and white ray is reflected and moves up to
energy of the country will disclose in its spectrum a the very starting point of the colour ray, and colours all
of black and white lines which create the first group in black
size in the graph. After that comes the second group The constructed graph of colour movements has
and brown-bluish colours, and the third group will consist of some foundation to the resolved problems of
multi-colours interspersed with the basic colours. From black, white and red quadrangles already constructed
which I have constructed one can deduce the law of ted to clarify
100 o f the colouring of things, by the graph one can see 101 T h e colour graph has shown not only movement or change in
 painting, but has shown me that consciousness too, or it is necessary to manifest and what is unnecessary, what
tural level, can be defined according to colour, an vant to-day, and what is
take on colour, and does not pass a single dynamic centre. All Painting, like colour writing, reminds me to-day of
festive occasions are coloured. Life and death are painted on a planet where there is no water, and yet these people
colours: white and black. Weddings and funerals cupied with the development of boats. Most
but there is also a red death, it depends on the circumstances in ters are occupied with working out painterly structures,
which death, or birth, have occurred, hence if death is is also another category which is occupied with the
the tomb too must be coloured in red paint, since of colour and these problems are of prime importance
stance of death is red. It is possible to attribute various A contemporary painter reminds me of a negro who
the occasion purely from the point of view of in decorating his own torso with paint and colour materials. In
people, so that in one nation the same event can be put into a the future we will perhaps meet similar phenomena which will
different colouring, but this will only show me that such occur in the most
depends, nonetheless, on its So not everything corresponds to the time and circumstance of
The establishment of such a graph and its colour which has passed into the realm of legend. I must
enormous work, and the necessity of this graph stems attention to the fact that Suprematism in the form of
very chaotic condition of painting's foundations, which are not quadrangle did not influence painters even by its very
established on the line of time, by virtue of which one I must again turn my attention to the fact that the rise
attracted by remote masters and introduces a disciplines in the world of teaching has also emerged
stance into our time. How can one, with the establishment Suprematism, since, in Suprematism, the problem of
firm line of life, establish the conformity of things, if consciously posed for the
nute changes circumstances, if every man, when he moves, falls This only pointed to the fact that there was
into a new relationship, now on a square, now in an sible in colour Suprematism, and I was first to take
he is lit up, now in darkness, this new relationship against all the disciplines of light, for, from my point of view, it
All the work of his thought changes too, the last not already seemed to me that I lived in another
colour writing and its mutability, but all forms of works stance where there is no room for colour. I envisaged
nology and painting in general. The structure of the capital tion as situated in a colourless state, whereas the
no means normal, in it dynamics reach a very high level, belongs to the past. Revolution is not decked with colour, not
streets are placed various instruments of transference, different ablaze with colour, it is the old times that are burning out in
in time and form. From the dynamic state of the capital colou
is manifested. No legacy of experience from a coachman The expression of painting or colour in the
ing horses can be used for the handling of the motor. mic state would mean that factories were occupied with
gave birth to a particular consciousness, it created duction of carts alone, whereas in fact they produce
and the motorist. It is possible that this was not for example, that the countryside would produce cars, without
by the graph which is growing clearer and clearer, changing its topography. The car as the result of the
all the urban eclectic of forms exists until now. But it seems tion must also change the topography of
102 t h a t , when constructing the graph, one will be able to 103 W e can achieve a great intensity of colour, but intensity
 will not correspond to that situation in which intensive Distance plays an important part in the intensity of
formed, and therefore all the labour wasted on the production of lour accepted as manifest at a distance loses its normal type. Let
colour elements will be unnecessary rubbish, like us look closely at colour created by chemical methods,
who brought stones for building af town, when in fact one need to do to produce ultramarine, what
had to be constructed from gutta-percha or glass. one create to produce ultramarine and to establish
to develop colour in works, or to develop the content of stances so that ultramarine can be made? For example,
circumstance by means of colour, means not to dark blue ultramarine from green ultramarine,
for colour and content divide themselves in their must be heated up until it becomes red in a strong flow of air."
form of content will be contemporary, whereas the colour This operation must be carried out until the colour
form will desired shade of blue, consequently here already, in
Let us assume that a man sits and manifests colour, in chemical process, we are talking about a desired degree
we must learn what manifestation, in fact, means, and preparation o f colour, consequently measuring
conditions it can be attained. From my point of view, cording to desire. This chemist has produced blue
something, to isolate that which is expressed from according to his objective measurements, which seems to
stances, seems to me not possible, for that which law or the norm of intensity for the painter. The
consists of a mass of circumstances creating one therefore becomes the search for an amalgam which will be a
another, whereas the moment the painter approaches colouring base. In the science of chemistry colour matter
festation of colour, the elements of circumstance descend into yet been explained, and it is supposed that the ferrous alloy in
one state or other of the manifested. Deducting the one case hinders the intensity of colour. Later on it was found
ginning of colour from circumstances is unthinkable. Can that the composition of ultramarine has much in common with
that red is redder than all other red spots, and point out the limit the mineral nepheline which consists of dissilicate, and
and boundaries of their colour, when each colour depends composition is expressed in the formulae below: i t
fluences of matter moving in time. I f an established established that, when ultramarine comes into contact with
not exist, then no point exists where we would accept a level of hydrogen sulphide, i t does not change its colouring, when it
manifestation of this or that colour comes into contact with citric acid or tartaric acid it
Let us assume that we manage to establish a limit integrates and takes on a grey-white tone. Two
colour in flatness in the form of a plane on the canvas, established: the green and the blue, they are considered as the
be a final manifestation of colour, or when a new limits of normal manifestation. This is a purely
inserted into it, will it change its colour? Let us draw, through fire and a mass of other conditions. In painting
canvas, a new line similar to a roof, or let us make, in also reached this question of manifestation, we also attempt to
a foggy spot of white or grey paint, or let us draw across the find
whole canvas a contrasting line, we will see that a One must add to the question of expression of colour
menon has been formed: time, space, which have forced the of its measurement. Is it possible to establish a measure? I
colour plane to change, both in form and in colour, carry out these experiments personally and when, from
stimulate completely new associations in comparison of view, a colour in a given place was manifested
104 e x i s t i n g 105 t h e n it did not appear adequate to the person who
 on its manifestation. Consequently, the measurement definite aim? Consequently the definite aim is the cause
intensity must be subjectively examined. In this manifestation of materials, and the cause is the result
tions are created which divide one person from circumstances into which man or the object fall.
for any one colour, we cannot establish one •whom, is it the atmosphere which expresses the aeroplane, or
stance, for one personality, dark blue can fall into a state does the aeroplane express
white, yellow, red, green and vice-versa, all colours can Painting sought, delving deeper and deeper all the time
a state of dark blue. Is i t possible therefore to problem to express light, and the artists conducted this
still-life of flowers so that every individual can express this or which they hoped to reach an authentic expression. With
that colour? It seems to me that this would be incorrect, of science they finally managed to attain this boundary
is a problem which every individual poses for himself, tillism, and what happened? The painters had to come
blem of expressing this or that colour situated with the new reality, i. e. colour, the cause which
different conditions. Therefore it is impossible to Instead of the expression of the final nature of light, a
still-life to be reproduced by everybody. In order to was manifested: colour. The prism pointed to the fact
favourable results and not to inhibit the individual, one reality existed under two aspects, which one, therefore,
only one problem, for example, the expression of dark two aspects is authentic, which one should be developed
or green, and every individual will build for this preference, for, after all, the aim was clearly stated:
circumstances which, from his point of view, must lead to light, and light disintegrated into colour. It is possible
tion of the festing colour, another side will be manifested and that
Taking as a measure the fact that every individuality is these sides will have final limits determining the form
refracting the world in itself, it will be enough that manifeste
ment of the colour ray will be something else. Therefore I think Pointillist work on the expression of light could not
that for such work one needs above all to study the ing painting. Painting had to realize that light in
in order to help its development, in order to make it sists of the blending of colour rays by virtue of which
for this work. After studying the individual we will be colouring of objects occurs. Consequently painting is
perfect him and make the necessary apparatus for the constructing of colours. This moment frees the
As far as the necessity of various apparatuses is concerned, I the arbitrary colouring of things which lie outside his
think that one can only determine this by means of gives him the possibility of subjugating colours to
suggested by me, to measure and clarify the circumstances of tion which is demanded by his creative project. In its
to-day. The study of these circumstances is of prime project is nothing but the establishment of
for the matter which falls into them, be it a man or coordination of circumstances and the nature of
material, assumes an aspectual change by virtue of Hence arises, possibly for the first time, the answer to
relationship tion: what
Together with the attempt at developing various elements of A new answer arises: painting is an aim in itself, since
painting we move to the expression of materials. A manifestation of objects through light has fallen away,
of manifestations occurs; is an aeroplane the expression itself. Painting is therefore a material from out of
106 r i a l s or conversely, are all manifested materials the results of a 107 p a i n t e r l y constructive phenomena will have to be built.
 did not occur at once, having emerged from light to service, traditions and experience. The new circumstance will
object, the still-life were, for a long time, painted in demand new experiments and means. Why does it have
as painting. Still-life became seemingly the basis of painting. In the canvas as the means of the manifested past? The
another case the still-life became the pretext for a means which can only realise height and width,
construction of forms in painting. The latter meant that the will depth. The painter, on the other hand, has discovered
of the painter already exerts pressure on him and stances under which his design is created and manifested,
the object. Thus a new body, the painting, is established wishes to see it authentic and real, and not as an
interrelationship between the will of the painter and painter cannot convey real volume, but only an impression
Another discovery of the Pointillist was the oscillation Carrying out research on the body of painting I found
rays and that light was the result of these clearly how the entire growth of this body proceeds
light is a certain dynamic tension of colour in time. It fests itself. I discovered that, little by little, the
that the level of colouring depends occupy a different position, for the necessity of
It seems from this that time arises as the basic proposition volume must also give it a new position. The principle
construction of colour and the painterly mass: having collage contained the embryo or the sign of volume
these two propositions, the painterly building began to the surface of the canvas. The collage or the powder
before the painter, he grew more and more aware of witness to the new volume, i. e. an authentic one and not
material which could not be applied to any object except pression. The canvas took on a new significance, it would
self-construction of the painterly body. This was a correct to say it ceased to be a canvas and became a
of painting, but not the object which arose from which one could build the body of the painting in space,
of realisation of volume too does not show a full expression, for, in
Having stepped into time, into space, we receive new the future, a full manifestation of volume will only
manifest our aims. Here a new epoch of painting is disclosed, a volume is lifted into space from the continent, and will
new analysis and a new synthesis. Here has arisen the circumstance of time. Hence we see that space and
tion of what is my first and foremost aim, i. e. through to play the main role and stand at the head of the problem of
cumstances is it expressed. One did not have to wait long the development
results, the analysis showed that everything is constructed The painter grew aware that nothing is situated in
differently than in the circumstance of time and space. but only in a dynamic state, and that the whole complex
painter must turn his attention to the second circumstance in ments received from outside and inside its inner
which and where he must realise his project. The realisation of leading to a defined system, is situated in time, and
the project can only take place when it is transformed, with all finds a place for itself in space at a distance or a
its circumstances, from inside to the outer, i. e. into the sary
and space which was in the imaginings of the brain, as All such work of the painters strengthening the complex
flection of ments in systems, has been named spatial realisation
So we have come to new problems of painting, to realism. In the last definition it was clearly pointed out
stances, thanks to which painting must step over from ing has arrived at a manifestation analogous to another art,
108 t o the other, leaving on the first bank all its 109 a r c h i t e c t u r e , but this does not mean that its forms will
 to the classical ones. Architecture which arises from is not dying at all, but is only being transferred into
of painting is a culture of a new classical form. stances and becomes different in colour and form, like
already attained who has changed from the two-wheeled cart to an
Thus, the canvas remained for a time the subservient means for still remains a man, he will only change his aspectual
an approximate recording of everything that has the thing itself changes, in which he
the strengthening of elemental complexes into a The shift in painting in favour of the fourth dimension is
struction which must be realised in space, and in order simple jest as the exclusive concern of one sphere
this, the painter should use new means, i. e. the This change in time is a shift of the whole three-
nation of materials. The last phenomenon has culture, it is a new state in which all our objects must
and provoked wailing and attacks that painting has began to fall, their past condition must be destroyed. Man has crossed
that the new art of painting operates with sand, tarred circumstances and must build a new form of
iron, concrete but not paints, it comes from reason, it The old backwoodsmen who have been sitting for a long
it is mathematics. Such wailings have no foundations their three-dimensional meditation, must now start moving, if
seem like the cries of people, who having seen an aeroplane for they are not to faint, having lost awareness of balance
the first time together with the pilot, started to objects rushing in time. It is not for nothing that they
it is right for a man to fly, is it natural and normal, that new generation, saying that the new form is a
from the intellect, reason, or the devil, or from are scared by a louse, previously one used to scare
The second proposition poses the question with what does the wood-goblins, and one still scares them with threats of
normal painter operate with who does not operate one scared the children so that they would not touch
matics or intellect, and what does the painting consist of? ments, otherwise time would jump out and carry them
that any surface of a painting consists of the realisation and children were allowed to play only with
pressions of that same glass, sand, iron, water, fire, objects. Old-fashioned objects are the tranquility on
painters attempt to attain complete illusion and to link Weltanschauung of the old people is based, they are
gether in a painterly fashion. One may turn one's attention to who told the young men, in fact you are not such idiots
the fact that the painterly surface of the two- understand the significance of antiquity for your future
represents a whole series of variations, in reality all you grow up, but one can reply in turn that for idiots
consist in fact of one and the same colour matter which, of the future too is incomprehensible. I fully understand
ferent parts of the picture, are clouds, water, a house, a of antiquity, in antiquity exists complete tranquility,
whole surface consists of these names, and where there tranquility is the essence of art, they wish to hold it back,
they are painterly names, does painting really consist of order to retain old architecture one must first of all
depiction of given objects? Consequently we are dealing industry, machines and leave science alone, for they are
painting, for there is no such material or matter, but we create it fortify art and its production. This destruction of the
only through colour amalgamation. One such of life stems from our industrial technology and will
also the old concept of painting, in which colour by new modern, classical forms of art. Not in vain have little
a variation, or it would be more correct to say, the impression of aeroplanes emerged from the bowels of the earth. They
110 r e p r o d u c e d phenoma. Thus I see that painting, as 111 b e stopped on earth by the three-dimensional law, they will fly
 1. Malevich
to the place whence they have come, they are the dust of with
which flies off the earth's surface, and by this pulverise group of
and possibly our globe will itself be pulverised, as once pupils,
lump was pulverised, creating the globe. Everything c.
to leave the globe, and to make its way further in space, but
thanks to the relationship between the elements which
yet been discovered, it sits like a tick in the earth. All
haviour is the sign of this striving, and we see that art too, for
example, painting in Cubism, has attained its highest
the surface of the canvas and must transfer itself into
space, after which begins the pulverisation of colour,
ing further and further into space, taking on a
it will become colourless, it will return to classical
The Suprematist moment as a new circumstance, has
that in its prism have occurred three moments, one of
two moments of non-colour variations, black and white,
forms of three squares. This occurred elementally and
nically registered outside scientific foundations. I
as I have said before, the Suprematist line and generally 2. Malevich
of life as energy and have found them similar, and built lecturing,
tracing the movement of colour. Three moments c.
clear in Suprematism: that of the colours of the
black and white, which gave me the possibility of
the graph and attempting to clarify the future. The
appears as the final spot of this
The analysis of Suprematism gave me the idea that
is possibly colourless and assumes colour in accordance with
various tensions of movement. Painting as colour
arrived at a new condition, it has lost all its colour
has become simply colourless, non-objective energy. Does this
not embrace the meaning of all meanings, all
the world, and will not all the meaning of the movement
towards this colourless, non-objective world be reached, will a
new classical tranquility
On the basis of the graph structure of colour movement
112 b l i s h e d a new political graph in which the form of
S.
by one 5. Three
Malevich' by the same
pupils for from chart
char
no.

4.
by one of
Malevich'
pupils for
char
no.
 7, K. S.
The
Pencil on paper,

8. K. S.
Cubism.
Pencil on paper,

6. K. S. Malevich
Suprematist drawing. From chart
Ink on paper,
KPII4BAA I C E 3 A N H A . M AT I L I S H A N A I 5CPW9i12 ZWIPEPIA760NTEEKAL riPAHAYi
rausESSW
K

9 a 5
10. K. S. 11. K. S.
The basic Suprematist The second basic
Pencil on paper, Pencil on paper, 1.0,8
 is. K. S.
12. K. S. Shift of
The third basic Pencil on paper,
Pencil on paper,
14. K. S. Malevich: 15. K. S. Malevich:
Elongated Suprematist group, derived from
Pencil on paper, Pencil on paper, 11,2X11 cm.
 17. K. S. Malevich:
16. K. S. MaIevich:
Three basic Suprematist elements Formation of
Pencil on paper, 11X11 cm.
Pencil on paper,
18. K. S. 19. K. S.
Suprematist formation, dominated Formation of aerial Suprematist elements, with sensation
Pencil on paper, Pencil on paper, 11,1 X
20. K. S. Malevich: 21. K. S. Malevich: •
Complex Suprematist formation Suprematist group of elements with sensation of current (telegraph).
Pencil on paper, 11 Pencil on paper,
22. K. S. Malevich: 23. K. S. Malevich:
Suprematist group (white) sensation of dissolution (non- Suprematist element at the moment of dissolution of sensation (non-objectivity).
Pencil on paper, Pencil on paper, 19X12,7 cm.
 24. K. S. Malevich: 25. K. S. Malevich:
• Suprematist group of elements, sensation of magnetic attraction. Suprematist group (magnetic attraction).
Pencil on paper, Pencil on paper,
26. K. S. Malevich: 27. K. S. Malevich:
Suprematist formation, Sensation of movement and First Suprematist
Pencil on paper, Pencil on paper,
28. K. S. Malevich: 29. K. S. Malevich:
Mixed Suprematist sensation of cosmic
Pencil on paper, Pencil on paper,
30. K. S. Malevich: 31. K. S. Malevich:
Sensation of the universe Sensation of
Pencil on paper, Pencil on paper, 14X11 cm.
 33. K. S. Malevich:
82. K. S. Malevich:
Suprematist group, sensation of contemporaneity (the world as non-objectivity).
Sensation of mystic wave (unfulfilled).
Pencil on paper, 14,1
Pencil on paper,
84. Malevich in
with Tadeusz Peiper any inclination was immediately coloured in various
so here too the energy of political meaning did not
outside colouring, every movement directing its effort to
nifestation of various political formulae, to the manifestation of
the Socialist project, coloured itself in various shades.
movement from my point of view represents
and from this or that tension the colouring occurred.
a conversation of a socialist who was quite sure that the
meant the blood of the labourer, my point of view
I think that if the blood of the labourer were blue or
the revolution would still have taken place under the
The form of the 'international' represents a coloured
now we have three forms of the `international' which
guished from one another according to the colouring. The first
one of them must be on a yellow background, and on
must be coloured with red, i. e. create an orange impression. In
85. Malevich with group
Dom Is!meaty, Leningrad, the second case the orange impression is augmented and
be orange, the third must be red. Inasmuch as the form
third `international' is the equalisation of peoples,
tion of intensity, inasmuch as it strives to annihilate
in the broad sense of this word, red moves to the colourless
the symbol of impartial equality; in this case it is
colour disappears in the end from political
political groupings too will disappear into the future. Anarchy
is coloured black, i. e. in a dark colour, we do not see
differentiation—a dark ray has swallowed up all the
has placed everything beyond variations and
thing is the same: colourless dark. From all that I have
colour, we see that everywhere matter is one and
and falls under a particular circumstance and receives
colour. Hence many variations which strive towards
tion of unadvantageous significance. Thus I finish
sketch about colour and light, about the principle
tion, about the authenticity of the natural and the unnatural, of
the conscious and the unconscious, of the manifestation
145 a u t h e n t i c visage of the world which represents one the
portant deeds of man. Everything began to rely on science in 1/45 A n introduction to the Theory of
the hope that it would knock a breach in the gloom
the face of the world through light, but the light does the Additional Element
which could illuminate and manifest the face of the
light itself is only a degree of darkness. I t is possible that by
manifestation one must understand blind reaction of forces lying
within and without, thus the painter or the sculptor
press anything except this reaction which has occurred And thus movement evolves forms in all possible
interaction of these forces. Forces change their planes, volume, spots and sounds, in static and
Where is their authentic visage which is to be manifested tions which divide up into colour tones, hues,
registration of the endless aspectual change of the elusive construction and systems. These phenomena can be
thing'? This 'something', like the world actor, hides the conscious and the subconscious, the abstract and
though fearing to show its face, it fears that man will rip which, in life, manifest themselves in the form of
multi-face mask and will not know his authentic face gion and Art. On the concrete line stand religion and
less variations; but this actor has a slit, it is the dark and good (consciousness), on the abstract we find art
ray, authenticity is extinguished and on the spectrum of our ness). Hence art, in all its aspects, stands in the common
science appears only one dark or white line through which manifestations and can be investigated. This has caused
only gloom, inaccessible to any light wave, or to observe one or another aspect of art as an object for clarifying
for every light consists of this ray of darkness, in this the various causes which have created in the consciousness
or slit our sight finishes, the world actor has entered it, artist this or that change of his behaviour as a painter.
multiplicity of faces because he has no chosen painting, i. e. my own speciality, and have begun
serve that aspect, the behaviour of the painter organised
of consciousness— theory, and by means of subconsciousness
sub-theory; I am attempting to observe how the
the subconscious of the artist react to surrounding
vice versa. What are interrelationships between
i. e. the 'light', and the 'dark', i. e. the
All this work of observing artistic activity in general,
ing in particular, I have called the science of
Painting for me has become the body in which are set forth all
the causes and states of the painter, the structure of
understanding of nature, as well as the relationship
and nature as it acts upon him.11 This document consists
aesthetic phenomenon, as a result of a special
of nervous sensation and constitutes extremely
147 f o r research and the creation of a science of painting.
 now critics have studied the art of painting solely from relation to which all behaviour is measured, and
tional point of view, with no investigation of the the bounds of the established norms of relations is
in which it was placed. There was no anatomic analysis, an 'element of life' destroying the norm. This
not study it with the aim of discovering the cause of is 'the additional element' which may develop and
and of the formation of its body, and they did not forms, having conquered or changed the previous norm, and
the influence of circumstances and the milieu which having created a new circumstance. Life seeks norms all
the form of works in different cultures of painting. it seeks rest, it seeks 'the natural', and, by virtue of this,
of what causes coloration, and the structure of the body lops such systems of interrelationships between
ing as such, has never been raised. All these should not deviate from the norm, should not change,
us at a given moment and, in particular, it is interesting impede its rest (life does not wish to live, it desires rest,
lyse new painterly phenomena which have violated the norm of but inactivity). On the basis of this, the conformity of
the usual perception of nature; I should like to dynamic relations of the additional elements
additional elements have managed to creep into the organism of system is envisaged, as well as the addition of
the painter and changed his behaviour. I n medicine, into the conformity, i. e. into the system, this is
condition is explained by the addition, or appearance in changing them into something static and for this
nism, of some extraneous element which changes system is static, although at the same time it is in
For example, the rise of a person's temperature is constructive moment is dynamic for it is on the way to
the appearance in the organism of some Every painter strives to correlate the additional element
which hinders his ability to express and perceive. In a harmonic norm— order, therefore symmetry plays such
sputum test, additional elements are found which have part in this order and is the sign and the registration of
fluence on the established normal functioning of librium brought about by the subconscious centre.
In the same way our whole behaviour depends on can be divided into the subconscious—balanced, and
ces, on conditions which surround us and eternally —the multi-balanced. The former will always possess
human essence of rest, trical division in weight of any material on the surface or in
They are the additional elements which alter the space and belongs to art, the second will be of
order of association between the conscious and the and, above all, will be related to engineering, technical
and all the professional reflexes of movement, therefore they are not eternal. On this depend the
technology and the relationships between phenomena ditions of social relations, economic, aesthetic,
of which changes occur in life and in the perception architectural, physical, psychic symmetries (it should
men that the presence of a political element will show that
They make us submit ourselves to this or that circumstance, is not yet perfect, the political element is a conflict, a
oppose it by the establishment of a certain norm. All element
all activity arising from them, is divided into All the norms of the established systems spring from
of its development and is corelated by various created by the interrelationships between influences of
categories of behaviour are divided into 'natural' and tional elements on one another. They form a
148 r e l a t i o n s in structure. Defined norms are therefore established in 149 i n f l u e n c i n g element, the norm of which can
 norm. The sign of this destruction may take on the structure of the painting and the structure of man,
of form and tone, and may develop in stages of of which have arisen from other causes. The ear,
reconstruction, attaining a system, i. e. the formation of eyes, cheek-bones—have arisen not on the basis of
norm. In order to verify and classify the norms it is law o f relationships, but from circumstances which have
use the method of comparative analogy, by means of created this or that technical organism which will
can find that point of relations by means of which we will for a given circumstance, whereas, for a
to measure all the rest. According to these analogies stance, i t would not be normal (the norm of Cubism). The
and group phenomena and relate (them) to this or painterly relationships will be different, hence the
If we discovered a certain behaviour to have no analogy, painter has on his canvas a painting, the canvas consists
would not know whether it is normal or not normal, natural or terly relationships whereas for society the canvas consists of
not. In painting, the normal is to be found in Rembrandt relationships between the eye, the nose, and the
the opinion of society). Rembrandt therefore will be society accuses the Cubist painters of being in a morbid
cular point to which society relates, measures norms 'a state of bourgeois decomposition' that on their canvases
and discovers the normal and the abnormal, The abnormal is in and the nose do not correspond to reality, and this
Cubism (this is the belief of society) for in Cubism tion is diagnosed only by the comparative method with
a new additional element, i. e. a new interrelationship of the i. e. with non-painterly relations which are considered as
straight line and the curved line (c. f. the and norm for art, and people forget that art is not the art of
The new norm destroys the norm of the generally duplication but the creation of new phenomena.
in painting, of the established rest between the straight bidity nor abnormalities come into it. On the contrary
curved line; and consequently society raises the question be abnormal if everything could be reduced to
taining the norms of the established aesthetic order and question is that of interrelationships, influences
about the isolation of painters captivated by the new ous phenomena, the reality of which is distorted in
all that which does not correspond to the established order negative or in the psychic mirror establishing a new,
majority is considered a disease of the minority. New art violating the existing order. The concept is violated,
sidered morbid by the larger part of learned and definition is violated, the human 'what' is violated, in reality it
society and criticism, and from the point of view of new is 'nothing', the norm of which cannot be measured either in
situation is reversed, the majority are considered 36° or 46° above or below zero; we can only measure
occurs because the normal temperature of art, let us say, imaginings which are to be found in matter. For matter
blished at 36.5°, anything higher is morbid; a norm is no norms, it is unchanging, outside form; its material
in painting for the spacing of the elements of the face in change just like aspects, like the violated 'what' of
of nature, the nose is related to the eye-sockets, the ear to tion. The life of matter does not cease at any
and the cheek-bones—the norm of the old painterly form or below zero, or it would be more correct to say that the
ture; the correlations in another order of norms in painting will vitality' of matter is not violated by anything, and we
be considered 'not normal' for the correlations arise by only about our visions, only about the 'what'
the painterly structure. Here some confusion arises in in a new structure of the body, is transformed or
150 s c i o u s n e s s of learned society in its understanding of two norms 151 i n t o new images, not violating the 'nothing'
 II dissolve themselves. Circumstances act to bring the fibres
Nature is that circumstance in which the activity of nervous system into various states portraying, in
system develops, and this activity is 'a struggle for the expressions of straight and curved lines, linking
a struggle for stability with the essence of fallen in various fashions outside their own cognition. The variety of
lying unconscious. Hence the idiosyncrasy that man spots or lines in paintings depends on some irritant
who does not belong to nature, he does not appear as outside the rational established meaning of these lines
lazy non-active state of matter, but as something i. e. they find themselves in a non-objective state,—
struggling with it his whole life for his vertical stability, and, in dark norm'. Thus, metal brought to a high
the end, he is defeated both by sleep and death. He sees becomes red and is slowly transformed into a white state, does it
organised action in nature outside consciousness, and wishes to suffer or not? does it lose anything or not? if it is
organise i t in the shape of his consciousness for which he has no consciousness, then obviously it cannot
struggles, as though it made existence worthwhile as it whereas in man, with his special structure of matter,
from falling, whereas everything else falls and cannot pears a concern to retain only one thing of value, that
He says that the blind elements surrounding him, sciousness. His corpse is a body, which has no right to
ditions of nature, influence his consciousness; he wants to rid a corpse, the body can never be a corpse for it is never
himself of these influences via his consciousness; he wishes not it does not die, it cannot be evaluated, it has no value.
so much to overcome them completely but to regulate that the death of man exists, that man is evaluated, and
tionships. And so the element and man form two is increased according to how great, during his lifetime,
and they wish to see one another in order to understand 'awareness of phenomena' and their expression.
struct one organism, and it appears that they are the thing of value is not to be found in the body but
that the circumstances refracted in man's consciousness, the image of which wishes to consolidate itself in one form or
figured, and reality becomes something else. Thus it another. And what is image? It is our incapacity to see
what we call nature is our own invention which has nothing in nal, and, even then, the original does not interest us
common with authenticity. For had we taken this we show a greater interest in the changes of that which
into account, then we would have attained the perfection but in these changes we change only the view, the form, and in
nal durability and the struggle would have been the changes we see death; this `to see' is just as false as
otherwise the struggle for existence is a struggle but we believe in our vision and we change, we also
stupidity in the attempt to give sight to the dark and blind. another and allot this or that function to the nervous
possible that the work of the brain in these circumstances is our body. If one could press one another part of the
seen as an unconscious condition and phenomenon, i. e. taining one of the system's nervous centres which
physical senses act on the sensitivity of the nervous of the functions of the common order of phenomena, then, with
whether we are conscious of them by means of our subconscious the help of apparatus, man could force an individual,
we do not know. Thus everything comes from the earth masses, to act in accordance with the will controlling
turns to the earth, as water becomes steam and vice apparatus contrary to the dictates of their own consciousness, will
behind it other aspects, and as far as man is and imagining—mechanical activity would
152 r e m a i n conventions, images, and visions which also 153 I n another case if pictures of new norms were inserted in
 dividual, one might change its consciousness of imagining (to They are brought to the common state norm of thinking,
darken in his consciousness the existing negatives of images of of this or that structure, 'directing images by means
the past, to reveal new imaginings). To a certain extent tionships'. Those people on whose negative no images
pens in life itself—some people guide and direct others of state arise, belong to a different category, not thinking
vernment apparatus), that apparatus which reacts to images of level of the state,—such people possess a different image
the imaginings of the mass, directs and develops in negative and, by cognition of its structure, the relationships of
ness their negatives and arouses in them images elements forming the special norm, their
with which a new life or system are built, and only then diverges from the state norm of the past or the future.
achieve good results when the old image no longer remains individuality is fluid, not limited by the common norm, it
imaginings of the masses. The head of the family — roving element in the state system which is dangerous to
(like the state) strives to put pressure on one or the norm or the motion of its wheel. Such people
centre in the brain of members of his family whose function free, for example—'free painters, free thinkers', i. e.
to carry out that activity which is necessary to him, i. e. do not subject themselves to given systems and the
in which he himself lives, thinks and meditates in a them criminals; they are always capable of
or direction. Every father strives to find in his norm, of creating new images. They are called free
images and imaginings which exist in himself, and, a good reason. They do not think the way the state thinks,
he safeguards the unity of the family and unity of mily does not think as the father does. Their behaviour
all other phenomena which could darken his own imagining in they do not submit to one another; a struggle arises to
the consciousness of his children. This brings everybody accept the additional element of the state which
way of thinking. Further tests are carried out on people the image on the negative in a certain stage of thinking
vidual objects in which they are taken out of a certain milieu nate it, i. e. express on the negative a new image of
surroundings or existence, and deprived of the structure state would like the brain of the freethinker to work in
relationships, and of everything which forms their state's system and on the plane of his canvas he should
or psyche, thus ridding the individual or masses of and the same picture of relationships. Therefore the
objects which influence the nervous system in an duces such objects, and prints such books, rearranges
order, arousing undesirable images. The necessary milieu into a different order which expresses a new image
loped in another way," acting on the individual and ships, it creates such a milieu, i. e. an existence such that
him existing aspectual imaginings and his own cognition sciousness will be directed towards the state. Therefore
within him. In his consciousness other images are to be facturing of objects is that sign which changes
becomes aware of a new realism, and hence arises darkens the existing order and expresses the future.
ture of straight and curved lines, of thefl volume of ences by means of forms I would call psycho-technology,
which will arise into new interrelationships. Any state is forms themselves segments of the additional element of
apparatus by means of which the nervous system of its idea, equal in strength to the vibrations which change
is regulated; in it there are people who are called sical side of the organism, with one difference that the first
and who comprise in a given system the idea of the destroy only the structure of the image on the negative
154 i n whom all subjective individual consciousness is 155 b r a i n in consciousness, but the second destroy
 In the sphere of art the role of the additional element from spot-like and fibrous lines into a strictly
as a condition of influence which is capable of changing with a special texture and structure
sciousness of the painter. The additional element of one Hence we have variation, i. e. the law of seeing things
currents of painting, acting on the nervous system of ways to correlate the elements of colour in various ways
fixes a new image on the negative, by virtue of which form a painterly body. Hence we find here different norms of
the physical interrelationship of the painter to the art. By virtue of these laws painting takes a different
Under the sign of the additional element is hidden a scientific truth, as, for instance, on the question of
ture of action which can be defined by a typical or colours: i t establishes a new order of colours which
state of straight and curved lines. The introduction of suitable for colour correlations, but it cannot always
the curved fibrous-shaped additional element of Channe, will within the painterly organisation. The phenomenon
make the behaviour of the painter different from that influences the nervous system of the artist which reacts
the introduction of the sickle formula of Cubism or ceiving or rejecting this or that colour, and it is exactly
line of Suprematism. All its manifestations whether point where the colours must be linked according to `the
productive, or industrial, religious or political science concerning complementary colour' that a fall-out
inasmuch as the painter is associated with them, for complementary colour occurs and another colour
order of the curved and straight lines and the hue of ditional which, in its turn, cannot become a law for
shall we say, would transform themselves from a terly forms. Observing several trends in painting we
order into spots and the straight line would vanish that they each have their own law of complementary
they would transform themselves into indefinite tones. Observing the new direction in painting, we
of a fluid form. Consequently everything that was bled an enormous amount of material for a
fore dissolves and changes into a new form. Thus the description through the creation of a theory. Such a theory
condition' has a special structure and relationship basis of a school which founds its new forms of structure
In this condition the three, the countryside, the terly changes, differing from all the other norms of
clouds, animals dissolve and take on a painterly view: vity. So what were the reasons which divided man
is no longer a tree, etc., as it was in the order of divisions and created these various functions? It is
lism.0 The subject has started to act in a different certain behaviour is caused by circumstances which,
sees them in a different painterly order, but does irritants, have disturbed and dischanged the conductor
them like the botanist or the artist `realist'. For him a in any particular individual, acting on a certain centre
of painterly things arises, the form or colour of which nervous system linked to the conductor of one or
by the fibrous-shaped additional element. Under of perception; for behaviour, the discharge of one form
of the sickle formula, i. e. 'Cubist condition', the other, depends on encountering and being able to
perceive phenomena not on a plane of three dimensions, as in ences from outside. On this depends the appearance of
Cezanne's realism, but on a plane of six dimensions neer or the artist, their ideologies and their use of
plane) depending on the number of sides to the cube, completely different: the artist dealing with forms strives by
of the phenomenon will take on a new form. All means of contrast to express them in their whole order;
156 t e r l y things would have changed, thanks to the 157 m i g h t not pay attention to them and express the power
 ment; for the former form is essence and, for the latter, form formers: two categories produce and one performs.
derives from the technical necessity and cannot be the performers to the professional category which is
sence. The behaviour of each in itself is different— the artist who produces, and the engineer who invents.
is carrying on a struggle with an element, the artist these categories formed? It seems to me that the eye
rejoices in that element. For the former it is dangerous, sessed by every individual is a dead objective
latter it is beautiful; consequently receiving from one stances on a mirror-negative of the brain which is capable of
power of influence everyone reacts differently; for one it is producing (depending on the centre), certain changes
seen as dangerous, for the other as beautiful. The one mena reflected in the mirror-negative. Such
energy will be expressed in completely opposite forms to the first category of the productivist inventors.
ferent norms and relations. For the engineer the system must evidently suffer from an irritability which
sent angry nature, and he shrewdly opposes nature's a vision of new images in phenomena, able to
to her other condition. Nature for the engineer is create new phenomena. This is the main category; without it
conflict which he strives to settle through the creation of we would not have moved one pace. On the basis
tarian thing. It is not a reflection but a struggle by means impulses resulting from the very same causes and irritants of
creation of a new human culture as a contra-element; it is the nervous group man works out certain known
reason that the engineer produces things which do tions or relationships to the cause. Such functions we call
nature. For the realist-painter nature is something fession of a given subject, and it can be related to the
nic, silent, calm, restful, in accord, therefore, on gory (essentially a reactionary category). To the
nature appears as such: hence the artist cannot draw a work, for belong those individuals who are capable of
it is a synthesis which has been received from the change phenomena (not a constant type but progressive).
relationships with nature and such a synthesis is constant. The categories of individuals with special centres of activity,
painter who has changed nature not only makes manifest, able to perform, metamorphose, and manifest the
himself manifested, his works are not reflections but only one may relate the third category and, to some extent
hitherto non-existent aspect of equal value and unique to the professional grade but not the first, for individuals
in music, poetry and in architecture. Therefore to reflect life or first category are not constant, their functions
phenomena is only for those whose apparatus is not capable of on the results of the change of the phenomenon on
creating a new aspect, but can be turned into an of reflection. They create systems and destroy the old
menon which will reflect itself, as though in a consequently, by means of their invention, create
all sions. Their work is a settling of new conflicts, working out
For such a painter there is no additional element, there tain correlation of constant interactions which form
arithmo-meter of feelings with which to measure the This is the highest category possessing the quality of a
to create a new vision from that which is in the phenomenon of sight and dynamic view of associations, changing the
material. Such individuals are subjected to influence and wholly of a phenomenon into an enormous generalisation.
receive it, they belong to the groups of bodiless and the musical instrument, the violin, — and the violin
mirror-painters. Therefore we see three kinds of categories of and Picasso. Between them exists a whole chain of
158 p r o d u c t i v i s t s : the engineers, aspect-changing artists and 159 c h a n g e s , which have transformed the former aspect of
 For such artists these objects, portraits, nature, the same thing occurs. The phenomena of light in nature
reasons for new views, in which the elements of signs the nervous system of a known group, and spark off
disappear completely. Other categories of painters have flicts, and, having overcome them, create a system, one
capacity for transformation and convey things as they are in another of painting, light painting and colour painting." The
nature." Such individuals are comprehensible to the structure of colour correlations start off a new order of light
them the masses cannot receive anything painting and those who have accepted this system create
new. From the former we receive inventions as settlements of fession of art which can be divided into the professors
conflict between the object and subject which often teachers. A t their head stands the painter, who is the cause of
comprehensible to the masses, for, in the new aspects, their activity, he is occupied with the regulating of
which things were recognised, disappear. Such ships between colour-phenomena of existence and
too fluid. Their conclusions can enter the mass- forms them into a work, creating different systems
will duplicate it, this is the work of the professional structures; thus a painterly work is a result of
This species of activity may be a profession; their art is tween a subject and an object which, at a successful
of doubling—mono-typical action or constant function. enters the form of a work of Impressionism,
not have their activating forces, additional elements; it nism, Cubism, etc. Thanks to this a solution arises to
apparatuses which one must charge, they themselves creating a new direction
fluence invention or artistic current, i. e. bring into it a Such works and structures of relationships we place into two
ment demanding a new function and consequently categories; the aesthetic-artistic, with the painter at the
of a new profession. Hence the well-made tool or work of the productive-technical with the engineer. Between
a product of the first category which is mass-produced. gories will be found essential differences. The
it is nothing other than a result of the impulses from can all its structures works, because their solution
conditions, formed by the higher category of people outside time and unchanging, consequently it is
associative changes in signs of phenomena. The rectly. As far as the second category is concerned,
tool gives a shape to a conflict between two influences productive, things in the latter cannot be registered
flections. Conflicting things enter the art of duplication and perfection changes. A thing which has been conceived is not
become the possession of the masses as documents, testimonies of registered until the end, consequently i t is within time. The
settled conflicts, and serve as means of overcoming two-wheeled-cart, the carriage, the steam-engine,
step in volume of one or the other active essence of this is a chain of unregistered possibilities or problems, and if
the individual in the first category overcomes the influences of according to the association we have received, only
the element and finds himself ahead of the lead the people to socialism, the engineer, who must
stance and establishes a thing—a conclusion, leaving it thing into account, then life shows that he can take
usage as a system of motion in general. Thus the mass account, whereas as Giotto, Rubens, Rembrandt,
wards in time. (The two-wheeled cart, the carriage, Braque, Picasso— have all taken everything into
the aeroplane; the stone, the cudgel, the knife, the arrow, so they, and their works, are permanent. If we take as
the gun, the bullet, the cannon, gas are impacts of axiom that all works of art are sparked off by an action
160 e l e m e n t in the sphere of technology). In the field 161 s u b c o n s c i o u s centre, then we can affirm that the
 centre calculates more correctly than the centre of ciety still gives a purely external evaluation of a
One can expand this idea saying that the to subject-matter, the object which have been painted.
created through the consciousness are only within time, objective valuation has nothing in common with a work
not solutions because they are linked by time. It is ing, for such a work is always non-objective and does
the non-acceptance of rest, and the affirmation of the truth of to achieve identity with the object. Such works can be
the fluidity of time, is explained by the weakness of painting as such, not transformed into a subject,
absolute registration, and it's 'inaccuracy' is accepted as the and an industrial-technical thing. I t is a non-
existing truth. Consciousness has registered that nature is a menon, even when in the work there is the possibility
dangerous element, because consciousness fights for an object. The irritation of society by non-
with the tools of heavy-industry, whereas, in fact, this occurs, because in paintings society has always seen
sparked off by a heightened nervous irritability which harmony smeared all over the form of the man or
images in the little mirrors of the brain, showing nature as a the image disappears from sight, by virtue of new expressions in
dangerous element, and, on the strength of this, man painting, the formerly established sound, colour, form,
sures and builds tools by aid of which he wishes relationships disappear, and the new is considered
the elemental monster. 'The struggle for existence' is, in fact, a In reality such works do not exist since the musician,
struggle with an image, not with reality which is beautiful in all the artist represent an organism which, in its
its aspects. In the sphere of arts this does not occur. To construct disharmony, all sorts of noises are brought
everything is beautiful, the storms and the sun. And mony. By noise one may understand 'conflict', which
uses colour not for the same purpose that the engineer sees in harmony, for it creates chaos. The annihilation of
colour. Their paths are different, and the priest blishes the harmony or norm of a new harmonic
follow the engineer and the scientist on one and the same takes over the aparatus of musical or painterly
preserve and create perfections, rather than the soothes the noise coming from outside. The noise of the
The colouration of cars, roofs is a special =ointment of example, will be chaos until the composer gives it
against the action of other destructive elements, similar which the noises of the town will be perceived as
priest's anointing a man with oil, myrrh, to preserve were 'babbling brooks', which at some stage were noise to
evil and harm. It is a scientific technology to The composer thus directs the hearing apparatus, and
The other category is the aesthetic covering of the canvas that which seemed noise is perceived as harmony.
plane with paint—the artistic solution, the category in society the 'non-acceptance' of every new painterly
outside values. One cannot evaluate a work for it is order; it arises because the neuro-auditory or
Of course, from outside, society evaluates work by is not tuned, and its adjustment takes place over a
established harmony; such works are categorized as of time, for in most cases the acceptance occurs
works do not irritate the established norm of society by their processes. The quickening of perception can only be
correlations, structure of lines, colours, hues, painting. But, in a school of the new order. The untuned auditory or
essence, even those works which irritate society by ratus evokes a noise which breaks upon the harmony
justify themselves in the future, and prove, in the brain, as though the noise from the street intrudes
162 b y the new society, that they always have been works of concert in a room, destroys the harmony, and sparks off irritation
 in society which either closes the window or to the non-objective, `un-seen' nature which is
Thus any new musical construction will also be noise, man into a new function, into a relationship other than that in
nervous system is reorganised, and it is difficult to begin which they were in nature, i. e. we understand them
organization of the nervous musical concept of All functions express themselves in different
does not lend itself voluntarily to this operation, even materials take on a completely different aspect and
operation could be of benefit to it, and it says: 'I forms that can be with regard to behaviour, aim,
even in this set-up.' The very refusal on the part of society to etc. . . . They point at and speak about the whole state
accept new works places them into an individual subject, expressing one state or another in graphic form or in
and each work is non-objective, not mass forms of space and volume. Things appear as the result
hensible, disharmonic. Disharmony will last only until mirror refractions in the world. Thus all works are
ment that i t establishes a new order in consciousness, the states or behaviour of a given subject, they stem
negative, and then these painterly, musical relations aspect of the phenomenon refracted in the brain. From this
harmonic, comprehensible, normal and clude that any work can be analysed, and the state,
to the masses, objective. In reality the objective tionship of the individual and the phenomenon can
of a painting, strictly speaking, depends on its portrait ted graphically; the law or relationship between the
If a work is similar, that is 'like', it means it is and curved, and, by means of spectral analysis, the level
and objective. But in fact the art of painting, like lour; one can establish the law of colouring of a surface;
does not reflect nature, but only changes her aspectual of this only on condition that works are measured
connects, as I have already said the conflict between the line of their development, the dynamic structure of
nature. The expressions go in two directions: the nology, of life and engineering, culture, man's progress — for
form her scientifically, and the aesthetic, which form a work of art is not measured under other conditions
cally. The 'expression' itself is the overcoming of poraneity and does not depend on time, for art does
by an accurate scientific representation, the transformation of it Thus the main characteristic of any work is the establishing of
into the known, the transition from the unconscious to the interrelationships of contrasts between the straight
scious, from darkness to light. In another case, the bringing curved. The aspects of these straight and curved lines
these elements of nature into their aesthetic harmony, i. e. the different, and for this reason, depending on categories
ranging of elements, seemingly disorganised in nature, tures, they can characterise a whole level of culture
artistic order (subconscious) which is established in groups in which the relationships of the straight and
of this or that level of psychic irritation. Consequently, have their own limit of development. Their maximum
musical ear, nature will be noisy and fractured, in be the formula or the additional element when it
ear it will become noiseless harmony, what one could other group of straight and curved lines, thanks to
although it has sound. Works can be divided into painterly structure of the latter changes both in form
colour, volume and all other possible categories. without predetermining its primacy. Thus painting is
musical, poetic phenomenon in the pure, non- many currents, changes of the culture of painting, each
tionship of its scientific portrayal of nature can be used, i. additional element,18 i. e. with a special construction
164 r e c t e d to this or that harmony, into any utilitarian 165 a n d curved, with its special structure and significance.
 ing are developed cultures of compounds joining ved lines we define their relation to a certain culture
curved as well as colour relationships. Thus the canvas additional element. Thus it is possible to collect
search in one of its parts is a place or field or vision on of Impressionism, Expressionism, Channism,
seen magnified a certain structure of straight and tivism, Futurism, Suprematism (Constructivism—the
a structure and texture of the painterly body." forming of the system), and to create from this some
In other words, one can say that in every field of vision find in them a whole system of development of
painterly structure we see a graph of this nervous stimulus of curved lines, find laws of linear and colour structure,
the painter in various linear, curved, wavy, straight influence on their development of the social life of
fall into separate parts, they fragment and they and past epochs, and define their pure cultures,
colonies which in their own turn link up into one structural differences,
of various aspects and particularities, of the very structure of The painterly study is similar to a bacteriological
the body spotted, fluid, misty, transparent, glassy, fying the cause of sickness; in such analyses we find this
impermeable. Research into the causes of these variations straight or curved line which meets or falls apart or exists
other aspect of work on the painterly body which presents and the same linear contraction with
and a reflection of the colouring of this form. The special reactors acting on man's organism. Koch found
to present a progression of states of colour energy sickness of the lungs a bacillum which is called
itself into a line, into a plane, into a spot, into bacillum of Koch. It's aspect is that of a stick. Such a stick
similar to music; as in music, the sound is strictly is a form of additional element with special qualities
imprisoned in the graphic form of the musical sign, as though it ties, and if one were to spread out the organism as a
were some kind of ear suitcase in which the noise could volume, of straight and curved, and colour relationships,
but released in the instrument, having freed itself in space, it the dissection or on the plane we would find one or
comes to the ear under the aspect of those spots of which creates the disruption of the given order. In the
in curved and straight lines, in wavy lines which when a Suprematist line gets into organised Cubist
on the brain negative. Therefore that which we analogous disintegration of the organism is produced which
to call painting often has its divisions: graphic would not have occurred if that straight line were
painterly colour painting, and painting. Graphic on the negative of consciousness or subconsciousness.21
for example of Holbein, and painterly colour painting dering of the Cubist order into a new Suprematist
Gauguin, and the painting of Rembrandt and Cezanne.20 begins. The study of all these phenomena is
their difference in the construction of the painterly for building methods in schools, similar to the study
ing to the material of colours which have been turned of the idiosyncrasies of additional elements, for by
ing, in fragments and other phenomena. On one is on the way to finding a cure. The discovery of
groups depends our definition to which category mum development of the straight and curved line in
culture they are to be assigned and how great is painterly culture becomes important, too, for each
tionship of both centres— of consciousness and curved line characterises by its structure a given
i. e. the scientific-formal and the aesthetic-painterly, and the with all its qualities and influences on the individual, on
166 a e s t h e t i c artistic. According to certain states of straight 167 g a t i v e which exists in him of images and imaginings
 him, by virtue of which, in the painterly order, begins pressionists continued to develop the painterly
of deformation of one reality into the form of expression more and more the painterly volume of nature. There
other. Having affected man's organism, new active violation of the norm, which caused such concern to
become an additional force, upon which depends society, on the contrary, there was inserted into the culture of
of man, expressed in one form painting a new additional element of light,
Here are two bodies reacting one upon the other, and their changes of structure on the canvas and of its cognition,
reactions are interesting for us too, since they constitute one of virtue of which the aspectual perception of the reality
the important questions in artistic culture. Man belongs to has changed, to which society was led by the
gory with one or another additional element, on one line — of Thus Barbizon realism, having become the norm, was
illness in medicine, and on another — painterly culture. When the additional element of the 'light' of Impressionism, not
Futurism and Cubism arose, many doctors and decline or decay, but as an enriching of the painter's
that Futurists and Cubists were suffering from a the element of light. A part of society saw
ment of their capacity to perceive phenomena, causing the morbid, abnormal conduct of the painter in that
gration of the whole aspect, and they have rance of light, pale blue and cold rays on the
analogies between Cubist drawings and the drawings seemed to them a distortion of the impression received
people, in which the object was torn into shreds and ture which did not correspond to the norm established
of it was drawn separately. They did not correspond to Barbizons. The appearance of the later Cezanne and
realised norm of established painterly phenomena, of Cubism and Futurism roused even greater indignation
graphic objects, which retain the object as a whole. ciety. There were already various sharp differences in
ments and demonstrations o f the learned psychiatrists still new painting, a strong generalisation of phenomena and
puzzled me because they wished to solve this question attributed to 'mental illness'. Here the whole structure
rence to material based on sick people, ignoring the norms of the past was clearly being reconstructed. In
fundamentals of Cubism in which we see a perfectly was a new attitude to being, and in this new attitude it is
of the painterly structure in the process of organising cessary to see sickness, a physical disintegration of centres
ticism has attempted to reduce all new forms of art to ception or disintegration of classes, simply because
series of diseases: ricketts, psychic sickness, degenerate disappears. Society feared the destruction of art, or
mentally retarded, epileptics, louts, etc.22 A t the present time cisely, the destruction of objects in art like the destruction
it is attributed to class sickness, it is bourgeois, mystical, gods. The negative of objective realism has grown darker,
and, most important, not comprehensible to the 'masses', spots and lines have been formed on it in which society
cluding the old definitions of criticism. But will this in recognise nature and became blind, fearing for the
correct? Thus, for example, in the established normal state of of interrelationships, for the loss of its sight which
the Barbizon school of painting, which in its own med to see the essence of colour in clouds, distances,
protest from society for violating the truth of nature, tryside. It was afraid of losing the awareness which
was again violated by the new trend of Impressionism, organised in the sense of perception, and was
ciety pounced with new strength on Impressionism, as it when the colour structure began to move away from
168 a n y other new change in the political sense. In actual fact 169 l i n e and build itself in green, blue, white, grey in a different
 order, in which trees, clouds, etc. disappear. Society Besides this there is another grouping of eclectics, the
that art would disintegrate, for in it there lay the wholeness of cult form of painterly behaviour, such painters are able
phenomena received by the masses. But after many all the many elements from several painterly
started finding that the Impressionists too are valuable, unimaginable works; such works, I consider a mixture
Cezannists and the Cubists, even The Museum of and feelings in painting. I have studied all such
is looked after with indefatigable energy; but this does have drawn up various cartograms showing various lines
yet that these collections have become an object of study field of the painterly vision which indicated their
art school, on the contrary society and enlightenment take all according to form and colour. Every form of these
measures to disinfect the High Schools from the a particular order on the painterly surface. The
the Futuristic germ, seeing no order in it, they see the straight and curved line in the stages of Cubism may
Cubist picture shows that in it the object has a characteristic and instructive form. Studying
in Suprematism there is no object at all. Here there is bism, Futurism and Suprematism I have managed
with the Peoples Committee for Health which fights three types of additional elements—of special signs by
ease, taking all measures to annihilate all possible bacilli, must distinguish this or that system, norm or
lating the healthy from the sick, some norms from others, Having established three types of specific lines in the
the organism will not be derealized, that they will not rious cultures of painting, I had the possibility of
organism, that well known structure and concept of man, and in their percentage in the works, the canvas of the painting that I
the other, painterly, case not disorder painterly was studying. In other words, I had the possibility of
cepts, images. But despite all these hygienic conditions how the surface of the canvas was affected by the elements of
cine and in art, there is no possibility of being isolated various tendencies. The canvas of the eclectic painter
tional elements, such isolation would mean isolation along unfulfilled norms, and its form is eclectic; this
ked by the painter, who brings into his composition
extraneous element from a particular culture which
Nowadays there is a multitude of trends in painting ced him, and which at the same time affects a certain part
such trend acts on a particular part of society by painting's surface. The last definition made me think
quality of structures, i. e. by a new addition to a to the study of the works of the painter who wishes to
terly logic of the past. Better disposed to influences ing, i t is possible to state a correct diagnosis, to
are painters with a better developed sensory perception appropriate method or diet for everyone. In the Schools of Art
nervous system. Their organism is better disposed for where one has to study all deviations in painting just
lopment of the culture of one of the additional studies disease in medicine, the aesthetic approach is
They are infected by the influence of one or another culture of because of the sharp subjectivism of individuality, and
painting and become capable of cultivating it. tific, objective method has to give way. Therefore
ings are divided into two main groups: one in tone and the University of Art have to be divided into a series of
the other in painting, i. e. such a use of colour in which faculties of music, poetry, painting, architecture,
no purely expressed colours, all the colours are applied in a study of the phenomena of this or that culture, and
170 m u t u a l blending. Such a group can be named 171 p e r s o n studying in the faculty of painting it is necessary
 blish the level of the development of painting in ness of 'necessity', expediency, at the particular,
culture with which his additional element is in of art made by the state (political material), and it
to develop in him a full culture, give him full descent down-hill. A t that point Cezannism was exerting an
precisely established the existence of all the changes in enormous influence on youth, or it affected the centres
ment of painting we establish the scientific order of the latter, ing. Criticism's explanation was that Cezanne was a
and thereby we will be able to accept into the a bad draughtsman and a bad colourist, generally a
who study painting for further education according to talent, and everybody knows anyway that youth is
racter and state of each painter. I t is not in vain enced by what is bad. After it came Cubism, Futurism
cultures exist in Art: painting, graphics, prematism, the latter were already horrible idiocies
poetry, and every such culture is divided into out objectivity and shapes of phenomena in favour of
systems— for example painting into tivity in the art of painting. But youth was moved
Cubism, Futurism, Suprematism,—which, at the present time, in of Cezanne and of Cubism, and it seemed that the
the consciousness of the professors and of those who at any minute fall under the influence of the
consists of one aesthetic tangle, which is impossible and become one united front. I t was in fact the masses who it
without scientific analysis. Apart from this, the seems, received the new art with such eagerness, until it
states of the movement of painting have generally occurred in plained to them by criticism. And, after this, the
schools and criticism which, escaping, let us say, from understanding artistic work liberated from servitude
vizhnik23 character into Cezannism, Cubism, and state. The possibility of carrying out all possible
tism again bear new signs of freredvizhnichestvo with the opened before me, to study the action of additional
the political, additional element which has turned the reception of painting through the nervous system
its tool, whereas painting must, without any doubt, subjects. For this analysis I started to adapt an
path of its artistic orbit which just now presents organised in Vitebsk, which gave me the possibility
tangle, a confused combination of all systems out all the work i n full measure. The individuals struck by
Over a period of several years I carried out some painting were divided by me into several typical states which I
painters who were under the influence of an additional grouped as far as possible into homogeneous groups of
a culture of painting, and have reached a result in additional elements. I decided to try out in nature several
sense. One must say that the period of revolution was theoretical formulations, the action of the additional
the unprecedented enthusiasm and aspiration of Cezanne on the painter by means of opening before him
a new art reaching enormous strength in the year 1919. tures of Cezanne's painting, establishing at the same time
to me then that an enormous section of youth lived by means of terly isolation (diet) from other trends. In the isolated
the subconscious, emotion, and by inexplicable categories of painters were to be found: one
wards a new problem, freeing itself of everything that was in the structure subconsciously, it was simply embraced
the past. For me this represented full liberation of the away, without any argument, by the nature of
the service both of religion and the state; this new value, themselves — nervously, the other — consciously,
such with its new contents, had to become in itself a value in I found out that the effect of both methods was to create
172 l i f e . But then the victorious subconscious grew cold at 173 g e n e r a t i o n of the painterly centres, and the painters
 the stage of Cezanne's painterly culture, which for the world no longer appears painterly to the painter, and
the norm. In this group I placed all those who to make art move beyond the painterly stage, other
sciously, an improvement had occurred which did not different in their essence, are needed, endowed with a sense of
the bounds of the painterly circle; no other stages, Cubism, for colour and a constructural quality, such as the Cubists
instance, found acceptance. But as soon as it became rived at the last stage of Cubism (the fourth), and they
reach understanding by means of the centre of awareness, were not a pure product of painting. Besides this the
ry), the painter was exhausted, it was difficult for him were forced to come to a conscious solution of a
out the work, to solve it theoretically, he wished to work, which lies beyond the limit of the painterly stage, to
says, intuitively. When I had taken my work to its very limit logic. A strong interchange of conscious and
I was satisfied; I attained the limits of the conscious took place, for it proved to be impossible to perceive
and the subconscious stress, the links between them and norm and its conditions outside the latter or by the
sion of functions. One may say that the whole division centre alone, in which exists a small quantity, if one may
painters affected by Cezanne was given over to the press oneself, of conscious elements. I demonstrated
as I called them then the 'subconscious people' who mented and constructive organisations of the
by means of feeling, not theoretically. Falk24at that to painters of the Cezanne culture. Their effect on
on issues of the Cezanne culture, moving along the painterly was strong, although they were in a different order
orbit into the depths of the past trying to achieve the affection. I divided them also into groups of various
terly volume. In this group several painters stood out, carried out the appropriate observation and investigation
led by means of theory to the additional element of influence of the Cubist additional element on the
linking theory and experience the painters managed to of a subject of the second stage. I appealed all the time
Cubist structure their own and to make it organically sciousness by means of the logic of theory, until it began
Thus the painters approached the first stage of to the phenomenon, after which the theory and the
the painterly elements are still developing. The first dimmer and the solution of the structure
Cubism is the final limit of painting and Cubism can beyond the subconscious. The last experiment also
'the border line of the painterly stage' which not a results. In another case I tested the activity of two
of Channe could overstep. The first stage of Cubism can tures at the same time. I considered that some of
alpha of the Cubist constellation where the movement a considerable amount of joined straight and curved lines,
is finished, it is its Aphelion, and after this it must move different moments in the development in all the four stages of
its Perihelium.25 Hence we see that the first stage Cubism, disregarding the fact that the organism to a
mainly retains the painterly forms and signs of objects, and, in was influenced by Cezanne's curved lines, which
this sense, i t makes the work of the painter easier, different from the Cubist on account of their fibrous, flabby,
reconstructural in itself, it exhausts the painterly viscous consistency. The effect of both painterly cultures
and therefore the painter strives backwards and returns bism and Cezanne— had an enormous influence on the activity
ture, for nature in its flabby order in many cases of the painter by means of their laws, forms, tone.
ing. The painter cannot tolerate either reconstruction motif changed in its relations, in one case under the
174 s t r u c t i o n . In the second stage of Cubism painting the sickle formula some lines fell out from the seen object
 'law of Cubism') and in the other case— the most interesting time — the crisis occurs and the
whole. Hence came the untiring oscillation of the accept one or the other solution. I noticed in one of
terly activity which time after another enforced the painterly that the fibrous element of Cezanne started to show
fibrous element of Cezanne, the object oscillated strongly and, as a result, overcame the sickle formula,
integration and abatement. As a result, this period took line of Cubism, and the Cezannist remained on
uneven character for the individual, on account of the path and did not enter Cubism. In this case it is necessary
stems. The nervous irritation was increasing, even behaviour, in such a painter a room isolated from all other trends in
the external sense, was changing—a sudden gaiety strengthen the culture which is inculcated in the
calm and vice versa. This depended on how let us say, of Cezanne which must be developed to
complexity of the additional elements was; the percent, so that the organism would be fully fed, in the
would arouse meditation, calm, the moment when this fullness will create the ground, or the perseverance,
attempted to concentrate all his consciousness in order to clarify perception of new painterly stimuli received from the
to himself the system he was going to embrace, he strove of Cubism. I observed two painters of the Cezanne culture
rize, if he managed this solution, then, with a conversation of them, despite a stiff dose of Cubism, carried on for a
little song in the background, he would record his his organism showed a strong resistance to the Cubist
the canvas. I carried on further and increased the percentage of which deformed themselves all the time and took on
the additional element of Cubism, I inserted elements of aspect. Here occurred a fight of consciousness with
cond and third stages of Cubism until the individual scious centre tuned in harmony with Cezanne, whereas
stand it, he grew weak, so that in fact he just stamped about in scious was theoretically convinced by Cubism, and all
a circle for days in one and the same spot, he could not established the Cubist sickle formula and colour.
brush-stroke, a certain kind of painterly paralysis ness brought forth a whole row of logical assumptions
him. He became irritable, worried, striving to find painter accepted, despite his attraction to the
two cultures, the Cezanne culture and the Cubist. Consciousness was overcoming the subconscious grouping
wanted to help himself to solve this question by means vous perception, proving all the positive qualities and truth of
tical registration, he wished to cognize his failure and this did Cubism. But I had already foreseen the succesful
not help him, that in theory his solutions were correct, for of the sickle formula, its limit and fall. In order to
same time he had a strong inclination towards a Cezanne crisis I introduced 'the Suprematist formula, the
construction with its painterly formation, which kept through theoretical logic to act by Suprematism
Consequently the solution to the question only by theory the consciousness to move more quickly in its relations,
possible, a theory is some kind of a foundation which lies sequently making the work more complex for the
consciousness and solutions remain in the subconscious centre, the creative centre. Thus the painter received
feeling. All these symptoms point to the struggle of of three additional elements, cultures of various
nal elements or stimulations of various centres of hues, textures, structures: Cezannism, which is
painterly groups, which produce a certain graph loose in structure, the Cubist crystal structure, of
(a drawing) in which we see elements of two cultures, trism, and the structure of the Suprematist plane.
176 t i o n a l elements (a type of curved line). Then — and this 177 s u c h an amalgam I received an eclectic mixture, i. e. I
 material from which it is impossible to make a theoretical data and easily established them in the
ture. In the organism a triple interaction took place, solved it by means of theoretical fundamentals and
result in an aesthetic, eclectic monster. Inserting artistic decision. His nervous system was tuned in
into the painter I reckoned to receive a breakdown of the Cubist law. In this period of development of the
tural activity of the painter, to make his painterly mula there were instances of an attraction towards
complex by the joining of three different cultures tist straight line, but here I counteracted the development
into one form. I carried out this experiment in order to attraction by all available means, for this attraction was
the effect of every additional element and the struggle of theoretical logic, and I strove to keep the painter in
painter. On the other hand, whilst working, the culture of the Cubist additional element which
covered that every element, taken from another in him. I isolated him from Futurism and Suprematism
ced him differently from the others, and truly, every began to build, with unusual strength, painterly masses within
has its own tone and is a detail of a new construction. the system of Cubism. As soon as I removed the
therefore must be covered partly with painting, partly tion, his nervous system immediately began to feed on
partly with colour, and these are three contradictions element, and on the negative of the Cubist system a new
two, tone and colour, contradict the painterly principle, element was fixed which did not correspond to the structure of
say of Cezanne, on which the painter is working. I knew Cubism and created an eclectic phenomenon. In one
painter cannot accept all the contradictions intuitively, and the isolation was broken, a Cubist element managed to
necessary for him to solve this problem in his consciousness, i.e. the Suprematist system which resulted in the breakdown
to analyse the reasons which hinder him from building whole canvas, and on the broken down canvas one could find
painterly body. Of course, such work is difficult for elements of Cubism and even of painterly matter of a
and exhausting, and hinders the manifestation of like in Cezanne. Such an attitude was for me an
fore, the inspiration of 'inexplicable mood', as the the development in the painter of alternating
selves say, arises, the painter must, in this situation, in strict isolation, establishes his organism in the last
thing, choose one of the additional elements and cultivate it. I a constant activity, rejecting everything and asserting
saw that in spite of all the attempts of the painter to stand firmly subconscious only one system. His relations to form
on the Suprematist straight line, he has to fall back onto the from eclectic mixtures. Such a painter, exposed to
Cezanne culture, for Suprematism was accepted logically within of a new additional element, already accepts it as such and will
himself, as a theory, but the whole inside of the painter not insert it into his last system, but will start working on it,
in a painterly fashion. In this way I quite clearly developing it into a
levels of interaction of three constantly inserted In my observations I came to differentiate various types
ments. Furthermore, I carried out work on another ters which I divided into categories A1, A2D, A3D, A4,
work of cultivating and developing one or gories A2D and A3D —are empty-bodied, A4 eclectic,
element to the maximum norm. From that method, typical or constant. In the empty-bodied painters
that towards the end of the norm of, let us say, the culture can develop which is brought about by the category Al,
ture, the Cubist curved lines started to develop imperceptibly in the empty-bodied category A3D is capable of changing
178 t h e i r typical amalgams. In this period the painter 179 c u l t u r e of painting which is inculcated by the category
 becomes that milieu in which a given culture can live rounds this category. The dynamic plane of the surface
It becomes constant on the painterly plan, and in this it works will become irregular, then it will break down
ferent from A l which is not constant, it changes strokes, it will form a crust-like mass with all
another form of painterly culture. The other, A2D, in of tones and this will in its turn arouse the
can develop a culture, eliminate it and again inculcate of the painterly canvas," coming close to the
culture, has an organism capable of being renewed and, further, to the Impressionistic, and this will already
the aspect of the culture which has been inculcated. regression from the plane to the covering of the canvas
bodied category A2D can withstand for a long time ing in the manner of Channe. The signs by which one
the additional element of a certain culture of painting track of an individual belonging to the grouping A2D, that
been inculcated in it without going out of bounds of a come into contact with another milieu, are now apparent
stem; they found schools. They are a conductor in weakening of the steel, solid state of the surface of the
energy of the inculcated additional element of the the division of the construction of the metallic character,
can be preserved. I f this energy were to dry up, then annihilation of the geometric form, the plane, the volume
individual would remain empty i. e. not charged and capable of versa— the weakened lines or the hued spots grow
receiving again any of the cultures of the past or the when this individual is in a metallic milieu, on his canvas
live by it, i. e. if he is a Cubist he can go back to always see certain elements which have influenced him
from Channe to Monet, to Renoir, and farther to Corot. This to the breakdown of the surface which was first fixed
was the case with painters whom I had been observing steel-like surface of painting begins to grow soft in the
In due time, when it is possible to publish all the stance, resolves itself and forms a dough-like mass with
all my observations on painters, I will attempt to sum up ferent consistency, to the slimy, multi-coloured shades. The
vestigation in a separate brochure in which I shall give appearance of such a sign characterises the weakness
description and publish photographic material. which, in rare cases, change into the fibrous state,
bodied individuals of the category A2D have a form spots on top of the other, translucid, of solid,
and a capacity for perception, they can endure very liency and the diluted colour mass shows that the form
stress and impart great strength to their work. Some of painterly activity is weakening, that the nervous system is
whom I have observed in the category AO) have borne changing from a tense condition of resilient line-
force of tension of the metallic culture of the town into fibrous-curved alloys. The painterly brain centre,
several years, whereas others belonging to the category is applying a brake on its centrifugal movement, the level of
empty-bodied A2D, were not capable of keeping which was so strong that, on the walls of the
during one single year, they needed the presence of category Al. fibrous line have taken on a monotonous, straight,
For category .A2D a constant milieu is necessary in whereas the colour mass, spread out on the centrifugal
can exist and manifest their energy in a strong form but formed one solid, metallic, tone or colour mass.
able to keep to themselves for many years. But if they painterly-centrifugal brain sensation discovers all
prived of this milieu and transposed into another mentioned states of the mass in their weakened condition, but
in several years' time, however full they may be of heightened centrifugal movement backwards leads
180 c h a r g e , it will discharge itself and return to the form 181 m a s s e s and lines to a resilient state. In other words
 resembles a spool on which threads are being wound, and matism which it is impossible for a painter to perceive
extent of its rotation its solidity will depend. Either gone to the provinces. His nervous system is so
the painter into the corresponding situation, i. e. either sically that he cannot organise the elements chasing
nearest point (the painterly Perihelium), to the town of further in his brain into their new order of consciousness,
away from it (Aphelion). The painter with the fibrous lines or will occur. The canvas of the painting, the application
with the painterly-flabby dough-like spots on the canvas rial, the texture, the colour-painting, the technique, all this will
ways perceive in the town soft-bodied clusters of the amalgamate into powerlessness as to textures, colour,
It is impossible for him to perceive the colour-energy or nique. We can see signs of various nervous painterly states
of metallic tension, machines, electric wires; his brain painter, and by these we can define the milieu in which
arrayed, his consciousness will be unable to link one ter finds himself, and to which time his painterly
with another, it is simply weak, cloth-like. He will respond, and to which category he
a static correspondence in the light and shadow of The study of this sphere has been begun by me, but there still
flabby clay, ochre mass, light and dark blue, brown- remains a great deal of work, and resources are needed to
he suffers from colour-phobia. His technique will express itself analysis (for example: to study the causes of changes in
in crust-like brush-strokes, which intercross in to formulate this particular law). The empty-
by impasto application. These are the characteristic A2D, by the way, never manages to overstep certain limits
who fall into two technical work-outs of the painterly body development of the additional painterly element.
method of the seen and the hidden method. Their stand between two spheres of influence, the metallic culture of
mark in time the orbit of a movement—Cezanne, Rembrandt, dynamic painting—the town, and the provinces. They
Perihelium and Aphelion. I f the empty-bodied category A2D tween two spheres of influence and the slightest enthusiasm for
were to find itself in the inverted milieu of city culture country life draws them away with the current from
doubling would occur, i. e. their painterly state will take on a pole. The painting of clouds, abysses, forests,
resilient aspect. But such cases of return have not relaxed, and natural, nature-painting, begins to
by me yet, and I am inclined to think that the organism The painter of the A2D category does not possess a will
allow a retrograde movement to a painterly stage, such own, he only contains another will and cultivates it
is more likely to be a constant or a painterly He has to be observed strictly, i f necessary he must be kept in
than stand again in the centre of dynamics of the one painterly category, i. e. preserved in a certain
He will be kept back by missed time (isolation), milieu. It is possible to establish categories of
centre will rotate more strongly than his consciousness to various levels of energy of colour tension. The
Such an individual, while isolated from the metallic centre in is always dependent on various influences and does
which he now finds himself, let us say in Cubism, will in itself that independent additional element which
painting go through a certain time-span (the influence, it is not capable of progressing and
which will divide into two centres. One centre takes rounding influences with which category Al can easily
vidual to the side of the province, i, e. to Cezanne, the other will, on the other hand, one can sustain in it the culture of
after the isolation, achieve greater tension and will tional painterly element of any system, it can be a
182 i n the art of Futurism or in one of the stages of 183 a n d create a good school. This element is the most
 all teachings in which one can insert both the bullet mass of lines and spots represents a result of the
powder, dynamite and the Gospel, on it are maintained mentation, oscillation, marked out on the surface of
teachings and systems of states. The most Thus on the plane of the canvas we see new projections
is A4, the eclectic, it always amalgamates a whole series stimuli of the brain negative, the relations of the
ments and elements into one whole, it wishes to build a work curved lines. These straight and curved lines become real
from a whole series of systems contradictory to one another, it Such a painter does not possess the capacity of sight, he
wishes to accord elements which cannot be in accordance, see" as everybody else sees, he only augments or
political sense this form can be called 'The perception in accordance with this or that law of
element, the form of which will be different from
tions of other painters. The assimilation of these new laws of
relationships gives the possibility of seeing them
The strength of the additional element in the art of surrounding the painter, they give the possibility of
erts a great influence upon the physical change of the centre of form, as soon as it becomes known, by means of the law
perception or vision, upon the cognition of phenomena, or another additional element. I n accordance with one law or
category 111 always possesses these additional elements, i t is another occurs a fallout of some elements in phenomena,
capable of generalising the object seen by everybody into an tue of which they change their aspect, they become
aspect that is unrecognisable, of rebuilding a phenomenon into sible to those who have been incapable of following
a new order of elemental relationships. The happened. The mass has not observed that a phenomenon of
when it gets into the painter, breaks down the centres nature or a painterly form have been transposed to
tion, and the phenomenon becomes different in The violin seen through Cubism changes its aspects,
This occurs because, thanks to the additional element, form becomes subjective form on a new painterly level
struction begins of one and the same view reflected in the violin as such disappears, its forms are transformed
sciousness of the painter, reflected in the structure born painterly level, they are no longer objective. Thus
additional element, and therefore nature becomes that disappear, which used to dominate. They dissolve on
zanne's reality, Cubist, Futurist. When observing level and stop existing for the masses, they become
into whom one of the additional elements from the currents of for the geniuses who are capable of transferring one aspect of
painting has been inculcated, I discovered that the condition of form to another level of existence. A violin as a
the painterly mass slowly begins to change. My transferred onto the painterly level, stops being a
that in the painter a certain movement of oscillations The moment begins of disobjectivisation of the
tions of weight of a certain mass is created, which is old relationships of elements, and their new order in
with the additional element which provokes this condition terly perception is established. By this I explain the
the tightening and broadening of lines, spots, weight). of one thing for another and the seeing of new things
lation of the stimulated parts of the brain (if such exist) levels. The painterly canvas presents an already
ferent in every case, and the oscillation depends on it is a form of behaviour of the painter according to
stimulus, tremors that have been received from can find the cause of his state, the level of work of his
184 o f additional elements. The painterly canvas covered 185 a s s i g n it to this or that category of the additional
 the category of individuals. Every additional stopped and changed into parks, into restful masses,
new visual forms of relationship, establishes a new form not resilient metallic. Hence etnographic conditions are
terly culture because every single one of the important for various additional elements of the
is the plan of new time or a new structure. The repetition as the nursery of this or that additional element.
same phenomenon makes it necessary to group them, is the milieu of these people, and the range of their
and after this it seems that the phenomenon enters a the speed of movement of this consciousness, etc. If one
and becomes for the painter at first a subjective, and, give power to the Channists, then the metallic,
an objective reality of portrayal. Only in such a way would be metamorphosed into a suburb with
transference of masses from signs of the first level to ponds, here and there with small stone or brick houses
level occur. The additional elements emerge in structure and hue, engines or machines would have no
the discovery of some cause of category A1, and this painterly park. The state would have taken on a different
everywhere. In other phenomena causes are found order and a different production. Ethnographic
which some special people notice, causes that have led to fore become very important for any painter. They form
of view. The causes consist of a whole series of known cular milieu in which an additional element can
known amalgams which create conditions of a new order, or perish, and if one wants to receive one hundred
aspect of the structure city from the painter, one must keep its
I must mention that the appearance of one or azanne's school can be wholly assigned to the
element of painterly cultures has not influenced the which is in complete accordance with the energy centre
to circumstances, political and economic, surrounding small district town, with its stone buildings,
in his life. Every additional element on the painterly This is the first step after Millet and the peasant
a big part in the sense of perception and rejection of painting, the culture of which belonged to the village; it
dition of life. For example, the Cubist and the Futurist peasant culture in painting, and this line has its
town dwellers, this is their geographical condition, through the peredvizhniki up to the present. I t is completely in
like the peasant, are alien to them—the latter are opposition to the art of the town or the labourer,
primarily for painters as such. The Cubist and the the labourer produces the dynamics of metallic culture.
wholly concentrated on the energy of the town, the say that the beginning of workers' art is in Cubism, i. e.
reflect their dynamic geometric force, they are attracted particular moment when painting begins to disappear.
tallic culture, whereas the painter of the Cezanne culture will zanne's painting the village as a centre was
have yearnings to get away from the town. The peasantry as disastrous for his painterly culture would be the
at all foreign to him, or the provinces. But the Cezannist by far of metallic consciousness, i. e. the culture of the
prefers the suburbs, the small town or the district town. War chauffeur, the pilot, heavy industry which consists more
could have arisen between such painters if matters penetrable geometric forms, plane and volume. Here
questions of power and building. The former would say culture of Futurism and the first stage of the
peasant and his rye culture must be metallicised, Cubism, contrasting in its ideology with Futurism,
on the contrary, would say the opposite — that things fracts phenomena for the sake of art, and which is on
186 m a d e more peasant-like in the towns, that its dynamics 187 w i t h non-objective Suprematism. On the other hand the first
 stage of Cubism is on the border of Channe's culture ture, half nature, the provinces and the town —
cial towns, whereas the third and fourth stage is on culture of man, these are the conditions for the development of
of the metallic centre. After Futurism comes a new painterly elements. If, for the sake of analogy, they
supreme straight, which I have called the posed to the medical understanding of climatic conditions for
element of dynamic order, the appropriate milieu for it is various sorts of bacteria, then they would be regarded
as the necessary milieu for the aeroplane, for the vourable and unfavourable to the development of
structure of planites, aerial Suprematism. The air space illness, or any particular culture of the additional
the dynamo-planites exist is the basis on which one will climatic, ethnographic conditions of the provinces, and
plan dynamically the earth structures. This duction centres are harmful for many painterly
can be of a Suprematist spatial or plane structure, which are unfavourable, but the urban conditions are favourable, for
divided into dynamic Suprematism and non- example, to Cubism, Futurism and dynamic Suprematism, for
tural statics according to the additional element of which the conditions of the province would be harmful
Their dynamic elements could not develop in the the climatic conditions are harmful to the Koch bacillus. In
side the metallic culture which is fighting with all this case the Suprematist straight line, like Koch's bacillus, is
all the far away provinces and the architecture of weakened in the same way in the painterly individual. If
It fights with peasant art rehabilitating the industrial art the possibility of transferring the Futurist, the Cubist
labourer, the chauffeur and the pilot. The town like Suprematist-dynamic into the provinces, of isolating him from
weaves a web of telegraph lines about the provinces the town, then, little by little, they would free
railways along them below on the ground and up above the additional element and transfer themselves into
air. It drags the provinces along the railways, just as state, a primeval beginning, nature, because the
drags a fly into its centre, reworking the consciousness in would have to use up enormous energy to reject
trifuge, it turns its flabbiness into an energy line and of surrounding conditions. And, little by little, as
as tin, glass, tired, it would become equal to the pressure of
It is necessary for the state to regard every such culture and, when it had reached a level with them, it would
sphere of art as something independent demanding its own accept them, for it has already begun to weaken, and
milieu (its own climate), because every group of cumstances will enter it themselves and will produce
ses its own additional element of artistic creation, and and it will become provincial too, it will become an
creative chamber is to yield the greatest activity, one and will manifest itself as one whole. Happily the painters
serve all the conditions. The group of 'Cezannists' observed who were inculcated with a certain culture of
an academy away from the capital, as a painterly tional element, could not cultivate themselves in the
grouping possesses special qualities of acceptance had to work in the deepest provinces. I would
of conditions influencing them, and on this depends about their situation, or correspond with them regularly, for I
ture and hue. If there is more reception, then less force was afraid to say anything, or share my achievements,
on rejection, and the stronger the work the less tired I should exert a certain prescriptive influence over them. After
of the painter will be. Such a colonisation of a short period I found a certain reaction in the given
188 w o u l d bring great benefit in all spheres of science and 189 w h o halted at one place of equilibrium, and their
 was easily foreseeable, i. e. they would go downhill. and I explain the attraction of the painter to nature in
formula existing in the culture of Cubism (B.P.)28 or The painterly form of the provinces rises against
line of Suprematism (K.M.)29 will be annihilated by futurism, and wants to possess it. It is not
conditions in which the metallic culture is not present, and on the strength of this it was declared morbid. If
ment, geometrism, resilience. The awareness of the individual of view, that Cubism and Futurism and Suprematism
begins to work less intensely, for it does not encounter nesses, is correct, then it is necessary to accept another
circumstance in relation to which the sickle formula view, that the town itself, as a dynamic centre of movement,
(B.P.) or the straight line of Suprematism (K.M.) sickly condition in relation to the province as tranquility, for it
The organism of the individual begins to react to influences the organism with its own culture and
which surround him in the provinces, it submits to painter who transforms the influences of powerful
relationship and extracts forms in accordance with tories, motors, into a new form of painting. Hence it is
relationships. Thus the individual who has been New Arts can exist only in that society in the
elements of the town milieu disappears completely just which exists dynamic production. Futurism cannot
illnesses disappear, illnesses which can only develop society leads a semi-pastoral way of life. The culture of
surroundin spreads to individual suburbs and therefore seizes
In art one may draw an analogy with medicine in the with its wires, rail- and air-ways, tractors, cars,
a man, returning from treatment at a health resort in tural tools and incarnates the provinces into its
provinces, feels healthy in the town, but town society are afraid of the metallic town, there is no painting in
him as though he has recovered his health. The same is Futurism. One must take into account that Futurism is
in art. For example, the Cubist who has gone away to not of the provinces, not of the peasants, who live in
vinces and brought back a lot of landscapes, is greeted ces, but the art of the labourer, the man of the town,
and criticism as a man who has returned to healthy something completely opposite to the peasant culture,
town art — Cubism, Futurism, and dynamic of movement, consequently conditions other than those
from the point of view of society, and all learned criticism, in peasantry are created for art. The Futurists and
the realm of art, nothing but morbid phenomena from are occupied with one and the same thing — the structure of
must cure oneself through nature, i. e. the provinces moving things or of moving formulae, of
by going away from the energy centre of culture, away from power both in painterly form and in the form of
the town, in order not to see the metals and the stones, Their consciousness is always in the fluid state, their
the machines, but to see geese, abysses, meadows, activity is different—outside spring, summer, autumn
to seek out famous painters of provincial landscapes or their things and productions are hued outside the
genre school as though they were doctors and, under the seasons, their colouring depends on a particular state of
scription, to cure one's Cubistic or Futuristic speed. They have no guiding law of work, such as
Such is the argument of the provinces whose art is lost have. The things of the town express the speed of actual life,
sight of the metallic movement. Urban society has not which is the contents of the town called 'dynamic',
nically grown into the culture of the town, i. e. of the this the provinces protest and fight for their peace, for
190 n a t u r e , and it is always attracted to the cottage, closer 191 t h a t in metallisation exists a new formula of expression
 merging of their individual plough and farm his dynamic life is the content of Futurism, i. e. Futurism
the multi-ploughshare plough which will plough the his art (artistic expression). Inasmuch as he does all
into one mass field. The provinces protest against the painterly sphere on the two dimensional plane as
mena, even in the sense of agricultural tools, for these vity does not take place and cannot be the culture of
the destroyers of individual ploughing, the provinces town. Easel painting can only be cultivated in the provinces
for their own wooden plough and oppose i t to this is its milieu. Here it seems a conclusion can be reached
ploug concerning metallic material organisation and the art
We can therefore come to the conclusion that, sooner or rism; the other in painterly modelling with easel painting
culture of the town will embrace all the provinces art. Painterly art seems to have divided itself into two
them to its technology and to its light, it will deprive them of part of it has remained with the colouring material, it
their normal life of nature and will create the norm of by its former condition and principals: the other begins
Only under the latter conditions will Futuristic art another milieu, i. e. into the real space in which we
strength for its expression in the provinces, for they will material expression of the central dynamic force of the town, in
be provinces but one centre, linked with a multitude the formulae of Cubism and Futurism; and the
centres, with the army of metallism. Futurism is an actual art of expressed by entry into the productive form — a
the labourer, the art of the town. It is the art which is deviation which in its better time stood on the line of
terrible persecution by the partisans of provincial art: of materials, abstract aesthetic choice, from which in
sans are wholly provincial both in the time and in the art objects must be formed. Such things can be only
art, whereas in life it is the other way round, — they can be assigned to various types of style in the sphere
for futuromachinology because life itself is architectural movement, but they cannot be related
as it is actual, inasmuch as it throws out a great number (engineering). Under industrialism painting falls away,
with a greater expressiveness of speed. But this does architecture falls away, and in this case, on account of
that the Futurist must reflect the portrait of the machine as understanding, the arts of painting and sculpture remain
The machine is only a form of movement; he multiplies it element of a form which is being reborn, as an
energy and receives a new formula or form. This is Inasmuch as Futurism is undergoing persecution, inasmuch
trait and idiosyncrasy which so called realist painters do not in the provinces and in painting starts to manifest itself. This
possess and vice versa. The realists are different in that their indicates that provincialism in urban society persists, but
multiplication has the aspect—one multiplied by one = other hand an ideological painting is coming to the
visible one, when it is transferred into new energy, does not ganda in artistic form — political art, advertising, in
change, and essentially this one can be divided into multiplicity idea of the labourer, or the religious teachings of the
and create a new form of aspect. The Futurist also of life are manifested. Bringing out the ideological side of
city elements in the subconscious, in the same way as teaching, the need usually arises to depict the faces
the scientific side in him has little theoretical teachers, martyrs, etc. Pictures are created in their
asmuch as the workman constructs elements of a system likeness, so that the masses may recognise them. Art
strongest electric waves, inasmuch as he organises the powers of the dynamic power-circuit of the town
192 s i v e n e s s of the speeds of the dynamic centre, 193 f o r it has no facial representation. So I see art divided
camps: the art of the provinces— which is painterly, the art of 1/46 Contemporary
the town—which is not painterly, and applied art,
ideological. It is obvious that painters are also divided
categories and oppose their knowledge, their
strength to one another. Provincial painterly culture
metallic culture of the town and accuses it of being
sible to the masses, whereas the plough is comprehensible Contemporary modern art in one of its parts —
peasant and small child, and the electric plough is conquered the plane, i. e. two-dimensionality, as a method
sible to a whole village, being the fabulous monster it is. Of pression and has moved from the illusionary, three-
course the country masses can more easily comprehend relationship of volume on a two-dimensional spatial
sant depicted in the field than the laboratory worker in wards a new method of linking volumes, their relationship
ratory, or the workman with his crucible. Therefore space. (The Cubist method of work in time). Painting
is told that he must create such things which are its painterly Perihelium. On the turning towards
to the masses; the peasant would say: one must create curred that which one usually calls a crisis; a
which is comprehensible to everybody. The in the painterly star: one nucleus started to move to
that the Futurist thing is comprehensible to the masses, only it the other took a new path. Therefore the first
has to be studied, i. e. one must step from one level completing its return journey met other known stations
The labourer says that my electric multiploughshare plough road, and their images again arose in the consciousness
comprehensible and anybody can drive it, even a child, shape on the canvasses; in the other painterly
has to study it and enter into the new structural plan of that was only a desolate path—no objects, no images
plough in order to see its new reality, and then the path was empty, and in this movement, on the
will be brought within objective objects and images which remained in the consciousness after
the dichotomy gradually disappeared. Everything
and not a single element recalling the object and
remained. On this desolate path art lost everything
been introduced into it by objective meteorite dust. Thus
path the left nucleus dissolved all the objects and
in it into elements, out of which arose forms built
the law of art as such. The logic of this movement
the following fashion: the painterly consciousness
two nuclei, the right and the left, each maintained one
same relationship of conveying the real world
This striving in the left nucleus led to the fact that a
of the object can only be attained when the object
in time, by means of which the object is divided into its
195 m e n t s , fragments etc. The knowledge of the totality
 elements will give a sum which is the Cubist reality of ments of the object, of all its sides, and we build
This point of view gave the artist the possibility of tionships on the basis of Cubist painterly mathematics, i. e. of
folded in time, aspects which were not known for relationships, making a volumetric cubic facade in its
of phenomena in three-dimensional vision. Through a study of is a new form of architecture and a new art of painting.
this moment it was found that the first idea of conveying the full lies the difference between new art and the old, these
cubature of the object implied not the object as such, forms of a new life pattern. This is why it is strange to
exclusively the capacity of the painterly content in it, impertinent conversations condemning new art,
formed, according to the law of painterly sensation which does not reflect a life pattern. Imitative
of elements, and the juxtaposition of one side to architecture knew what kind of machine was wanted,
quently there was no cubic sum total, there was ing to this it calculated the load of material and knew
number, one side, one facade, but not three facades, of art, but it did not know the mathematics of art as
tionships, three temporal states, they could not create quently it did not know Cubist art or its ideology. In
ship formula for first, second and third sides. stage the new Cubist art directs the painterly masses to
buildings did not go any further than the two- in things and phenomena into a spatial organisation,
of painting. Although the architect knows that the house the total sum of cubic relations between straight and
sides, he nonetheless sees only one facade on which he a cubature work—the highest painterly mathematical
his artistic side, not linking those straight and curved of elements in time. The work thus created as a cube
are to be found on both sides and on the back; a house relationship will be, in reality, that constructive
one front side, the facade which does not relate, correspond in sum total from which one can develop a cubo-facade,—
its Cubistic, artistic relations. The facade in itself is structure, a building with many facets as a work of
it has nothing to do with the back or the sides—where works occur from the unavoidable process of movements
dump is; this is a one-dimensional, academic concept, not body, and, together with it, of our painterly
one. Architecture, in all its existence, has recognised discloses new elements and causes of phenomena before
number—the facade. We study buildings in the same way sion, and from this we receive laws according to which
study people, and we know that they have a nape of our consciousness, and the phenomenon itself is formed
a back, i. e. all the other facades, but we do not know awareness of its construction: one- dimensional, two-
relations and their interrelationships, we see only one point of and three-dimensional. By this disclosure of new
the facade, only one face and we are preoccupied and by the formulating in space of their relationship to our
it. The consciousness of such painters is flat, as with the contemporaneity we create a new building, i. e. that
e. an academic one-numbered, one-sided vision. sums up our awareness of the contemporary circumstances of
'new art' for volume constructions, i. e. Cubist existence; we create a new atmosphere, a new force, a
ships, is the result of the victory of the fourth dimension terial, of which the building itself consists. We have not
mena in movement, a victory over the plane, the two- a building of this new realism, not a single
consciousness where we had to learn the table of has ever been artistically developed in its cubic
plication for the simple and complex Cubist expression tions. And despite this, we are nonetheless the
196 b o d y in its cubic realism. We already see and know all 197 a n d we find ourselves on the edge of the completion of
 —of its cubic formulation. This awareness of new cannot be found in Cubism, and this lead back again
by new cubic painterly reality must immediately multiply itself retracing the old steps. Cubism, one can say, is
and fill the whole plane of life turning it into achievement in its emancipation of painting from
(form), free the consciousness and space from old after which this art has attained a painterly culture. In its first
for contemporary Cubist manifestation; it has to be stages the painterly material was taken to the limit,
the sum total of works which has been found already, subjects, life patterns, the portrait were thrown aside, as
existing form of the relationship, and material which can be cultivated only in its own
either a reconstruction (under the condition of through Cubism reached an exhaustive realisation of
lessness) and construction (under the condition of a tive painterly and constructive structures similar
of finances), which will change the whole form. A building which completes the material tavern type path of life
already collapses in our consciousness at the appearance attaining the tavern type cubic form, this is the
new element, just as a sum changes with the addition of type cube built from non-painterly materials. Cubism
number, if we allow this change under the aspect of the painter from his love of the old and his shunning of
building, we must consequently allow eclecticism of times. Our movement, his striving towards the old past is torn off from
architecture is wholly eclectic, for in its contemporaneity by the difference of form, and because
exists a mass of different times of the past, each side of the latter it is eclectic, for the old lives in love and the new
building expresses a new time i n form, but hate, the new, if it stands, stands thanks to its own
is not united by the facade, and its element is i n to hatred, and hence this eclectic amalgam of forms in life, of
pletely separate condition in time, from which one love and hate. Eclecticism is everywhere in the
liberated through Cubism, particularly from any mixture of the painter, on his canvasses, in music, in theatre, in poetry, in
historical temporal relationships, mixing the all his work — this mixing is everywhere,
with the twentieth. We affirm a unified, contemporary form or porary life is encrusted by the centuries, as a pearl in
system: we reject whichever parts of the dying systems one thing from a multitude of other things of
historic past that might stick on to the plane of today in our during the present socialistic organising o f life's
understanding as one-dimensional, two-dimensional, comforts through new forms of correlationships,
mensional cognition. We now sum up a phenomenon in guards of history in the sphere of art, they fill the
a whole, we have a cubic, new reality, henceforth excluding all socialist square with forms in the shape of
past measurements as a form which has lost its measure sarcophagi, parthenons, stadiums, discus throwing,
temporary life. Thus in no way can we hinder new art as ling, athletics. These are two worlds, in the political
method of perception which stands ahead of all others; in time they are different, but in art, the corpses
new realism now dawning in life clearly says everything is from the grave from the time of Pericles, having aquired
finished, no cubic realism as yet exists to which we are youth through the pioneers, elevate classical
ling by tavern-like and religious methods, and only the second generation, the contemporary in time,
we arrive at Cubism. Cubism was not understood in the pilot, the new interrelationships of air and earth,
and for this reason people shunned its completion, that phone, the telegraphist, the machinist and radium, to
198 t o n themselves were in essence painters, which on 199 p e o p l e correspond: the Cubist, the Futurist. The beginning
 emancipation of painting from the eclecticism of of life. Thirty years of life in one house, or to stay in
lay in Cubism, in it begins the destruction of the eclectic means not to live at all. Society, like a boa
painting (the compounds of the time of various epochs). food for weeks on end, looses many good dishes,
still appear that in the first and the second stage the new inventions are made. Asses and horses still get
represents a whole series of elements of things in with motor traffic, thanks to that love of old objects,
and that by this eclecticism is revealed. This is incorrect. This liarity with them, which puts a brake on everything of
time variant is the reconstructive moment of Cubism, of path; yes, you will say, if we had the means,
dimensional culture, by means of correlationships of travel in cars; universal labour gives these means, but
dimension, it is formulated as one single time. This aspect with the old attitude to work hinders the development of
descended unexpectedly onto society. The unexpectedness order of labour, and the same thing happens in art. On
phenomenon astonished society by the fact that in for the old depends the whole production of new
menon there were no signs of those objects on which as it can— with great trouble—assimilate them; new
cubist art was based, i.e. the popular, (peredvizhnichestvo), built, new life is not moulded into them, there is no
ligious and the social (elements). Society had not it. People say: the masses do not understand it, not
three-dimensional reality (or, in another case nationality, are themselves deaf and blind and are sure that
tavern type order) when the new four-dimensional formula of is also blind and deaf, they are in a state of
painting appeared, a new structure of painting, the painterly one must give them what they can properly understand:
the new tavern like order). Painting bypassed the them very well', yet of course there are those who do
of the art dealing with religious and political stand, and for them exists a means of
puts a brake on the development of new formulae in life a decree is given by law, one must publish a decree
of a lengthy digestion, it strictly forbids the destruction as well, and those who do not understand will begin
of the past, forbids the levelling of everything to the stand. So everybody loves the old even without a decree,
the building of a new form on it. It does not notice that decreed earlier, a new decree is necessary, the logic of
cubically manifested form is contained its three- of Art demands it. Futurism said: 'Spit upon the altar'—
form, the one- and the two-dimensional state, it is to free yourself from infatuation with the past or even
its fullness, the complicated sum total of the body multiplied in present, when this is done man will have sung the
time, its multisignificance. And yet in reality the movement of noise, for in it, in movement, he will see
cart is nothing but the trace of the carriage, and the latter of freedom, freedom from eclecticism. He supposed
aeroplane, it is the same idea which has developed into does not burn in the sanctuary which he has spat upon,
significance, the two-wheeled carriage has received a cubic having lost the sanctuary, man will go seek a
aspect. The nucleus of life frees itself from the past Together with Futurism, Socialism spits on the old
becomes a corpse, this corpse becomes the load of the system, yet nonetheless all labour instead of its
is dragged on the tug of contemporary life. This points tivist activity of to-day puts its stamp on yesterday's
the fact that new inventions are produced faster than the old the traces of the past. Poets write novels, whining about
ones are abandoned. The inventor can find a new or the new is chased in, burying the past, for it is the
200 t h a n society can eliminate it. This is the brake on, 201 d e m a n d s them. It is clear that there is no demand for the new, it
 has not turned into whining. The imitative form with its three-dimensional perception of the cube, i. e.
something else both in art, in science and technology, reality vision of its three sides in the painting, would strike
changes itself in movement, leaves new traces, and in it outrageous, just as the Cubist perception o f the
new inventions of laws, governing a new formation of today's viewer as outrageous, i. e. it is a four-
reality of nature. New art is a body enriched in pearance on six planes, in time. Our contemporary
which arises a duplicate art as a consequence of compassionately and joyfully to any matter which attempts to
of the new body. Art has only enriched itself by new recreate something, which attempts to resemble the
of that same portrait of phenomena and has become a would welcome the Cubist who returned to Ingres
ralisation in which no signs of phenomena have remained, but brandt, just as the Egyptian would have welcomed
the consumer is not accustomed to see nature in such a three-dimensional perception of things returning to
additional elements which have changed the dimensional plane, to the nose which pokes out
therefore the consumer has always stood against new art tween the eyes. A l l phantoms of yesterday clearly arise from
understanding that acorns fall from one and the same this return, however hard one tried to distinguish
for it does not depict nature on the same plane which them, this pair of eyes and the nose which pokes
yesterday. It is strange for him to see that, apart from them will be proof that the additional elements of the future
man has a back, a nape of the neck, that there are order are withdrawing, and the day before yesterday
that relationships multiplied by one another compose a sweet little face, the naked piece, comprehensible to
in the painting (a new work) though not the sum total an abundance of flesh in the spirit of Rembrandt, Rubens or
arms, legs, hair, that in nature not a single facade but Ingres. The aspect of this abundance of flesh hides
tude of facades exist, that not only must he see them, of painting, and the muscles are revealed. But such
must know them as well, for knowledge and ship exists not only in the sphere of imitative art, but also in
that which is seen, and helps to form, to complete, all sides of the images, in the life of economic, material structures.
the phenomenon in all their interrelationships. sphere people travel with the same tortoise like step
of its new volume, of the new fullness of its portrait seems wild path of one-, two- or three-dimensional realism.
to his plane vision of yesterday; how can it be that a does not recognise the economic order or structure which is
three, four faces? says he, is this utopia or an shown to it by contemporary life in its cubic reality.
does not see anything concrete and thinks that a face is only in hilate free trading means to annihilate the past portrait
a place where there is a moustache, eyes and a nose. economic structure and the labour exchange, i t is
tectural facade is only there if doors are painted onto dimensional realism, an academic point of view, and as
and the doors at the back do not make a facade. a new economic policy is established, then the society
element is strange to him; in it he sees only the sign of sumers rejoices and says: at last here utopia and the
disintegration. Two multiplied by five equals ten, ten of the new economic order is overcome by the
will signify disintegration. The Egyptians i n deep antiquity of free trading. Here it is evident who is the shop
would have said that a cube has only one side, and that the the buyer, who the owner, whereas in the new order
other five sides are an invention of the painter, a clear: where is the shop assistant, where the buyer,
202 t h e whole, a distortion, an abstraction. Our 203 t h i s picture it says: 'State Trading' (Gostorg). In the
 greet art with all the revolutionary press, it returns Therefore some artists have begun viewing these
to Rembrandt, to the healthy Turgenev, to ces in painting while others 'have gone to extend left
and the observer started to see eyes and legs and arms, the production of comprehensible, 'necessary things',
feel the erotic aspect of rythmic movements made declared war on the abstractionists, 'those who are
legged women; everybody recognised their sary', remaining themselves expedient 'necessities'. In
grandfathers who as though alive started to emerge in one of its parts, the representatives have disclosed this
tombs built in the architectural style of the sary' movement and have begun 'meanwhile to strive'
cemeteries, from a Mausoleum in the Graeco-Roman the masses comprehensible, necessary things, they
started of course to introduce their own classical Constructivism with the aim of building utilitarian
to please the revolution, but in order to be In Western painting, in the person of Picasso lies
kicked the classics once more for the sake of painterly aestheticism. But I shall attempt to justify them by
pecting the revolution to become Aphrodite, and the fact that western, like eastern painters, cannot
Astarte. Thus there came the cry, first at no great any further than painting, that the point of view of
those resurrected in art: back to Turgenev, to possibly built on love, on attraction to Aphelion, i. e.
vizhnichestvo, and light dawned for the dead and for pletes its own lawful, traditional, painterly path from which it
and we cry enthusiastically 'Hurrah!' The more cannot stray, in this lies its essence, the final point
casso was the first to enter the catacomb, movement from Rembrandt to azanne, and vice versa. Of
himself to the outer world in the image of Cubism. I n this course, all is possible, one may love a Persian, a Chinese
screaming was felt a new policy in imitative art, but Egyptian girl, their image in nature or painting, but
in the West came the suggestion to move away from has to take other phenomena into account in the new phase of
dimensional perception of phenomena to the three- art which has left the orbit of Rembrandt—
to comprehensible depiction for the masses, for the and Magdalene; in the nucleus of the new cognition
lost sight of all numbers, they no longer formed a double-star, Edison can no longer return to
in algebraic signs and cannot calculate tive technology of portrayal, and in the same way new
has become too non-objective. One must make no longer return to Rubens, t o Rembrandt and
hensible for the masses, and particularly for the Science is a fluid thing, and hence the severance of
draw Soviet still-lives and count up to ten, no from technology and science, this, at any rate, is
exceed the number of the fingers on hands and feet, in old art; the new position of art is different, it can
goes beyond is incomprehensible, and is there any need from technology, it can also form with it a double star,
more things than there are fingers? Everything that its logic of movement, its own reason or madness.
prehensible is obviously harmful and obscure, an taken a stand and accepted the new point of view it
unnecessary. Start from the stratum of the can return to the past, to the comprehensible, to the
with the stove right up to Turgenev, to Ostrovsky of Pericles, the masses will nonetheless have to find
again, the spatial distance should not exceed the field way in it, as an astronomer with a new phenomenon
of the mass, Turgenev, the Renaissance, Rembrandt nomic space, and they will have to learn to operate
204 j u m p out of the field of vision, otherwise there will be 205 c o m p l e x numbers than the number of fingers on
 and feet. I f a new economical policy for the market trading of cleansed of carts, carriages, horses, asses, sight must
the past is established as an understandable form for cleansed of imitative art, of past cognition of
of course it must be established in the sphere of art, and for the ear must be cleansed of sound structures, otherwise
the higher artistic schools. A healthy, clear, imitative doomed not to hear and see, their organism is
prehensible to eye and ear, must be created in normally amongst them, they are just outmoded
measures are certain relations to the surrounding which still live in our cubic time, with its new transference of
in which society, to which they are not clear, the body, hearing and sight. Society had not yet had time to
them. The new phenomenon or measure is a fall out of love with the carriage when the inventor threw a
for carrying out, not private trade, not three- new plan into space— the aeroplane, the zeppelin.
tative art, but four-dimensional; not on three, but on not had time to fully enjoy the depiction of Venuses,
not a half-cubic, but a cubic form, this will be the of the Empire and the Renaissance of Russian style,
of our lime. On these two relationships depend the the inventor in art gave a new push in the back to
and form of the building of modern contents, on man in the street with his new reality. The inventor
the production of work, hence are created the ear muff quered the car with the aeroplane, and the painter
eye cataract which block up the exit to new forms, forms of art, he saw new circumstances, a new cognition
eclectic form is fortified, and the old consumer holds ture, new approaches to the study of circumstances. The
and the new producer in his hands, on this depends now eclectic, just as three-dimensional imitative art
form of eclectic work, work cleansed of all admixtures for now there is the aeroplane to level out the whole.
day. A correct relationship to the present frees work is no longer necessary, just as the ass depicted in
past, directs it towards the production of is no longer necessary, just as Vrubel's gentleman of to-
and gives it the possibility of immediately multiplying no longer necessary or the knights (bogatyri) of Vasnetsov, or
invention, not only in technology, but in all its arts of the Kazan' Station in Moscow. Postal services are
nitions, and the latter moves life more quickly telephone and the telegraph are conquered by the radio. The
and expands the consciousness. The freeing of to-day's thing web of telephone and telegraph wires should have
from yesterday's stock makes it new, non eclectic. To cast off away long ago from the towns as a spider's web is
the days of yesterday means to cleanse the plane of life from of houses, and the post office should be annihilated
eclecticism, consequently it is necessary to make of spiders. The new significance of the life of
non-objective, and to rid it of the amalgamation in one thing and factories, the meaning of their work, lies in the
of several stages of its development in the past, proving not multiplication of new forms for the mass consumer;
the concrete but the abstract aspect of the path of to-day, to must be linked with him, as new forms remaining in
prove the failure of yesterday. Eclecticism is the ventive academy, in their scientific institutes of
of the inventor of new forms, these are the dry there will be revolutionary labour and revolutionary
hinder the tree from growing. Mass vehicular does not portray asses or cars on the plane of their pictures, it
have been an urban streets long age, and new plans is• already something which belongs to archeology,
linked with the new energy of new architecture, new forms for with traces of culture, but not with culture itself. Why
206 h e a r i n g and seeing the aerial construction. Roads must be 20 need new forms in space, well, in order to cast the
 in their mould, and not in that of archeological material. To heard, already sound in the ear. Movement or the
work out yesterday's forms in the factory or to portray all schools and everything on earth, free themselves
in the higher artistic school, in the light of Rembrandt day's state in the course of movement, and, in the
means to affirm reaction, to hinder new sources of the higher artistic schools rid themselves of their past
mic life, to award status to the fossil, to bring thought to higher artistic schools become 'the schools of movement'
block the path of analysis, the path of intensification, the material of contemporary life, and the factories,
of studying, it would be the same as hindering car traffic by for duplicating art, must accept Futurism as a method
putting horses, carts, donkeys across the road, as though ment, as the sole method of assimilating the material
street were blocked to cars by a collection of invalids, and struction linking it with movement. To free things from their
yesterday is an invalid, and we see all its relationship with yesterday is the problem of labour and art.
perplexities (to be at a loss as far as the new is To-day's energy cannot be pushed into the thing
in skyscrapers there is no salvation for this one cannot link an engine to a carriage, it has to
they are those same invalids in fifty or two- and he who wishes to see the things of to-day must
hindering the descent of aerial planites to earth. from them, i. e. non-objective. To affirm the things
changes consciousness every day, his inventions lead means to wear a mask or grease paint, not showing
from the past into the present day, as though from to live on one plane of consciousness, to be an actor
of the skyscraper he has lifted himself to where •sees his own face, for he represents, portrays the face
cannot reach, nor the tower of Babel, for they are invalids of past, or the future. Yesterday always looms over
the past. The inventor is movement; to invent means frozen into a mask representing itself as a censor,
but retarded society does not understand the usefulness taching to itself, as though they were orders of
movement, it sends it away to the future saying: 'we hensible laws asserting their right to exist to-day.
wish to move any further, we are quite happy orders of merit on every new event he will wear the mask of
do not disturb us, the rhythm of our movement does yesterday, so that one resembles the other, therefore any law
anything to us, there, in the future, you will be loved is already a mask for a new phenomenon, a law or
stood, but for us you are abstract, and your portrayals in command is one and the same, (the
incomprehensible to the masses. Your movement makes of the laws of law). Movement is the champion of
your aeroplane does not suit the nature of our mations, and no law tolerates this, for movement is
new art is not good for us, our intelligence packs itself away in of discovering new laws of circumstances, and consequently a
a carriage or in Turgenev. We do not know where new cognition, and therefore it must become the bearer
date new art, on the nose or on the tail, to smell it or consciousness everywhere in order to increase it;
to it, we have not seen anything like an art of movement turism, like Cubism, and new art in general, must take their
Futurism.' Thus Futurism has called itself the future, and for place in higher artistic schools as a new art depicting
this reason imitative art has sent it into the cumstances, for in them lies the movement of
it is not found in the higher artistic schools, since the future art at the head of all this, the innovators will cleanse
schools do not yet exist, neither for sight, nor for of eclecticism, having divided everything into
208 y e t great layers of turbulent metallic sounds, which 209 m e n t s of art forms and theoretical auditoriums, and
 of the image, the plane of the vision will be freed has declared a struggle against the eclectic order of
hensible portrayal and will become the form of rests assured that life will be cleansed from
structions, i. e. it will transfer itself to a new depiction of a truly ness when it becomes non-objective, thus non-objectivity
existing time in observed as a revolutionary phenomenon i n art. Familiarity
Innovators in all the arts will straighten urban street with a known economic order of various systems is
of their eclectic union, and buildings from their cism, hindering the assertion of a new common order
they will free new systems from old things, they will tionships, and habit and aesthetic love of certain
town to a new cubic wholeness of facades, visual the establishment of new ones more difficult. Victory
form. I t is difficult to direct eclectic work in the nomic habits means rejection of the past, i. e. it
to-day's inventions, and i t is difficult because ness non-objective. Victory over the old form
questions, like aesthetic ones, are the same in guarantees the creation of new forms in non-
talism of yesterday, and monumentalism is such a structure in ticism cures by the rejection of to-day's plan. In
which yesterday wishes to secure itself for ever, everything is the aeroplane, car or motor system will stand a cart,
counter-revolutionary for it, to-day and tomorrow barrow, a plough, the horse, all the consumers and inventors of
law). Monumentalism is opposition to the movement yesterday, all the natural household, cottage industry, hand
morrow in which Futurism sees life, i. e. the art of painting of artistic portraits, landscapes, the construction of
of laws; this is why Futurism eulogises movement towns on a spiral, on a curved line, the building of
the music of sounds, for in it moves musical material buildings, the erection of poles for telephones,
a new musical culture arises. Consequently in new art lights, the building of monuments and also of
no habits of loving the old, everything is fluid, everything arches, factory chimneys, buildings in ancient forms —
movement, everything is changeable and therefore, in will be an eclectic occupation, whereas the labour
structure of art, there is no monumentalism. To struggle with duces them is reactionary. Aerial planites will point to
the static is a promise of changes which must come in their plan for towns and a new form for the habitats of
own good time, changes of things, and therefore new lers, in them will be heard the sonorous sounds of the music of
declared war, it wishes to change old forms, old the future, these are the new voices and the new choir
and old imagery, and in reverse new art has declared planites (aeroplanes). In accordance with them
yesterday's form on aesthetics, an 'the be planned and linked, the habitat of the earth
beauty. This is why Suprematism, even in the year 1913, be linked with its movement, in air as on the
stageboards of the theatre of Luna-park, in its production of to the one plan, this is why new art, and in
'Victory Over the Sun', declared non-objectivity in order to matism, now suggests to engineers, technicians, architects its
cleanse its consciousness and the flow of artistic life first non-objective Suprematist planites as a form
relationships of forms; i f we need the old, then let i t lie in working, and seeks an ally in the face of to-day to fight
the archeological larder; its significance for contemporary life form of architecture of ancient constructions, with
can only come about when an element remains in its art, for it does not correspond to the forms of the time,
ture which belongs to my contemporary life, which I present day plastic construction of air
210 a s a contemporary element, joining it to my own.
 II Christian names can be changed to pagan names,
The Christians vanquished the pagans, they transformed their simply been transferred into a new level of development
temples into Christian temples and substituted their technological side of the Christian
they substituted their own cognition of the non- nists bear the same names as the Christians, they
i. e. a state of affairs which does not have ranks, selves by them, and, if the content of Communism is different
houses, machines, monuments, without saints or sinners, light then the names and the form of the building must
or dark, hot or cold, death or life, they built the church too, for a new content also creates a new container for itself. If
image of pagan temples. I f the form of the pagan a Christian Vladimir found it possible to take the place
proved in keeping with the new contents, then obviously this run, then he only became the deputy of the latter to
new content has not moved very far away from developing his pagan lack of knowledge into a fuller
and consequently a new additional element did not enter into knowledge. Perun's range of cognitive truth or
its content, the element which disrupts its old limited, and from the point of view of Vladimir,
nity in one of its parts, having acknowledged the gining of the universe was also meagre. Perun
obviously found it possible to form its new contents self to be the God of thunder, whereas the latter
of the latter. That was two thousand years ago, from the point of view of Vladimir, was not within
rary life too insists on maintaining itself in the but in the power of the one God and his universe.
(at any rate in the Renaissance). The efforts of architects to of Vladimir seemed to be more perfect in truth,
create new towns, or it would be more correct to say, to war broke out between these two imaginings,
new content into ancient containers, indicates that and St. Vladimir, the victor was Vladimir who proved that
life has nothing against dwelling in them, and if it only one God exists, together with his prophets and
immediately into the ancient dwelling, this is there are no other Gods, about whom tales are told to
it has no means o f moving. I n any case contemporary life norant people' by the pagan priests and sorcerers, there
welcomes all revivals of the ancient type. one God existing in the Trinity. In accordance with
architects were always inserting new dynamic life into the anschauung were created the sound structure of
ancient type, wanting to enliven the former by the latter. art and part of science. In this way a new system
latter is the content of Socialism, Communism, in government started, with all the saints and the prophets, the
part, finds it possible and appropriate to use the universe. On the religious, spiritual path arose
for its formation and, to revive antiquity, builds image of the government of the universe, and a new order
construction (the construction of Volkhov is the on
centre of the R.S.F.S.R. on the river Volkhov), and Christians have taken possession of the temples of
will have to accept that the ancient triangle is the gods and illuminated them with, and all the pagans saw
and nest and tribune in which every content is formed, be the new light, or in the new illumination of the universe,
Christian, Communist. A l l Christian temples can God in three persons is revealed, with the angels and
after Communist leaders, and in the place of crosses one (man can see everything, this is why light and
the hammer and sickle formed in the shape of a cross, as exist) and besides God there are no other gods,
212 s y m b o l (thorny, with traces not of thorns, but of corns), the 213 n o r Yarila, nor Mars, nor Jupiter, nor Apollo, nor Venus.
 disappeared, for they were all a prejudice and ignorance III
unenlightened masses', they remained only as values in In contemporary culture exist three places which are
remained as great art, portrayals of the non- a religious place, the second a civic tavern-like place,
From this non-existent world of the gods, art created third the aesthetic place. Generally all three places
and consequently made i t possible for prejudices but three forms of art on different levels of cognition
themselves, it went over from non-being to being and into life trayal of the universe, and from these three places arises an
patterns. I f in such a way the communist contemporary world insight into the world, i. e. into nothing, into non-
considers that the significance of ancient art is And hence begins the creative work of three arts on
of course new towns, as the new contents of the nition of the depiction of this nothing, of this non-
be formed according to ancient models and illuminated with in the attempts to portray i t one must take into
new light, a stronger light in which the Christians transformation of nothing into something, into a chair,
see that no gods exist, no saints, no prophets, only a machine, a tree, water, iron, steel, glass, a picture, and
leaders, fighting for the atheistic image of government occurs because the world is incomprehensible, if man were to
ture, and for the establishment of a kingdom without class, understand the world, then there would be nothing, i . e. no
non-objective, but on the other hand, if this ancient concept of it would be created. We attempt all the time
accepted by contemporary life, then obviously the the unknown and to form such a phenomenon into a
the ancient games, the ancient colloseums, the comprehensible to us, whereas its sense lies in the opposite,
the ancient feasts, the grape harvests, the Bacchus of fertility, thing' has risen up against all 'something', 'he who
must be accepted, whereas contemporary attainments forming will become everything', and all that was 'something'
life by means of aeroplanes, radio, electrification will formed itself into 'nothing' and has become nothing. Nothing
respond to the ancient orientation, this is in its own way did not arise in order to become a general, a mayor, a
important, technological necessity is not the main thing. But if accountant, it arose in order to cast down this
new conditions are revealed which have created instability of the definition of this nothing conditions
life then the technological orientation must also be different, for of the gods and the replacement of those sciences, of
if there are no new circumstances, then the part tists, some saints, some martyrs and heroes by others. This
and imagination will not be increased, will not be widened by replacement occurs in three places in the same order.
new forms and will not become more perfect than strive to overthrow one of these places, then we
it can live and stand in the same place. Then the place but knowledge, and in that place we simply
talism or stupor, the obelisk, the sphinx, the pyramid. Thus if change, one lamp for another. Only new knowledge o r an
imitative art, sculpture, and architecture are orientated to the enquiry into that which was not known yesterday
ancient world, literature to Turgenev, painting itself, that which has not been studied fully, not
Ayvazovsky, and music to similar individuals, A new foundation is suggested, based more on
all schools of art, all academies of music will be sarcophagi in knowledge with brighter content (by bright one has
which dilettante mummies lie isolated from stand the luminous field of vision in which one can
mination of the universe— which were not fully illuminated by the light of
21 215 O n e can see, therefore, that not a single place of vision
 hilated. The place is the eternal plate on which this point of vision — the second. This fourth point, or
same existence is manifested by new technological means. And is always non-objective, and man strives to join i t
not without reason it is said: in place of the holy three points, i. e. to transform non-objectivity into form, to
shall build a university as the luminous temple of science, in it receive a rectangle in which the dissolution of the
we shall make a tribune of new academic luminous screens. We of the triangle occurs because of the rectangle, in this
shall remove the holy temple, for its light is like a root and the meaning and the source of life. The form
and put an electric tribune it its place. From it will come ancient triangle does not correspond to the essence
light and point to a content which did not exist in of Communist teaching. This form can correspond
until now. The Christian said: we will change Perun and will and Christianity which has from the beginning, a
put new saints in his place, i. e. new lamps, more beyond itself has it in the centre towards which a Christian or
we will set up tribunes in their temple, i. e. ambos in the pagan strives in order to receive good. But inasmuch as a
and that of his saints. Thus the churches can be called force exists in Christianity and paganism which calls itself a
bunes and ambos of various saints. Our contemporary god, which they cannot accept wholly by themselves, so this
not far from Christianity. If the Christian church power will be eternally greater and my equality with it
in the name of its outstanding people, inasmuch as different. Inasmuch as the idea of Communism strives
porary world strives to establish the light of the new power, this power equally to everyone, the form of the rectangle
a new contemporary observation of the universe in which form. I f Communism were to spread this power to
received new additional elements, and it is obvious that pressed by the ancient triangle, this power which stands
tribune must arise, i. e. new manifestors of new studies and centre o f the rectangle, then they would all rise, stand up
explanations of circumstances in the old place. These straight and be equal to this centre. They would
dies and explanations grow from that same place, from power to lift, with their bodies, the weights lying on
the same observatory, in which technical means are they would be as free as the power standing in the
placed. They grow historically from visions of one and here arise all forms and relationships
eye in more perfect telescopes. Only the aspects change
essence in one case, and in another case the
unchanging. Thus neither the essence nor the matter seem to IV
change, like three places of three points of view. Such is our If the buildings of the Communist life pattern are built
culture existing on the basis of three points. It is true form of American skyscrapers, then its content,
oscillate and one point of view can be created, one point orientation, is obviously the same orientation in
sion, but if this occurs then nonetheless one cannot circumstances. The difference occurs only inasmuch
self with the fact that the three points have been contemporary methods are revealed in relation to one
two places are conquered by one place of vision. Into same circumstance which it is necessary to conquer.
the two remaining places will come together and create Communism is built in the ancient form, then the form
a single point, for all three observe from three places life will have to correspond to that ancient point of
cumstance: existence, and existence is i n relationship to the orientation will be ancient, and in the circumstance one
216 t h r e e points of vision, a fourth point, but in relationship 217 b e able to find new additional elements which would
 in Communist visions. Therefore if these additional has given his top hat, we do not want life around us
not exist, then obviously only the ancient about in a top hat, in a fieldjacket or riding breeches,
consequently all aesthetic relationships will stem from we want to walk in ancient costumes, we do not wish
cient formulation o f contemporary circumstances, and the naked like the ancient gods, Venus and the savages. One
establishment of the ancient forms will clearly indicate that longer see the naked body, just as one can no longer see
the circumstance has not changed in its essence, i. e. in man, and we do not think that contemporary life for
tional elements have not been discovered which change 1925 should not understand that it is not ancient art
of view of antiquity. Inasmuch as our contemporary life significance in 1925, but to-day's, and we protest
year 1924 is attracted to the ancient, it does not move expenditure of strength, labour or the artificial support
the past. Antiquity remains even in the year 1924 in ancient form, or the artificial grafting of the ancient
tic to the new plan of contemporary life. Of course, every
It is said that only an idiot cannot understand the be made ugly and one can graft onto it whatever one wishes, it
of antiquity for the proletariat. On the technological can be changed into a chair or into a pole. I t is possible to
were such idiots who did not understand the meaning of the achieve a point where the new generation will grow up
ancient chariot for contemporary life inasmuch as spirit of antiquity. From this new generation we
the car, the aeroplane, the zeppelin, contemporaries, not of aeroplanes, but of centauri; we can, in
In another place it is said that one cannot block the world for order to achieve complete correspondence, breed naiads
the proletariat by means of a louse. By the word 'louse' marshes. Scientific paths are inscrutable, and the
stand new art, for nothing else is compared in the criticism. Of are even more mysterious, they can change youth
course this comparison can be made on the strength of Pans, centauri, and youth will not even suspect that in their
for the ancient triangle and the ancient Venus— own reality they are the contemporaries of
therefore it appears hostile in relationship to a new lins, etc. But we, the representatives of new art from
the rectangle 'without feeling or soul'. But I think youth, were idiots and have proved of no use to
if the significance of antiquity for contemporary life inoculation of the old relationship. For this business it
lated by somebody, then it will be only for the sake of cessary to have healthy young people, so that from
considered them a healthy centaur would emerge, so that a
But we, on the contrary, continue to be idiots and do art would
milate ancient significance and hope to create new
in connection with our technological idiots and to
buildings on the basis of the rectangle. We will not
put on the garment of the ancient form, just as the air pilot will
not don the wings of Mercury and fly naked. No
wish to resemble a fireman and appear a fool who instead of
a contemporary cap, wears the helm of Pallas Athena, and in
his hands holds the fireman's tap of contemporary
218 W e do not wish to be a negro to whom the
I/47 N e w ber of existing views which guide and form our
ideology, religious ideology, and the ideology of art
tially aspects of activity, and they differ in their
and people differ in their nature. (This superstructure
economic material basis is constantly concerned
New art is the new era of its ing all economic obstacles and therefore each ideology
outside other ideologies and own method by which it is possible to seize the
more quickly). Hence the division of human society
aspects of labour activity and ideological trend
Considering painting as the result of a creative interaction of whom the proletariat emerged as one of the
colorous existence and the painter's emotion, I found out that groups. In the business of producing objects it was a
this aspect of reality has an independent nature, a skilled labourer, as the painters, the artists were labourers
a system of interrelationships between itself and sphere of
that it expresses this relationship in one aspect or another Thus art did not have its own ideology i n accordance with
People define this manifestation as the highest state which one has to build one's whole life. Therefore art
feelings, of his spiritual harmony, creating the eternally ploited by other ideologies, and artists were forever
ful', as one of the wonderful superstructures over a bouring
economic basis of objects, the forms of which must Some proletarians sand and lacquer furniture. Others draw
to artistic shaping, for only then can this vital basis pictures for the practical-material or religious-
Thus objective life is fired in the artistic centre as structure, they themselves have never been in it and do
from which we receive the higher artistic objective sess a superstructure of their own, for it has not yet
viding our whole life into two Weltanschauungen: that what they work on is the business of the labourer
and the artistic. Consequently, the ideology of these artist. Such people will either have to throw out the
mena must also take over this furnished ideology, or build a third
The tendency to shape things in the fire of art exists in which they would work things out for themselves,
at a moment when practical ideology is supreme. The emerge from the ideology of the labourer or the ideology
a thing by art has fallen into the category of room But here a question arises about the shape of the
which dominates objective practical ideology. Superstructure itself. The old ideological superstructure is eclectic, for in it
art seems to have become the form—the means of existed various methods of attainment of good—the basis;
ideologies of state, religion, and of every member of sists of several ideologies, each one taking a
not its own (ideology of art). Nobody attributes any towards economic-material bases. All the other
Weltanschauung to art, although society, the state the ideology of art to themselves. The question is whether
all accept its enormous significance and consider it the only superstructure is good enough for mutual coexistence. Is it in
apotheosis accordance with the questions of art as such,
It seems to me, therefore, that the ideological In this sense there are two lines of discussion;
220 g e n e r a l l y consist of several departments, depending on 221 f o l l o w the material, tavern line, the people of art the line
 The idea givers establish their practical ideology lion, which is born from the stillness of our
labourer; the artists establish their own line. The feeling. The sensation of abstract dynamism in painting
to solve the practical economic question in such a way as to category of painters in line with technological
achieve independence of it, the latter also wish to take mism and thus can create forms of classical
path and not serve are closely linked with architecture and the construction
Two autonomous ideologies are linked by one aspiration. dynamic order of practical technology. In the
aspiration of the ideology of art has not yet crystalized structure they must have three independent departments
own independent line, into its own universe. It is leisure and rest. Dynamism in painting was closely
now as a method by which a whole string of political the dynamic power of metallic progress and has created
culcate their ideologies. Political parties do not need art namic forms of the Suprematist structure which
they are satisfied with purely practical expedient things, and quently divided into two aspects; aerial Suprematism,
therefore the method of visual art is preserved by and static Suprematism; the first becomes architecture
as it can illustrate an idea, but any tendencies in art art; the second, dynamic (labour),
to reach their own nature are Thus the essence of the new arts is something other
Thus, while making progress in all practical attainments, the art was not only a toilet article in the objective,
ideas of the labour movement remain refracted in old forms of terial State, but catered also for the spiritual
visual art. The new content of life is marvellously structure. In the community of society it has become
the form of any illustrator of the old means of expressing
For example, the eternally beautiful temple of Aphrodite New art is new, because it is an independent
a club or palace of labour for materialistic structure outside other contents and ideologies. It is
Christian ideology, too, can be beautifully established that the form of the economic tavern productivist
temples. True, it removed the amulets of the pagans Painting could not take its own ideological path, for
tuted its own. It is possible that materialistic ideology macy of other ideas subjected the painter to
over old locations, will introduce new amulets, new One can see therefore that painting became nothing but
of its leaders. Its success lies in new contents, but the form gurative art of the latter, or painting became the story-
building remains the same. Therefore 'the palace of existence, it became the illuminating light affecting
be established in any 'castle' or of society's behaviour. Prevailing practical,
This is what happened in ideological movements, as gious ideas took control of artists, and artists worked on
gies fitted very nicely into the same buildings. The suspecting the existence in them of their own
Aphrodite could become the temple of Sophia, and the latter afraid of the tempest of ideas in the revolutions
could become a Palace of Labour. New art, which is interrelationships, gratified the tempestuous figures of
strongly by the practical Weltanschauung, foresees in givers, sang praises to their beauty, attempted to serve
this mistake, and strives to create a new superstructure reflecting existence, promised to make them classical
above the dynamic basis of labour, Its union with as Rembrandt and Phidias had made diem. By its
gical ideology of labour may be of such cism directs them towards the cemetary, invites them
222 N e w art, on the whole, views only the architecture 223 b a c k w a r d s towards the tombs, because in them lie the point of
 view and that ideal to which contemporary, if she had freed him from her subjection, but this
aspire meant abandoning all circumstances and their cognition
That is why each structure in the spirit of old classicism he perceived non-being as the absence of awareness. It is
adays in a position to be an example for the which forces him to organize and to submit, to find means
A position at the front of new art must no more be ling conflicts and preserving his awareness, it is in this
for this example tells the tale of the new kinship of cognises his life. In this too lies the practical aim expressed in
existence and faces have once more become content for the buildings, machines, etc. This is this manifestation of
painter. Yet, for many centuries he did not know scious essence of man, i. e. of his eternal slavery and
art is one of the aspects of the common order of life, if that every victory is only an external show of
main part of all life. Art has its own viewpoint Therefore the struggle for his essence, for existence, is
circumstances of existence, but it is not in the category same time a struggle for non-essence. And he will also
ideas, as a certain material for decoration and non-objective (aimless) view of being. Non-aim, non-
was the means of manifesting on the surface of the of architecture is an action in which there is neither
attitude of practical and religious-practical ideas, and practical designations, as a non-objective non-
fraction of existence was not at all in accordance with lity which has never mastered or formed anything.
ter's point of view and strictly painterly relationships, i. e. all any violation of materioids" at the expense of
other ideas of material and religious good cannot be material for which have been dictated by the idea, will be only
painting, but only for religion and politics, and they violation, matter will not be violated, it is non-objective, only
own masters. Painting in this case cannot vouch for the fidelity the aspect remains violated (turned into a new aspect).
of their practical attainments and which we call an object of practical relations, is only aspect
Art supposes that all nature does not exist to be used distortion of the imagining of the
practical tasks or higher artistic formulations of objects, Aspects change into materials of an ideological
for non-objective actions. That the essence of paint, as and arise in imagining as a psycho-physical plan of
of nature, will be manifested not only in the portrait virtue of a circumstance that has arisen within the idea, as a
in concrete practical construction, or art in objective hallucinated imagining. In this manifestation we see a plan
mulation. Art supposes that the elements of nature, truly material essence, but such a material does not exist
organised according to the inter-relationship of my outside the idea. Certain relationships of psychic
and consciousness of influences, will express the the non-existent materials in matter. Matter
which is victorious over nature; that man, organizing to us, as do all aspects and phenomena, because we have
quers her and subjects her to himself by means of another physical reality, except in imaginings of ideas, i. e. in
One can also say the contrary: Nature forces man to hallucinations of imaginings of ideas. Matter is
her and to change, and all changes will be a fact of victory of idea can change it. Therefore all aspectual changes
nature over man. It seems, until this time, that nature was not into material, a thing, only remain reality in
organized and that man had an aim, i. e. to organize which in the very end must lead to non-ideological
practical purport. Man would have rejected this aim vity, the unchanging. Everything that we call an attribute or
224 p u r p o r t with joy, had it not been for nature's subjection 225 a quality of material also belongs to the ideological
 the progression of hallucinations, for matter does ideas, as the conjecture is the project guarding my
these and does not know them. It beginning
That which man is ready to manifest, manifests in fact The animal could not have this 'for', as it lacks the
psycho-aspectual culture, i, e. the idea, which may be beginnings of a Weltanschauung, etc., because at the end
of matter, but not material. The latter is a psychic change, he is left with that from which the change has
ing of man, psycho-physical mania about existing material or i. e. matter. For man, the reception of matter occurs on
quality hand for matter, on the other,—on to a higher category
Matter does not have quality, matter is neither good nor of ideas of
volumetric, nor flat, it does not possess the culture The slogan—art for art's sake, like matter for matter,
just as it has no idea. Such is the essence of the in neither is there a plus or a minus, absolute beginnings.
to the idea, man evidently understands some kind view of the fact that for man the idea arises that
of the realization of imagined reality, and a pleasant exist for the idea of blissful visions. Therefore man
pleasant vision arises, which begins to influence him. What him a little cross as plus sign, meaning: riches, to save,
be done? Is the idea which now arises bringing with it Art which has asked itself the question 'for what' is
ture, instinctive or reasonable, which reacts to behaviour, dient, useful art, therefore religion and the tavern
which turns in one or another direction? This conjecture is to such art—it is valuable for production, for objects reach
turn, to avoid the danger of being burnt by fire, but fire, after limit of formation, they become works or a good
all, is not dangerous to the matter of the body, it will not achieve their realisation. Consequently only in art is
Consequently in the body one can see something else which fire absolute
can annihilate, and this something else is my ideas, Thus: matter for material, and material for ideo-
hallucinations, which I am afraid of losing, for in them formations of seen phenomena. Workmen who work on the
my life. The idea arises of practical instruments as a means of transformation of matter into material, work on
guarding against burns, but, in reality, something else shape and incarnate in it a known practical, beneficial
happened without any idea, i. e. conjecture, the body simply have in mind, in one case, an aesthetic absolute form, and
changed its direction under the stress of circumstances other— a technological practical form, a dialectic form, i. e. a
shift, a change of aspect and dissolution of aspect temporal one. In this is hidden the psycho-
But man does not like the idea of being a body, it standing of changing the unchangeable into plusses. To see in
for him to keep some supra-material beginnings the plus a sign of one's riches which are squeezed out
—the spirit, the consciousness, So paint as material for art, for painting, served in
Hence matter is unchanging in itself. It is materioid, matter for part as a means of amassing artistic value in art.
matter, turns into matter. If that which is animal is become the material which it is possible to manifest in
and man is that psychic organisation which does not exist nally beautiful, i. e. the eternally valuable, and in this
animal, then the animal is an aspect of matter which eats practical expressing of the idea of capitalism and the logic of
itself be swallowed by another aspect. Its slogan would the latter. This logic has become the one subjecting
for matter, a phenomenon turns into a phenomenon for all functions of man towards
226 n o m e n o n whereas, for than, matter is for material, and 227 T h u s art did not become an equal part of man's
 but it became the aesthetic form, which led his production to a changed into a plus) or idea, idealised in this sense, the
higher shaping of value, and the practical, the tavern- thing', we consider a plus, and that addition of the
the technological became the artistic value. Existence as is brought into the pure, naked, shape of the pure minus
has become a plus. The latter workmen must be called artists of artistic, enriched by the artistic shaping, ideal, limited.
a higher absolute formation, for they elevate things is constructed according to the organism's simple law
values. Thus art puts a stop to any endeavour towards It is built and constructed, but not shaped according to
gressing. plus; it is not a plus, it is labour, the minus of good.
There are other shapers such as mechanics, engineers, ling inserts a certain form into its basis as an additional plus of
endowed with the capitalist ideology which makes a artistic significance. This appendage, on the other hand,
a plus. Matter is changed by them from a simple change the essence, it makes this thing of labour pleasant
reason (mad), without image (monstrous), without essence, into ceive, it demolishes the geometricism of the
a value. I t is changed into a reasonable, imaginable state by tion and the clarity of the practical expression of idea.
the practical artistic plus becomes a minus, for the utilitarian
Therefore the whole ideological superstructure consisting of eclectic and in the end, being artistic, can lose its
ideology, religion and art, and also of material, nificance, for it will become a museum piece. Thus art
is an ideology of the capitalist cognition of welfare as a form of tical objects mutually exclude
psychic From my point of view any interference by the artistic
Now it is interesting to clarify: are works of art an addition or superstructure which should not be allowed
and objects of art practical plusses, or not? In order to progressive economic construction of
former it is necessary to decide what is an The latter has always been felt by painters of the
Whether it is a definite law which belongs exclusively who also fought against applied art, for the liberation of
category of people, or one which belongs to everything its complete independence, preserving the materioid
alive, i. e. is inherent in the very nature of the materioids or i. e. for the slogan 'art for art's sake', for the minus.
whether it arises on its own accord in man, independently of themselves did not know the essence, why they were
outside circumstances. Does an artistic beginning exist for their non-applied painting, inserting i t into the graph of
terioids? Whether they have a minus which can be 'easel painting', they did not know that easel painting is
a plus, as a non-objective world into a practical artistic category in the sense of a plus, i. e. creation
or which has no value into what is valuable, applying to
Are materioids constructed on the basis of an artistic law or to the idea. The easel aspect of painting means a
they have other bases for their manifestation; can one objective
the shaping of a crystal as a form proceeded on the basis Arts as applied beginning is a product of practical
artistic beginning, a purely plus ideology, or, on the basis does not exist anywhere in itself or in the whole
practical nature. The creation of materioids by man through
We are accustomed to consider and to call anything that standing has come to be called in one case, practical, and
i. e. which is without its minus,—artistic. The artistic other—artistic: in the first case they are joined by
228 s t o n e which is ornamented by carving, the minus which 229 i n the second it has various
 Works of painting, the result of a pleasant sion, of rising and falling. In harmony one must see
of materioids have created new aspects in painting of beginning which we are looking for, as a staticized moment. In
applied basis; by mistake one started to call them the same way, in a constructed machine, there is a
cations. No pure manifestation of each painting can bution of weight—forces of new materioids. The
artistic in this sense, for it is the essence of the later we call a harmonic unification of weight.
existence and the painter, like reception we must understand the final, absolute distribution
We have yet one more category which says that weight in weightlessness. Weightlessness is that sought
one beginning—weight distribution, our brain seems to of any construction. Matter is without weight, just as
oppression of heaviness and wants to rid itself as from mena in our sleeping state of the brain are not weighty,
mare, distributing, throwing around, this weight oppress us until we feel pain and experience
things one can call the weight structure, a throwing around of sleeping or waking we attempt to change all phenomena into
weight, weight distribution, therefore everything is weightlessness, annihilating them by the latter. The change of
tical, like the moment of making lighter. The latter can system of the machine is conditioned by its lack of
weight harmony, a harmony of balances, a harmony weight
ships, and perhaps simply a settling of conflicts Thus, from this point of view, all man's progress consists
imaginings) about non-existent weight stresses. In any ing a system by which the weight of material will
weight stresses do not have any significance in nature formed into complete weightlessness—'the harmony
cannot squash or lessnes
The sun, the reflection of phenomena in water and Matter is weightless, materials which have been
the apparent shapeliness of both is not at all based on the idea, are not. Matter becomes material.
beginning, nor on a practical plus. These are thing appears in the idea, outside it is
naked materioids; whether they are harmonic or not All our technical progression is perfect in that every step of
decide; neither sight, nor hearing, nor the sense of touch will movement attempts to create something light, thanks
find the static moment of their harmonic relationships. steamships move and so do trains, and we throw
to say that this is 'harmonic' —one has to establish the statics of speed and lightness across great distances,—
phenomena. I f this harmonic phenomenon moves in The aim of technology is to reduce weight to the lightness
obviously its harmony changes, consequently in the first case it phantom. But this aspiration contains the end of
was not harmonic, for we can establish that which absolute lightness is achieved, i f practical ideology does not
only in statically established conditions, i. e. when achieve the latter, then this ideology will obviously be
If orchestras are sounding, then that does not mean that conjectur
wave is in motion If the musical waves were in motion Artistic culture as a function of changing non-
viously the harmonization, i. e. the musical is not yet into valuable ones, and 'the non-beautiful' into the
bounds of harmony, within its fluidity it changes. a non-
point is to distribute sound weight within the limits In the scientific approach there is another point of view, for
and, by this, one has to understand weightlessness. science there is neither beautiful, nor non-beautiful,
230 t h a t which has no weight, and consequently the forces 231 t h e r e is another approach, another sort of scientific mania
 change of everything unintelligent, of everything that influences of his nervous centres with the materioids
jecture into something realized in the harmony of interrelationships. Every
Thus all nature is nothing but an accumulation of festation is a completed whole, an organized work of
non-practical and non-intelligent phenomena, which take on new materioid. Such a materioid is not applicable anywhere,
intelligence and beauty only in our skull, which is expressed in a phenomenon on a level with all natural phenomena
the distribution of weight from non-figurative nature into her fore cannot be changed into applied material of a
figurative aspect, intelligent and practical. For this i. e. temporal. To apply this pure painterly materioid one
three systems of technology: the artistic, the religious change its form, as one does to any natural materioid, and
material-economic. Hence, by beautiful one must a painterly materioid will applied, then it will no longer
the correct distribution of weight, 1. e. all that is beautiful painterly materioid of pure culture, it will only be
for this reason it is beautiful, but that which is beautiful terial for the composition of practical things
The arts have attained this beautiful, other systems have not Thus, every materioid is an amalgamation of several original
attained it yet: religion has not achieved the kingdom materioids (pure culture). The amalgamation
nor have material economics achieved their practical aim through the idea will give psychic and ideological material. In
good of the body. Their helplessness calls upon the arts its essence 'material' is only a new aspect of 'matter', for the
their formula to another practical weight formula of terialization' of materioids remains in the psychic centre
designation, in order that they be hallucination imaginings and their concepts. To
The mingling of the two systems, one practical and means to change idea into image, into a materioid, but
give an eclectic incompatible moment of two sensations. This hindered nonetheless by the powerlessness of the
incompatibility is obvious because the first artistic ning of the aims of practical imaginings, therefore
not have time, the second is all in time, in a receive a pure materioid or a material image, as a
When there is such a mingling of two differentials, the gical materioid is non-objective. The forms of
always that aspect in which the artistic application original amalgamations of elements, created by an
vailing and traction, purely non-objective, a creation without
The artistic application will not only be non applied, but it will only the beginning of original, pure, physical
change a practical thing into an artistic thing, a possible, the beginning of mutual relationships, but not
non practical. In reality life has valued artistic constancy as a artistic tasks, their aesthetic or practical amalgams;
value which does not fall into a temporal category in gams do not exist in physical nature; they only arise in my
how can one evaluate this aspect? Value cannot be relationships. The latter is justified by all beginnings of
a rouble. The artistic work is valued and measured by which manifests its form as an aspect of pure relationships, of
for the pleasant, the beautiful. Consequently it is made exclusively pleasant
by the words artistic, beautiful, perfect and imperfect, one Thus the painter of new art does not proceed from
understand the order of my own pleasant, purely or artistic picturesqueness of the object itself; he now stands in
tionships between feelings. Every painter of the higher type will sharp juxtaposition to the old figurative art of the
never say whether his manifestation is artistic as an type, based on the artistic forming
232 h e will not say so because it is only a formation of the 233 N e w art has separated itself from the object by the
 tectural aspect of pure culture. This is a special aspect in placards expressing ideas of the past. The leaders first
can find the function distributing the weight, the power looked at the placard, at the portrayal, from the point
sure of the chosen elements. This distribution is divided of the truth of the idea's expression which in itself was
objective (the constructure) and the non-objective according to laws of the aesthetics or painting. Only in
Only with the appearance of the constructive non- hours between service duties, the ornamentation of ideas, the
does the non-progressive, temporal, therefore real drawing of portraits of the idea-givers, did the
of the new art begin, i. e. non-objective, beyond values, for in it himself with art for art's sake, i. e. pure
there is no aim to perfect phenomena, just as one cannot All masters of figurative literature of course
a stone has trodden a progressive path of perfection painters, artists, they could draw vividly, portray
for in it there is no 'in the name of something'; it is or the contents of an idea, draw vividly, i.e. genuinely and vividly
of the stone which has to convey an idea, a
Of course, figurative art —the naturalistic—cannot be By painting was understood a vivid portrayal, a
of independent unchanging culture, for it stands on the path of the contents of an idea as doctrine which had to be
progress, of beneficial ideas in literature, in speech, in music or in the figurative art
Aesthetic reproduction of that which does not exist in ing. This is the main necessity: to draw or copy that state in
duced object gives only an element of artistic which the thing finds itself. This was not the expression
constitutes an indication of the birth of artistic culture, objective materioid in painting. The meaning, or
in our new understanding (the perception of essence, was not clear. And only in the first quarter of
tive naturalistic art ought sooner to achieve a scientific bias, to tieth century in the non-objective aspect of painting
depict, to cognise circumstances, their lawfullness. Only then will painterly culture begin to make itself
it answer to its own point of view. If it takes the Thus all visual arts were exclusively methods of expression, I
of view, then it will not portray authenticity, but would say of the economic good, the tavern-like, and
it (an aspectual distortion in relation to nature). gious-spiritual, practical hopes of the
approach may be equated to the technological approach of Visual arts became a special codex of portrayal for
fort', which is born of the necessity of circumstances as a publicity department of the ideological superstructure.
comfort. Then we will acquire from aesthetic portrayal that never free, i. e. it never had its own content, it
which is necessary for pure aesthetics but not for on the idea and was always a means, and the idea kept
If we study all religious painterly portrayal we will see on a penny, exploiting the painter. But together with
served as an applied version of religious ideas, of the artist's awareness of painting which developed into
superstructure, or the state substructures of an action on a level with all the other elements
Through i t the idea was portrayed for the life. Painting as one of the elements of a whole art took
by means of it the idea, with the beauty and grace of pendent path beyond ideological contents. It came out to
gical superstructure were shown to the people, but non-objective ideology and demanded a single room for
portrayal was a simple placard for a definite idea, it was only the superstructure where it receives another meaning
for the people but not for the leaders. The leaders tionship to all ideas of a different content. By painting
234 g o d s , advertising their ideologies, ready to destroy all artistic 235 l o n g e r mean life drawing or a copying of things,
 no longer proceeds from the existence of religion, or of essence more and more; therefore it has fallen sharply
engine depot, as artists of the old school were convinced, states, the objective (depictive) literature and the
origins, that if there were no goddess Venus then there The men of ideas were frightened of a strike in new art,
no art. Aphrodite gave birth to the temple. Visual art old art has come to their aid, the arts of the idea daubers
occur by itself. The reason is that the priest invented blacklegs), and the men of ideas want to suppress
Aphrodite, but the artist realized that which was in the brain of the abstractionists of new art. A great moment begins in
the priest. The engineer, too, is a new priest: he in the development of the artist working in the sphere.
concept of technological phenomena into form of materioid world structure arises. The world will
New art produces its own works and, incarnating nothing in a new aspect of constructions (of architecture),
them, i t remains non-objective, i t has no depictive aims but trary to the aspect of to-day in form, in hearing, in sight
creates its own particular aspects. Thus we have three rooms in feeling, according to the forms of the strikers,
the ideological superstructure: the religious-practical, The difference will be evident, because any idea is a
tic and the material attaining an aim placed within the idea—an
We wish now to have one technological, tavern- Visual art aestheticizes these aims. And a whole province,
basis, and superstructure, in which art is not an multitude of people, are occupied with the visual art
ideology but a means of illustration, applied nature. Art is still only because the enlightenment of society according to
seen from the point of view of a dominating, of the state proceeds through the mutual assistance of
terial The first medium is hearing, the second, sight, the letter
New art remains apart and follows its own alphabet and the portrayal. In both are drawn images
furthering its own ideology, its own Weltanschauung. and therefore there are occasions when leaders do not need a
of new art goes through the organization of painterly painting or drawing, they create it from what they have
shaping of forms which express new constructions a book, but the masses need the
(painterly architecture). In painting, the essence of art There are other occasions when the painter himself,
itself up as a completely new form structure and tained the idea, 'inspired by it' begins to draw an image
Hence it is clear that a big sphere of human activity such as art ing of the idea. In this case, for his painting, there is a law of
must, of course, be an expression of new problems, of a the expressed idea and the idea will be its content. Here it
lity, taking all influences at first hand from existence possible to say that the idea is in painting, but one can
ing them into materials for the construction of its ing is in the idea. In both cases arises the dependence of
tectural building. The reception of ideas at second people as a content force which holds the relationships
the priest, the leader, must cease. And sooner or in order by its own law (the idea content). Thus in visual
art must step out and go along its own path, following in the artist, means are found for building and
immediate culture, and can no longer serve as the now they are shaped as the labourers of art on a level
or propaganda for other ideas, 'The publicity department of art rest of the labour section. But insofar as the proposed idea will
is closed' as its epoch is beyond ideas. All ideas be understood, then visual literature in painting will not
their own propaganda. The work on painterly culture of the first cessary, it will be enough to have books and the real
236 q u a r t e r of the twentieth century put forward proofs 237 l i v i n g architecture. Literate people will read the
 find out what the idea shop advertises, the world as how beautiful lam and draw my image'. And from an ugly
imaginings, the world in itself or has to make a rose, from the imageless he has to form
Visual art, in the old concept, was literary painting, the artist Every State, every Society and Religion wish to see in
had to possess great power and the 'spirit' of the embellishers of their actions, thinking that art is a mirror, in
idea in order to aestheticise the latter. But will the which they are seen or reflected as 'eternal beauty', as
tute values which belong exclusively to him? Obviously Yes, they are a united trinity in their love for such art,
spirit of the idea will be mere steam from the idea daubers who will portray them in the image of
ments of the painter, whereas his aesthetic-artistic values will fection. And if the mirror of art distorts, i. e. change
remain exclusively applied technology. In visual art form into the deformed it will immediately be sent away for
be in this case an identification of the face of the idea resilvering and, if it cannot be resilvered, it is
idea bearer, the idea is ideally aesthetic, a masked The new arts have distorted portrayal, and therefore any artist
If one looks at all the collections of literature in will be struck with lightning from an idea giver whose
in the arts of the civic or religious order, then we shall has
the whole spiritual side belongs to the category of The idea is angry when it fails to become an image in
ideas, and that all the museum collections of visual art this, and only from this point of view is 'Visual
an effort to idealize the idea givers, and to cover up the aim of ture' comprehensible and established, as an ornament to
the latter by the use of painterly mastic, so as to a beauty powder, but it has never been accepted as
ugly mug. For every idea giver wishes to see his own dent function. The state, society and religion think that
beautiful. All religious painting is spiritualized or arts are inapplicable anywhere and they are blamed
spirit is vividly painted in the face of the portrayed person tions and falsifications. This, they say, is not a true
the spirit is not that of art but of religion. cannot mould or draw the idea giver from it. We need
literature in painting perfects the expression of the orator, painter, musician, poet from whom emerge
establishes it in the masses. The painter was a forms of the idea giver, for they are the centre
a simple labourer, who was given the ugly mug of life the arts rotate as illuminating lamps, lighting up
it into artistic shape for the ideological superstructure, And, truly, an visual literature in painting is a
could not use it. All civic literature in painting of nation in colour of all the established idea's
State takes up a tantamount position. As in the case of for every idea is sure that all its affairs are the essence
concept has arisen in society and in the state that painting and justice. The visual literati or artists in painting proudly lift
contain within themselves an exclusively depictive action, that their multi-coloured flares to illuminate action,
painting and art are only means which cater for the demands of plainingly, like machines, weave coloured vestments for
state, in the same way as dwellers in the ideological or the bad. This is the designated role of visual art and
ture supposed that labourers are the means of concept of it as an art held by the state, religion,
for ideological superstructures and their inhabitants: criticism. From this point of view alone do they value
Religion; that they must weave vestments or spin and the master. But human progress will rise and man
for them. Every idea wishes to see itself in a seeing the ideal in ideas, i. e. the values of gods, he
238 h a b i t of painting and beseeches the painter: 'understand 239 b u i l d i n g practical roads to them in that he will not
 images and idols to whom he can bow; technology remaining aspects are not affirmed, for they are not a means of
and the roads will be annihilated, there will be nowhere to portraying ideas. This part of art can be called
no reason for going there, neither on fact, nor by painting, or art
the pure aspect of culture will come to the fore. Such painting does not enter the realm of idea, for it does
inasmuch as memory can embrace centuries and epochs material for painting in ideas and does not become the aim
we find out that progress, and awareness, have not cultural, useful idea. Consequently it cannot be called
ward one jot from the god, from the values, from the of painting, for all efforts of the idea must be related to
the demi-gods and the saints. Every idea carries a god within gressive old idea. The idea is the measure of the
itself, for every idea has before it an ideal good, every idea of art. Therefore, as it were, without the objective
path, a path is a consequence of movement, progress, cannot be 'a culture of painting', as if without the 'idea of art'
hilates the image of the god of the former idea, i. e. there were no culture of art, painting is the aim of idea,
standing in practical methods of attaining the good of painting. Only the idea can be culture because in it is
the god is not annihilated, nor the ideal, but the method and everything that contributes to its manifestation in
taining that god, that ideal good, is annihilated. lised aspect constitutes elements of culture. Every idea is
the first commandment of the idea or its decree, stands trine about the world, and the building of this
'Thou shalt not make unto thyself any graven image neither in through the system of materioid, artistic-aesthetic
the heavens above nor on the earth below and thou shalt In the last quarter of the nineteenth century, and at
to them nor serve them, for! am the only one, I alone of the twentieth century, a new question about painting
idea wants to fence itself in like this and thereby the fore: about the emergence of painting from depiction
attempt to proceed further. ('I am the new light'). civil, religious, aesthetic ideas of society into an
ment is immutable; only the light changes which ture of manifestations in painting, i. e. painting
new path, where the last frontiers of light are, nobody knows, for A schism took place into objectivity and non-objectivity, into
it is similar to the horizon, and the horizon is like aesthetic and dynamic non-objectivity, non-objectivity
in which endless visions arise. Light is a vision, in reality for example 'Suprematism'. In other words, the essence
not ing emerged from the literature of painting as an
Thus, the visual arts have to carry out the demands of phenomenon, the aim of which is the creation of a structure in
givers. They are the instruments used by the practical painting built on laws appertaining to itself. This was the first
ideas which they manifest, and they dispute the methods period in the creation of an aspect of painting, of
taining Weltanschauung, the new
Thus practical objectivity struggles with non-objectivity Hence it is obvious that the painting so manifested
to stand firm on deceit, on faith, on hope, which seems the path of construction, i. e. the primary method of
truth, heard by the ear, seen by sight, and tangible to relationships between straight lines, curved lines,
etc.— to stand on the common technological position of all life,
i. e. of all independent structures, not on the
Affirming that, from certain ideological points of view, tion, portrayal of something, but on the independent
240 i s necessary, it is also affirmed that it has an application. 241 o f this universal structure of painting, forming itself as
 Here visual Art proclaimed its renunciation of moment in the expressiveness of every rank and quality, a civil
Every form of life reveal laws, methods, idiosyncrasies which, in servant psychology in the aesthetic `beautiful' (the
aggregate, constitute vital relationships among themselves. The ugliness), and therefore it has to possess ability,
regulation of these relationships proceeds through an But inasmuch as it requires painterly freedom of
jecture, an orientation, according to the laws of which and manifestation of all painterly registrations, it has
must live and be cultivated. This meant that painting, or objective composition and go over to the purely
had to submit, having been made a means of depiction: tionships, for only through non-objective relationships will
the recognition of some sort of single tool, the spade or able to find a new system and manifest laws of
the drill, and to subject all other means to it which cannot be found by turning it into a means of expressing
it. In reality various types of tool exist, for we meet the object. Here, through painting, we witness for the
syncrasies. One cannot subject everything to the system the one and same law of the thing, but we are not
gion, to the system of art, to the system of the material- the law of painterly relationships, here nothing
mentality. They can be curtailed if they appear to be through painting, only the thing is manifested.
logous— they can be amalgamated, like three manias non-objective relationships contain one of the methods
aim, as objective forms of ideas, as three technical means of covering new realities, painterly relations outside the
attaining good, as three constructional methods have built a new aspect, covering the new life. The latter is
elements. A t the given moment, art, having gone aver sence of painting; non-objective relationships are one of
objectivity, i. e. into the second non-ideological stage from that methods of finding new, unknown, formations, i. e.
stage which is characterized by Constructivism, has begun fore in every tendency in painting there are
aware of itself, and the latter, having cleansed from which create the aspect. Discovering the non-
ness all ideas of objects, has stopped being a warehouse mena we can receive a multitude of new aspects which
'objects in art' (like cucumbers in a barrel'). We begin change into practical objects. That is why new art has
act outside the laws, assaulting, with ever greater force, the the latter method and has divided into Constructivism,
blockade formed by laws of objects which demand from art for practical basis of ideas, economy and an aim, and non-
themselves a new symmetry of enartment. The art factory with architecture, aimless. And of course, on the strength
more objects, no more depletive ateliers, art no new art cannot be imitative in the old sense of its
objects into images and vice versa, it strives for, and It cannot be utilitarian, publicity seeking, productivist
its own independence, emancipation from objects. Otherwise it sphere of other ideas. But if its non-objective forms
would never have been free in its work, for every other idea, then they can be directed to a utilitarian
thing, idea have their qualities, a place, a time, and like any image or stone, on which a man sits and rests,
artist in the visual literature of painting cannot divide things in at that moment, transformed, in its psycho-imagining, into a
any other way except according to their rank and utilitarian thing, the stone itself remains non-objective.
befitting their place and time. Consequently the painter, like covery of the essence of painting becomes one of the
painting itself, stands enslaved and subjugated by the tions of the science of painting. Do we understand art
by the idea givers who have delirious hallucinations as an ideological superstructure which is dependent on
242 i d e a l perfection. The work of the artist becomes only 243 n o m i c aspect of the basis and on the ideology of religion, or is it
 an independent ideology? Is art outside any idea into an empty field, just as art arrived at the
does it differ from everything? Is the art of painting square, the empty, faceless, non-aspectual, non-objective city
menon with a new tavern-like superstructure? The science square. Squares must be established in all spheres of
has to answer all these questions. We find new art in the vity, which have passed through the psychic order of visions of
revolutionary movement in the sense that i t forms the historical development of
both in the past and in the future. Relationships
a new link is established between ideas of another order, an
adjustment is made to the objective and the non- III
search is carried out, objective and non-objective A question was postulated whether constructive art is
made. Everything occurs under the blockade of method of searching for new forms, this method
which accuse Enonlobjectivity of parasitism distorting became the means of constructive practical ideas, and had
of art, that Futurism or the New Arts are a continuation of divided into tavern-utilitarian-techno-mechanical
bourgeois art, and at the same time it is proved that which gave a utilitarian 'construction', and into
art will take its beginning, perhaps, from the healthy stratum of architecture. The first has under it an economic base
the Renaissance: as though the Renaissance is proletarian art. content, the second is outside economy, outside
And, of course, to the objectivists it seems that non- Thus, for example, the existing practical utilitarian
is an abstraction, an empty hand in which, in the opinion is dependent on the economic changes of the content of
objectivist, lies no valuable gift for the proletariat, it also depends on the general progress of technology,
practical concrete objects. They forget that one has logical perfections. This tendency wishes to create a
where nothing has yet been found; non-objectivity by re-creating non-objective materioids into objective
be that empty hand in which new norms must appear: of idea conjectures, created from good imaginings.
empty hand is pure, but this does not mean that in it is no is based on the fact that rest and quiet can be seen only
work, the things which have been found are in the larders of tavern like greed, in a purely objective, utilitarian sense,
the objectivists which must be released, to give them expedient, useful sense of the logic of practical
bility at least, of appearing new. In the old is found thing depends on this tavernology, and therefore
—we find everything in non-objective existence and we depends on it must serve this tavernology, i. e. it seems
turn it towards the practical thing, the materioids the other way round that the inhabitants of the
formed, as though in a dream, into bicycles and cars. structure serve the inhabitants of the base structure,
dance with our hallucinations we ceaselessly wish to 'true' light, but in actual fact, the first enlighten, and
of the crushing nightmare of 'weight', heaviness; work, the first hold the torch of light, and the second dig
apply all the laws so as to distribute weight and labour in This gives rise to the conclusion that there is no
form. Hence the construction of weight opens paths neither in the superstructure nor in the base
which disseminate weight, expressing real new systems exist on an equal level. It is possible that the
of weight structure is simply a torch with many facets
Non-objective art—as a major force—is capable of stence with reverse light. Therefore art is one of the facets of
244 m a n with organized registration and action, and helps 245 l i g h t and work. It is possible that herein lies the
 tween man and animal which does not have an of the ideological superstructure arise, but such things do not
structure, but only one practical tavern-like exist, this 'later' does not exist, for everything must be lit
temporary progress in technology in no way differs from that torch of the ideological
technology which has built the organism called animal. On this illumination depends the form of things, the
relationships are to be built solely on tavernology, task, the form, and utilitarian of the organism.
porary human progress will be nothing but a creation of light, so are the forms: red light—red forms, green—
nological human tavern organism which would consume white—white forms, but it can happen that the light is
fauna and the perfect non-organic organism. The the forms are different; i t means that something
tion of the animal. It is possible to deduce that all technology wron
sort of art which organizes a new construction of the Something has gone wrong also with the new art; the light
nism in connection with newly arising circumstances. same but the forms are different, consequently a new
ample, air space, man in flight (the bird) if it is man who superstructure is being built, linked with the
No, we are not animal, says the community, we have appears different in form. Into this ideological
culture', i. e. a superstructure which the animal does not have directed the thought of man as of a 'higher' being,
this is their retort to me. So, what does this animal perfection of the organism. Every man shouts
consist of, if every object must be a practical purport stage and from the tribune and from everywhere
logical comfort. Every animal is also built in such a way 'spiritual culture' in general, and in particular about 'artistic
a single part of it does not serve the purpose of culture of art' about the ideological superstructure into
chewing food. The animal has feet in order to move clearly thinks he can creep, thus saving himself from
apparatus to an 'eating field', the stomach is given him and ceasing to be a Samoyed and finding himself a new life.
food; the eyes to see where it is; the teeth for grinding. It is a At the last shout he realises that an purely tavern-
purely practical construction, expedient and useful, utilitarian, practicality is unworthy of the human cause, its progress
directed already towards a system, it is a fully the forced necessities (for by progress I mean a situation
in the circumstances in which it existed. The animal is one of life which has perfection in view, therefore I attribute
the stages of development, it is our old organism, like an all the technology of utilitarianism, and to the culture of art
but essentially it does not differ from man with immobility, permanency, immutability). To
So where then is the similar to oneself and to eat it or kill the animal, i.e.
So to distinguish himself from the animal, man has an apparatus is like a chicken hatching out of its egg and
superstructure, i. e. that main basis which the animal does not own shell. Therefore he has advanced art, spiritual
possess. But perhaps, in the historical development of something higher above the tavern-like material
organism, it too had an idea, i. e. a vision of a and that life begins when it enters into the non-
organism, and when the animal attained that perfection, practical action of art or spiritual culture; this culture is, as it
disappeared, so obviously, when the human organism is were, one of the rooms of the ideological superstructure
ideas will also disappear. All animals, but not all than that, a third non-ideal, non-ideological
thought and instinct. All man's thought and animals' finiteness,
246 d i r e c t e d towards tavernology, and only later does 247 W h e n labour gives way to art, to full abstraction, i. e.
 quillity, abstraction will be the aim of all aspirations agitational-technological means o f fighting. A l l
And so, the people of art are divided into two camps: sists of this, and art as a particular culture is regarded
with a prefaith for tranquillity in rest, and the non- abstraction, as a non necessity, but an applied
with abstract tranquillity—art and practicality with the decline
of good and a non-ideological superstructure (art To this construction of necessity was adapted visual art
objectivity in general as a superstructure to the substructure, i. e.
A great battle is beginning between purely material gical superstructure has become the mezzanine, in which
striving and non-objective art with its lesser concern of apprentices have taken up living quarters, the
rial tavern- idea daubers, the poets, the musicians, who are
Who will conquer whom, the future will show; whether upon to design some sort of ideology. In this too he
mal will be the master of the world of man, as a the animal who does not have either woven material
entering into a higher ideological spiritual superstructure. And dishes, or various tables. It is a new aspect of the animal with
so, if tavern-like awareness takes over, the purely pretentions to art, I cannot for example eat food
terial, with a more refined bodily digestive system, this but a plate, a painted one at that, not a simple one.
show that man does not exist, that only an has to be attracted to the forming of simple utilitarian
exists, more refined in its body system more refined in elegant things, and in this lies the perfection of visual,
ces of its material awareness, and art will have nothing to do, for applied art in production. Youth must be brought up in
the animal beginning will overcome sobriety by as new masters, in a new epoch of material perfection
This aspect of the animal beginning arose a time ago, and its saucepans. 'Art in production'. So art, in its
glory endures many millenia, and its glory is crowned must design the stomach or the saucepan, making its way
garland of art: in the ideological superstructure reigns kitchen square where tavernology triumphs (the
species, but the image of the animal, and amongst his festival of the ideological superstructure's
the artist, the musician and the poet. They are the will come on this day welldressed, beautifully
accompanying singers, they eulogise in verse the rouged. In this lies the naive attempt of art, imitative
material practical system of the body. The madness of art to drag the saucepan into the ideological
is promoted to the intelligence of material refinements. And having gilded the horns of the ox, having transformed
therefore, perhaps, a difference does exist between beauty. This does not mean that the ox in his essence
and man, for man is an all-devouring creature, who the inhabitant of the ideological superstructure, but
everything with his mind, but in his own brain he can that, having rouged the engineer in the painted portrait,
process of consumption into an intelligent situation. gineer has already stepped into the ideological
eats grass and meat, but man eats animals, and of
is organic and non-organic, and what cannot be digested The earth has been seized by cooks and covered with
stomach is eaten by the mind. The strength of his of one whole kitchen and all sorts of perfections
initiative is particularly directed towards this one end: and stoves, 'objects of necessity', which have two
chanical satisfaction of bodily demands in which he sees every-day and the
248 c e s s i t y of struggling for existence, and art is only one 249 T h e theatre, like art, serves as a mirror to reflect
 triumphs of existence ('the ideas in Existence'), and if finements for the satisfaction of the body. And the 'spirit' will
not the digestive triumphs of ideas, then obviously the exclaim from the superstructure of the ideology of
to be out of work, or to express non- 'long live carrots and cabbage', everything must serve
The earth is divided into two halves: in one half there is the painter, the poet, the musician. The carrot has
cemetery where the broken crockery is buried, while life boils in spirit, it has become inspired, but man is no longer
the other. Carrots and cabbage are cooked in the pots, still inspires all the utilitarian things. His spirit has
to be the contents of productivist ideas. All across the whole face of the earth and has been covered with
from expediency is, for all its art, only a form of art pot, rubbish. Man — the tavern-like productivist — is
spice which coordinates various tastes; the link between stomach on the artistic bed, i. e. in the ideological
and the food proves a complete misunderstanding. At of the artistic bedroom. Ideological superstructure
time in architecture there is a correct principle in the painting, architecture, music, all that praises the contents
objective structure of new materioids on the surface of Art is muddled up with utilitarian technology, and because of
arising from feeling or aesthetics, the ideology of which is not ignorance, like the Papuan puts rings into his nose as
utilitarian and cannot be changed into a bed, a factory, aid, and ostrich feathers on his head, in the same way art
etc. Nonetheless, architecture, as an edifice of the onto everything (a cover), art's service to industry. In
superstructure, outside objective utilitarian necessity, gical superstructure tavern objects are enbalmed in
the simple den of class or non class usage for the digestion servation and enter a museum for preservation.
in artistic form (artistic culture in production). It would objects change into the 'eternally unchanging — beautiful'; in
to say that the ideological bed chamber has been decorated this attempt there is an aim, a principle, the essence of art of
new artistic style. 'We must become the masters, highly transforming technical things into non-technical,
For this, we must be able to cut a bed, a table, a saucepan seum pieces, eternal things, for technical things cannot
the material, transforming i t into ' A higher they are temporal, for they are changed by new
form', but this transformation only represents and nothing can change the beautiful, such circumstances
inability, attempting to change a thing into artistic form, exist for it; it is outside time and space. In this manner
which means annihilating the thing and transforming it into a derstood the strength of art, these shrewd people —the
non-utilitarian museum piece, artistic things seem to and they have made a refrigerator out of art, and
a 'utilitarian' illness and in the end, grow healthy. a seemingly new slogan: ' A r t in production'. A r t
must be directed solely towards the refinement industry. Thus, so they say, they have saved art from
the table, the cooker, and artistic science must teach how objective peril, they have adapted it and given it a piece
artistic phenomena so that they cannot be transformed Art has been transferred to a utilitarian path, but, all
artistic practical its functions are not
The reverse occurs, i. e. everything that does not All the practical utilitarian tavern-like constructivism,
rianism as its immediate goal must be driven forces of the earth are used to satisfy three needs: one
New art is declared abstract and not concrete. This does not taken and constructed so as to devour the other
concern the ideological superstructure of utilitarian is taken for food, the third in order to process the food.
250 w h i c h there is the superstructure of tavern-like 251 i t s 'spirit' as 'the garland of beauty', and crowned
 it as the contents of the saucepan at its 'highest' People must emerge as one man and build a new form
bility. Art did not know how to rid itself of the under the guidance of the genius of artistic
bination: the kitchen, the artist and the cook. Art rating i t from utilitarian construction. Every step
means having a tidy housewife in a tavern to conserve leads to this new, empty occupation which, in the end,
ideas in an artistic balsam, hence, in the ideological to the unconscious kingdom of art whence it came.
ture, there are special departments of art which are taken artist was hidden a new system of non-objective essence
the hygiene of ing, where all numbers come to nothing. There will be
Emptiness is the accusation which the state, or its between this essence and the tavern-like construction, i.
society and criticism, have levelled against the artist of tween sense and non sense, feast days and non-feast
they have declared his creation to be empty, an the empty must overcome the non-empty, and the feast
luxury, and the artists have been declared parasites, overcome the non-feast days; things done at ease
forgers, people occupying themselves with utter trivial things, small matters will vanquish, for in
palm society off with a fake instead of portraying faces there is a feast. And even now labour cannot be without
ducing the genuine product. In fact, art has only begun sooner or later, the non-objective system in painting,
the production which is the essence of art, and criticism, not up the essence of art, will become a power, because first of
finding in it products of household usage, not even has clarified the essence of all manifestations; whether
said: this is not a product but falsification, religion or art or economic laws of the bases; they
God knows what: neither an eye nor an ear. In fact, phantomlike, vanishing into time, they become
givers will be in despair. Criticism, although it is a nations, distorting reality. In it is the discovery
not know in fact how it should assess faceless pictures about which man shouted, he created an echo in the desert
pairs too. In old works objects have become non-objective, ghost of his own cry, the echo appeared to him as reality
not concrete but abstract images. So what is there of value in he must
Cezanne's still-lives. A pear which one cannot eat, touch or The non-practical, senseless building of abstract,
palpitate. Like a phantom, new art in its beginning non-objective relationships will differ from the
objective, abstract for everything else, but always concrete for like constructivism or the system of expedient and
itself. The latter applies to all innovators of the New nings, from its methods and approaches to this aim, as though it
in relation to themselves, make everything concrete were the only aim in which is to be found all the
quently never abstract; possibly everything will be have any meaning. The aim thus gives birth to
everything will be abstract, this depends on the is concrete, to factories and to offices, it creates the
in their empty work was hidden a new human genius imagine themselves as directors, engineers,
all practicality must come—namely to abstraction. In this rers, peasants, clerks,
aim,—but the new non-objectivity of architecture, into In the practical system everyone must remember his starting
of which the earth must fall, will become a new form of point, from which he has to start again, must know
the apotheosis of life. This apotheosis will be the limit whither'. In the abstract this will not exist, these two
torious man who has conquered labour. This is unavoidable, for fallen out of it. Forming non-objectivity, I do not wish
252 t h e speculative aims of concrete materialism are 253 t h a t the whole thing is a matter of the incorrect method
 constructive buildings, arising from practical problems, and in man, he is still in the aspect of an image and stands in art
the correct method of the constructive non- beautiful image, we have not yet attained his
that in essence all practical aims attain their practicality only in structure, and having attained it, we must conquer it,
the abstract awareness in which aim objects fall out. image is only a shadow of reality. We have not
ment of the abstract establishes the limit, the the animal and do not strive to depart from it, it is not
which all that is concrete goes. Thus the whole idea or an image, we are only building a tavern-
structure of the pure man should consist of the system, making a path to the perfect animal, that which
anschauung as a counter-weight to the half-man animal, abstract-beautiful, i. e. sinless, and we bring it for the
three functions: to kill, to eat and to multiply. of concrete objects. The tavern-like system is one of
calls the fulfilment of these functions beast-like or functions of the animal, it must not stop the other
human; man nevertheless, carries out the same functions and activity of art, for in art is the beautiful image of man.
justifies himself with his whole ideological superstructure. The order not to remain in the historical development of
animal seems to be just a technological-mechanical formations, a new mammal species of 'the electric
an apparatus with the three stated functions. Everything in light of which is clearer and wants to ascertain
a technological meaning, which has been worked out in blessings. In the excavations of this epoch future man will find
gression of circumstances, and each part serves exclusively our remains of skeleton-like animals with signs of
apparatus to acquire and digest food. Consequently the signs, in ideologies. At present, at the period of definite work
the human organic, psychic system, of new progress in distributions, one must not forget about that
tion of a new form of action, will obviously be not only structure, which is fated to become in the future —not
perfection of tools, but these signs will chiefly be seen— structure over a kitchen, but a whole building of
say— in art, science and religion, it is that which does architecture. All the practical buildings of states,
in the animal, it is the new ideological addition, the gion, church, academy, factory, are like three
ture. We push away this technological apparatus, thereby we gies which are different only in their methods, and with
shall push the animal away from ourselves, for we surpass same aim, should arrive at non-objectivity, — from
our digestive system. This ideological superstructure —to one point. From these three beginnings it is not
animal face, and therefore we wish every practical thing make an artificial electrical thing. There always has
inspired from above by art, masked, for the sake attempt to combine art, religion and the factory into
hiding its essence of a higher refined system. But work — 'the state' — the eclectic whole or total in
has three streams: one for art in production, the other figure speaks for itself. Sooner or later they will
utilitarian construction, i. e. for the full revelation of pendent. It is the new attempt to divide this total, and
body of system in all its aspects of satisfaction, — this one number as an independent sign which will give
practical constructivism (construction) and the third — or pure aspects
complete emancipation of art from any application, 'art The growth of state, economic, tavern-like forms
Art is called to cover the debauchery by the artistic the pressure of three functions: reproduction, food, murder,
thereby to justify itself. And so: in all our thousand years of which must find normal relationships for themselves
254 e x i s t e n c e as man we have not attained, we have not arrived at 255 s o c i a l i s m —such is the dream of man (in which
 are supposed to exist): reproduction and food must for fighting and implements for necessities
into an organized human material awareness. The implement itself is
All state production exclusively creates expedient of wrathful, malicious powers for subjugation. Hostility
objects, which create "necessities" by the functions of beginning. The first master cannot make the forces take on a
nism. There is no point in talking here about their necessary artistic form for he proceeds from a feeling of
ficance, for every technological thing grows only on which has no enemies in the elements, inasmuch as it is
logical problems of some necessity of the three functions, and in culture', it has no defined constant level or
this lies its purity which wishes to become eternal harmony of its works eternally evoke the same pleasant sensations, for
the economic relationship as constant. Art has already no enemies before it, and nature in all its aspects of
tionship to complete lack of temporality. So the tavern- always beautiful in its artistry. That is what the
too wishes to become beautiful, and its tools must also eternal beauty, consequently such a work is outside
ful and constant as in art, and many people even begin sense, outside mind. Such works do not exist in the sphere of
the tools as beautiful and constant as in art, If in machine progress, there is evidently nothing beautiful i n the
machine we find beauty, then this is a common phenomenon of whole practical world, for the practical world is a
relationships of our feelings to all phenomena rical world, deceitful,
pleasant sensations, and in which, nonetheless, it is Is it possible that artistic culture of a pure aspect will
see the difference between artistic and non-artistic elements, for this milieu? Evidently not, for in it exists the apotheosis of
if one were to sum up what one likes, what seems to practical effort. Evidently the artistic beginning in this milieu
in the machine, then the total of beautiful elements will can only exist in an applied aspect. But objects in
work which is not similar to the object. The machine good or bad, consequently art itself, applied as a kind
beautiful for at least this one reason that it is not a form, for production, politics, religion, for any idea — is
relationships are not built up from the point of view of standing, it is an intrusion into the material of other
tionships of one element of volume to another, on the basis of So, in the given epoch of the twentieth century, there is no
artistic proportions, in it are proportions of wrathful a pure culture, although the twentieth century is rich
nant forces flowing from the aim of mastering, of conquering, of Our day and age stands on a purely practical
killing. The form can be in art, let us say in architecture, in sion (the iron sickness) and only extends the method of
sculpture. Feet and eyes, are they really created as of economic and political material blessings. Hence
—no. What will the artist form in something which has of metallic progression or industry, (the metal sickness).
independent idea of development, its awn laws of necessity,— it itself has become more limited, more narrowly
is left to the artist to transform human reality into an image of designated for the glorification of material blessing and
art, for the reality of man is the reality of that same malice of path to them. The line of art, which gave a push or impetus in
master the direction of pure culture, was pulled, in one of its
There is a difference between the master in art and wards the line of household-political progression.
engineer. The first master attempts to express those moved by agitation, have stretched this line of art
constitute pleasant emotional sensations, the second, in duction. Part of them followed the idea giver, the
256 r i t y of cases, desires to incarnate forces into 257 h o u s e h o l d e r, and declared their art to be Constructivist
 have become pathway people). The other has remained on its models must also, as forms, all give way to the new form,
own line of pure art (non-objectivists), the people without dynamic
But the conscience of both groupings was attuned A new era would dawn in artistic education. It would
the common course of the social, household-political shift linked with all new models of the masters of the
The difference between them that the first, the Under this condition the nude model and the still-life
went over to the practical side, the second— to the banished, because they are elements of easel painting
the latter, dynamics became the material for the creation of own culture and milieu and the dynamic artistic school will
artistic forms, for the first it had no meaning, and regard them as antiquity from the artistic point of view,
the metallic progression of technology became a quity which has passed away into the depths of provincial
for both. Mainly from here arose Futurism and paintin
objective Suprematism. Thus new arts have begun to develop in Hence we see that dynamic circumstances have stimulated
the industrial milieu, and naturally they have promoted form in the painters. And thus we can affirm that the life
school for the expression of dynamic stresses. So depends on the progress of life which has now
followed the development of the metallic progress of Consequently the forms of art depend on the
ness and were, so to speak, complementing those stance stimulating particular still-lives, but, art
ideas which were attracted by the same dynamic by itself. The facts of painting prove that all existing
were forming dynamic powers into wrathful laws of unchanging in all the changes of life, so the art of the
domination, into machines, etc., expressing is an art of equal value to that of our dynamic
which arose in the artist in artistic form. Thus New quently, in changeful life, because of its material
wards gave abstract forms of artistic dynamism (i. e. Aerial shifts, the feeling of artistic relationship to the
Suprematism31), which can serve, from the point of view of life remains the same. Hence the artist who is seized
art, as elements in the education of those studying in force of nature, changing its condition from a clear day
schools, as the relationship between the practical and pest or rain—does not change in his own state. Art
lines. Hence imitative art of the illustrative kind forms, but it is similar in its essence
must give place to the new. Similarly, postal But if all the dynamic patterns truly have taken the place
two wheeled carts must yield to the motors and nudes and have themselves become the nude models of
have appeared in our life. But these dynamic forces of schools, what would the painters and architects say—
tallic milieu can correspond only to Futurism and wail and shout that art is being ruined. And they
prematism and Constructivism, which all witness to the 'long live Palladius, long live old Rome, long live
in this milieu lived an artist who shaped the milieu style
force Obviously by the word 'artistic' they would mean only
Hence it is clear that many forms of the old imitative forms, and the painter and architect would only be
pass away, for the artists have never lived in that the world of motors and telephones about raising bridges
forms of transport must also disappear: horses, asses, style of Palladius and establishing palaces and churches to
carts, waggons and carriages. The development of gods on the square which would be called 'Palaces of
258 t e l e p h o n e must annihilate the postal service. Still- 259 a c c o r d i n g to their type, building a palace of work. By
 they have acknowledged the stability of the form of art, it does not mean that our contemporary situation must
nal absolute beauty, in which all contemporary, dynamic by it, if only because their milieu was not of a
be clothed. This is the side, contrary to the dynamic line of tution
of the metallic ideology of today which they attempt to Thus art has come anew to cast a mould in its shapes
in the era of the Stone Age. This shows and underlines magnificence and to transform the existent into new forms
ideologies themselves, the idea givers of revolutionary of
not accept movement in art, and do not even think And so the great new confrontation of art begins now
the appearance of its new forms from tecture (the supremacy of architecture) as a static
Is not the call to monumental, to fine art, a desire to objective
ments of dynamic life static in art, to place them where they will Let us make clear that since art existed in the Stone Age
be completely conserved, transforming themselves models of stone, and in the models of bronze in the
By monumental one evidently means an immensely strong art in marble, glass, steam, then it is obviously that in
fortress in which contents radio-magnetic epoch it will be in the dynamic
One has to decide into which forms contemporary into a form of art which in this case must already be a
tical contents can be modelled: in Russian style, of pure culture. All these epochs of man's production,
Louis XVI, Empire, and whether these styles will be models or logical aspirations to them, were applied to the arts,
forms in which one can cast the face of to-day. Then it human sense of the artistic form was a finite shaping,
happen that the leader of to-day will not wish to of the practical existence; and in this, perhaps, lies
in any form of a previous style, he will search for a tinguishing feature of contemporary art that in the first
from his idea and his contemporary situation, even if arts) there have remained signs of objects, in the second, in
of art still remains as the highest formation of of to-day, they have disappeared. This seems to be true,
ideolog eternal cannot be applied to the non-eternal, it is the
Does it really matter in which style the face of the idea giver will hanging a necklace round the neck of a dead man as
come to rest or become a holy image,—for in all these work: the corpse will vanish and the necklace will
is art. Does it really matter in which, and through quently art has outlived all content. According to
(conjecture), I will become a holy visage, whether it models, one now asks, must we educate the master of
spiritual, material or artistic. Is there an time, what should his sense and feeling be like? His
of such a form into which one can cast any railwaystation, in be attuned in such a way as not to make a mistake;
which one can coop up an organism of contemporary sense a contemporary wave but no other, and should create
mic awareness. Can one make these forms part of out of a contemporary
of artistic schools for the education of young people who live in Many painters will say that it is necessary to bring people
a dynamic epoch? Let us allow that the time of Pericles is what is already comprehensible and recognized—on
confrontation of art which has again arrived at its able models; and they will say that the Renaissance is a
to our dynamic disc, but this does not mean that art will find painting, which the generation of today must take as
that very same Pericles, that same order of life; it does point. Titian's Venus must be smeared over by
260 t h a t after the heyday we have had no Autumn, Winter 261 p a i n t e r l y material, or on her bed one must put a
 woman and smear it with a painting in the sense of pure sort of honey, and to get rid of applied eclecticism.
then it will be healthy, contemporary and proletarian art. In recognize art as a means of ornamenting utilitarian things,
architecture, models of the times of Pericles have to 'art in production', then we must place the artistic school
established by contemporary technological material, nology at the head of all production, so that the
copy the temple of Aphrodite, create it from technician, the carpenter, the locksmith, the tailor, the
terials, it must be inspired by proletarian labour rator—must all be in artistic-technological ateliers,
must think that this re-birth of the temple of Aphrodite electrical epoch will not be artistic. The engineer must
'the Palace of Labour', expressing proletarian art. to complete his invention, how to shape it into an
will be followed by any Socialist of the our concept of art will be that the artistic element is
who all forget that our time demands new organizations a useful thing; the rationalization of art will dawn,
stence, and consequently new psychology and forms of art. which does not exist in art. Art is emotional, irrational
atheistic paths have been laid down in our time, if quently to link reason with non-reason is the same as
days have truly swept away the gods, if our modern days intelligent with the non-intelligent—it is
these of the proletarian revolution, and not the revolution Art in production cannot be, for from this amalgam
gods, is there not then a conspiracy of the old gods to aeroplane with the tail of a peacock and the head of
the proletarian revolution into a form of religious Over a great span of historical time neither the critic,
the Socialist's faith in the future, his faith in the relics nor the artist himself knew where to attach art, they
art in the tombs of history in which he sees a artistic form but did not know what to chain it to, since,
In these healthy stratae of art we must form our they did not know what to do with it, they decided to attach
awareness. This is my point of view; the following must business, i. e. art in production. If one is to combine the
models: the motor, electricity, the magnet, the dawning ceptions— of the artist and the engineer, then artist
electricity,—it is these elements which the artist will the technological school so that he knows the invention,
forms of art of new aspect. For it is that aspect which is he comprehends it as art. To put a bowler hat on the
remain eternal. This new form of art will be the content of a motor, and a starched collar for beauty. How is one
modern day, but not practical contents and visages stand criticism an this case, which through the
been inserted into art. Art which has taken onto itself strives towards the annihilation of non-objective art as
or the contents of idea is an absurdity, for, I repeat, affirms the objective, sews on the ideology of art as
is temporal. Dynamism, the radio, electricity are elements tion. In another case it considers art as idle and a luxury,
new sensations. But this does not mean that, for remedy the matter so has adapted it to the production
will be the contents inasmuch as in it are things, made them `semi-luxurious', and hence
ideas. Let us suppose that we will take up the position slogan 'art in production', although production is the
cating the masters to whom will be entrusted the formation of technology, where things are formed not according
the new electrical, metallic epoch in the sense as when but to technological necessity. Instead of leaving both
speaking about contents. Then the artistic institute must development, an eclectic marriage of aesthetic
from all agitators, from all production, for only under objects has been arranged. One has to expect an
262 d i t i o n s will it be possible to receive a pure aspect of culture, 263 o f the telephone with peacock's feathers. This is not
 of New Art, for in its new point of view one sees new forms of are still in evidence. Has the inventor received an
dynamic origin which have been discovered by tion? No. In such a case is the invented electrical lamp
comes from the metallic logic of the present day, and considered an artistic form, or a dynamo-machine?
to productivist technology in the sense of art is not his concern, this application is superflous for
awareness is important is that the inventor through great
The practical productivist state sees only energy which it search and a study of laws of forces has found a system, i.
sible to use for the realization of practical objects. The artist law of distribution of these stress qualities, of
perceives energy in a completely different fashion. reception and rejection, and has applied this system to
seeing in electricity electrification, radiofication or matter. All his work is founded on this. Why is
'dynamification', the latter sense and see in them elements this thing perceived as an artistic form — nobody knows! And
new artistic form. In the organism of today's man, everyone says what a beautiful car! The inventor himself
and bone have retreated into the past together with still-lives of think about form. Therefore art is not some kind of law
pears, apples or anvils, hammers, cranes, and the a perception from law. Everyone does one thing in his
Now the posing is done by forces which rotate All express a dynamic level. The Academy in the sphere
giving electricity to two things: the artist and is the factory, the institution for
are the organizers of this power. One in the arts, the other in So two technical colleges have sprung up: the
practice, one builds, if one may say so, the State of art, and the artistic-aesthetic. The first, as we have seen,
the State of tavern-like vided for the education and the bringing up of masters
Hence it is clear that the State, being convinced of the attainments of the discoveries of technology in their
believing technology to be the shepherd who leads us to torium, the other must provide all artistic
future, wishes to educate masters of the Electro- aesthetic aspects do change, but with one difference: that in all
to whom it will hand over the building of a new aspects there exists immutability of emotionally,
the awareness of the master will be directed according to sations. This is confirmed by the fact that in our time
of these forces, for they believe both in him and in them; in raptures over old forms of art. The ancient forms
were not able to attain good through stone, bronze, pleasant a sensation that in our twentieth century not
then obviously the new powers of electricity will architect or painter can reject them. By this one can
the kingdom of blessings. These hopes and faiths are the strength of the forces striving to maintain these
in art, for it has already come, for it is already the In this lies the error of our day. Although the old will
beautiful kingdom. It is with this eternity that the beautiful, nonetheless modern man cannot clothe himself
wishes to cover itself, to commune, costume of Pericles. I t is true that our modern costume
So what are the models set by the state for the artistic, it may be considered merely utilitarian, for
instruction of the craft, the masters of purely capitalist-materialist view has abolished the
everything discovered by the inventor of technical ment in it. Hence I see that the Academy of Arts
fection, everything that creates a line of with the old aspects of the arts and the old
raneity, i. e. the latest discoveries. And in academies of art the artist is in the realm of new visions of practical
264 s t i l l -lives, plaster casts with the old methods, the old 265 A n Academy of New Art is necessary as the receiver of
 micised feeling. In this lies the link, the common path awareness which once lived in it, then obviously
technical construction and the architecture of art as porary 'yes' must take on the form of the past 'yes'. For
of the beautiful into which life wishes to come; therefore i t reason the very temples of the pagans became the churches of
summons art to modern production, it summons the kingdom of the Christians, in which the consciousness of the
the beautiful, but it does And if the new anti-Christian feeling of the present
New architecture will drag in its train a new aspect for all its awareness in this same temple, then the visual
clothing and things which have the kingdom of the the same. And if the form of the contemporary 'yes' is
their source, but not practical rubbish which is sown by me, then obviously our times will receive new forms.
talistic-materialistic is different, i. e. my point of view of the same space,
It is true that the institution of new forms of art in of everything that is in nature, is more varied than it
is very difficult because, in the Academy, old forms are day, even more so than in past centuries, and once
force, forms which have been taken over by the manysided, then obviously the production of my to-day
dom: the nude model, the still-life, etc., which even sided and different in form. This manysidedness must
either in the direction of easel-painting, i. e. the art lished, and it will be established in all scientific and
painterly culture, or towards production. From easel- painting institutions and organisations. Also on the side of art
they want, in their own turn, to make an applied line in there must be new relationships and new materials for
of the portrait, the refraction of existence, etc., in which of new forms or art. In technology they will read
a way out which corresponds to contemporary existence of technical perfections as requirements and
everything aside from the conquests of new art. But this of man, caused by 'the struggle for existence'. They
way out, this is only a method of murdering art. The themselves by constructing in man an animal tavern-
of our times simply annihilates art in production ship to existence, the regulating of the three functions: killing,
the same method of joining abstract forms of new art eating and reproduction, with all his purely tavern-
problems, with the production, in the literal sense, of and comforts. They will create windmills,
of new things, and it has already received its own type of art in of perfection, the growing of fruit, vegetables, they
the aspect of Constructivism, new applicability. And if facture a new skin, as though making a dress. The
art had not divided itself into two lines, non- duction of produce for food will become organized.
tism and Constructivism, then the victory o f words they will perfect a whole tavern-like luxury, in which will
would have meant the destruction of art in general. Thus lie the whole idea and ideology of the entire
examples are to be set forth of all achievements of technology in epoch of the technical college as a new perfect
the technical colleges of practical attainments, then ratus with the slogan— 'I stand for living, I live in order
of masters will take a new course from the latest experiment, My perfections, as opposed to that of other mammals, lies
from the latest 'yes'. If this 'yes' is existence arising in fact that my apparatus digests the grasses which the
tact with me, then obviously it is situated in my time and prepared for me with its own body so that I grow fatter,
give me various movements, guide my awareness, make reproduce. This is the perfect apparatus and it will
various ideas about the development of different powers; but if on the pages of the tavern-like electrificated, technical
266 a r c h e o l o g y is placed before me, the sometime 'yes', as forms of 267 a concrete, clear culture, as a new aspect of the animal
 dynamificated armour, full of chemically poisonous gasses tools. My feet serve only to move my digestive apparatus
forest other pasture which has not yet been eaten. For this
I cannot say that this could be an essential built yourself trains and ships. The speed of my
man and another species of mammal which could equal to the growth of that which has been eaten by me, i.
higher than the animal although its technical level is slowness helps me to be ready, helps the food to be
fect'. That too But you want to shake yourself out of my skin, and you think
The animal does not create arts in its society, its tavern- about the new ideological superstructure in which you
ratus is built on perfection, on an exclusively technical live, having my meat underneath you as a
beginning, it is more perfect than man's culture: the you have thought up the idea, God, art, and in this way
ness it possesses, the more there is in reality, everything in to differentiate yourself
tavern-like, just what is necessary to chew and digest food. And What will they read in the books of the artistic
the animal says that if man, with his culture, had 'Art in production' — a many sided existence is reduced
with the order of nature, then we would never have tavern-like limit, to an objective ideology in which art
nature abounds with food, do not touch it with culture, and it its own illness in due time, just as a mother has to suffer
will always yield enough. And the food will be cheaper, of
more primitive the tool the cheaper the food. We
duce a sufficient quantity of our kin to suffice for seed
I do not produce anything from the tools, for I consider
duction of things a luxury, I continue my species, this is
concern, everything else is peripheral. So, as soon as man
imagines a difference between him and us with
tavern-like questions, he has no more fat on him, no
clothing. My culture is perfect, I have inside and
everything which keeps me from heat and cold and rain. A l l
your human culture consists in developing all my
into luxury, you are only dispersed into different systems: my
teeth ach as millstones and as a sickle, the stomach
also manufactures everything that is necessary for
you, on the other hand, to find provisions for yourself,
duce a multitude of machines, etc. But, on the whole, you
wiser than I in this respect. I observe your life, you
get up and again you sleep, you spend the whole
provisions and inventing machines, for you yourself are e
capable of processing the material into a necessary Universil
3
you kill me only because you cannot manufacture a Ziiric
268 d u c t for yourself out of green vegetables, but my feet
1/48 T h e World as Non- Thus the past contains only historical accumulations
representing the materialized ideas, or, it would be
to say there is a residue of unrealised intentions,
periences and attempts to materialize idea, and
has not been perfected is conveyed as image and concept, like
non-errors, to a new desert, on to another non-
And thus our contemporary world stands on the crest of its finite where man again will attempt to change concepts
height. Man's essence is on a spire where he stands on concepts, into actual reality. This is one of his
while the rest of his body oscillates between two which is contained in the hope of conquering thing by
gravity is the past and is presented by that spire on conquering image by reality through the process of
foot rests; the other gravitation is the future where he it into something physical, tangible, `a thing',
place his other foot and so move his brain forward, But another presupposition exists, of a slightly
wishing to tear himself from the burden of the past which is becoming more evident, although i t has
spacious future. The future is non-objective, the meaning: empty space is a place where man wishes to
one is visible, the other invisible; one is filled with the and save himself from things and instruments, from
its struggle in the form of culture, the culture of from all conceptions of images and ideas and from
tions, the other is not full, but is being filled by its which bars man's road, summoning him to toil
imagining Nothing is visible in this empty space, there is nothing
First come the unestablished, unimagined conceptions, the eye, i. e. bar the movement of the ray of vision in
reflections of experiments of the past, they are like finity which is flexible and at the same time finite.
or the first hazy draught of future experiments of a new form desert attracts him, i n i t he seeks rest — struggle is hateful
of reality which must become physically petrified so that to
of the free foot can find a hold and stand firmly, Man In this empty space he wishes to stand outside views,
faith and on his idea which will be transformed conceptions, outside struggle and existence which
into a physical body of shaping. He hopes that images into little pieces like ice that hinders his movements,
ception will become petrified and, in perfection, will turn into in different directions. It takes him along various
one solid monolith. The whole future rests in this hope, avoiding his straight path. In that future he seeks
pure and immaculate, in which man will not permit any sins of not labour but an easy path, or in this spacious
the past, all mistakes will remain buried, and a future he will find a location that is without path.
will be left on the earth's surface, the perfect image in ceptions and ideas will disappear, and he will have
reality with the form of life, no longer a cause of experience, for move, for there will be no path, no alluring distant
it will become a true conjecture, protected by finality, and laid with
final whole it will swallow up causes and make aims I think that in this lies the whole meaning, the path and
arm will no longer move, wings will no longer lift, trains will all our work and production, of all the
no longer travel, for `whither' and `whence' will become final, people, and in this is expressed the struggle for
270 t h e r e will be no temporal 271 m e a n s of which he wishes to conquer the non-image
 chaos by order, but all order is a fiction and so is that pole where not a single obstacle will bar my way,
hurdles of an imageless existence/chaos/invoke in world will dawn as non-
order/ — conceptions, which turn into things and Therefore people search in their own midst for a
into which imageless existence must change and ideas would be eternal, and consequently immutable, and
become an image. If it is impossible to overcome reality, of such a leader would become a countenance, an
will seek the one last image in order to find in it the final to which all nations would come and who, through his
rest: for in it, in this face he sees that order and truth calm them and put a stop to hostility, they all seek that
elevated to sanctity. In these images he sees his only God which they
science and technology are developed to this end; But the past is strong; it has tatooed its reality on heels
established for the same purpose (and all the its experience of errors of common sense, and the
among people as separate individuals, groups, classes, etc. are continues to fight these errors of the past, building up
a fiction, although they have all chosen bread as drawn from a past error for a new incarnation in a thing. And it
meeting point and base), and so are churches, academies appears that as soon as the incarnation arises the
and this is the sole reason that utilitarianism arises in the life not become objectified, and tomorrow talks of
of man, for this reason alone does life itself appear intention of the new objectivisation. Thus the future
and labour, and life as art, and life cluttered up with tracks, like shells, from which a
'I want', says man, 'to conquer existence and I declare emerged, awaiting new objectivisation, becoming a new factor
it; to this blind elemental being I oppose my rational work, a of historic effort expressed in the unfulfilled intentions
clear registration, my consciousness and the study of consciousness, thus man cannot embrace and measure
forces in order to transform it into a rational being—I change it sided existence or the many sided conception of a single cell of
into a harmless, utilitarian thing, in it I want to existence, which in the brain as in a kaleidoscope seems
and make it innocuous to myself. I wish to do the same a thousand angles
existence of people and their interrelationships, but here Balancing on the spire, he considers what he will hurl
hindered by my own theory which affirms that the world desert to build a bridge which would connect one shore of
tivity and so never real without relativity. I wish to with the shore of the future so that he might enter into
fury by means of tools and things, thus I wish to raise desired good where he will free himself from views,
tain and scatter it, render it into dust; and I cannot do it and it conceptions and it appears he has nothing more than
is not the mountain who gets angry, but I, for I am taking of the past, for, it is impossible to consider the
conversely, powerful and could not fight against out considering the past. He knows only that his conception of
Nor can I make all men equal, not even in the matter images in the future will alone achieve perfection. Believing in
and so I have to resort to authority which in the end this future, for the thousandth and first time he has
authority and again remains in that same state of error. His
To this end I declare war on obstructions, by warface I cannot by any means put the element of existence in order,
thrust my way through obstructions to peace, to rest, as way does the elemental existence lend itself to an intelligent
and good lies everywhere before me in the conscious ordering, and continues to exist in the non-intelligent,
272 m y consciousness cannot master it. Through war I wish 273 t h i n g that is ideal is slit by metal and dies in itself,
 it discussion, reasoning and hostility, and hostility consequently time, exactly those things which do not
satio thing which does not exist in art, and before art
But the mind takes matter into its hands with powerful tongs, it there is no abyss, so there is no need for bridges. There
kindles fires, softens it, makes it burning hot, bends duration of time and therefore its flight through
cools it so that the form of intellectual imprisonment the flight of a man asleep who runs in his dream
the idea is contained is petrified and grows cold, like in bed, i. e. the matter which comprises the body has
imagining of the form of relationships, where, only technical, mechanical hallucinations move,
devices, new hopes about the future elevate energy these move in one part of the brain, never going beyond
matter, intelligence then takes everything that has of the
telligent in its visions and hurls it into space as into a Each generation raises the technology of its own
and as soon as something intelligent touches the desert, greater force, because it is young and it has to learn how
a shape and a new relationship in it; this too has become run, fly; and of course technology must play an
take, for only that which has no relationship is without for them, it is the corner stone, it is the hands and feet
is the real world for it has been based on the principle of their fathers crawled to complete their journey. Slowly, on all
Again error has become the basis of its new construction. Again fours, they have nonetheless crawled to old age, to the doors of
images have arisen, aspects and concepts, and relationships of rest. Thus historical days move from rest,
comparisons. Again mountains of objective efforts back to rest. Today is born that day, the day
again existence has been built, a new kingdom of has not yet managed to produce a utilitarian thing as a thing
relationships was created, and man cannot rid himself eternal. Suprematism, as non-objectivity in its
In this fashion the mind was going to consider weight, a second predestiny that art was, is and will be, proof
exactitude and, in its wrath, has broken the unit into a million aspirations of utilitarian have only one aim, that is to reach a
particles and lots i n order to measure and weigh, as i f the world of rest, that the ultimate aims are enclosed in
ponderability of relationships, and parts become units vity. As 'everything' has come from non-objectivity this
tuck disappears. And every one of his thing' cannot therefore be anything else other
objects falls to pieces, and nails cannot hold its parts objectivity
first registration was, and expressed itself, in religious Thus the meaning of everything lies in the tranquillity
the second in civil technology and the third in Art. ment. The world is therefore a place without
These are the first two paths, means, methods of the consequently has no utilitarian structure, no
which man thinks he will attain 'peace'. He things, for in the world of non-objects, just as in
before him as the true path, the only means and there is no development in the picture. Art has
using them as a bridge wanted to reach good, but to this and proved with every canvas that in the
prayed to be a mistake, for it has emerged from the unfulfilled are no movements or changes. The world is an
historical, technical, mechanical intentions of the past, The canvasses testify that the representation on them
historical experience, and each experience i n history changed in movement, but all feel that they do move,
doubtedly a conclusion drawn from previous intentions are body which, immobile in sleep, is mobile in reality, but
274 a technical mistake, for technology sees space before it, and 275 b e y o n d
 Extreme old age is the threshold of a 'world' outside stone, and he created the aeroplane, ships, trains, radio
nology of space and time, nothing irritates hearing or tricity as tools of victory, and man rushes through
reflections fade in the eye, the brain changes nothing, of space, and, when he wakes up, he will see
ceptions pass into non-existence, into the non-relative world of that he is lying in bed and that his body has not
consciousness, everything becomes reality, such are the problems of utilitarianism and such are its
Everything has run, striven, and everything has disappeared in What then is the task of art, of architecture, it is
this single non- non-expedient, but in reality i t too has adopted utilitarian
Contemporary youth is balanced between two gravities: problems. The rearrangement of weight, which has
utilitarianism, between art and the technology of senselessly in nature, into architectural sense, i. e. to
it seems that modern times are faced with a choice; what a task, is what utilitarianism, of the technical
necessary, more correct, more expedient, art or carries out. Weight is born in utilitarianism, outside
the picture or the aeroplane; the question of priorities I do not know whether weight exists. For art everything
to choose between them arises, which is the surer path less, without movement. Hence it is evident that
me more speedily to the goal: art or technology. This is difficult lated in nature, hinders me, hinders my utilitarian task, but it
to solve, but it is necessary; it is necessary to think very does not hinder art. Weight lies on me rather than
deep in order to extract laws of ideology for both which is why I wish to throw it off, or move it away or
and art. And inasmuch as my thoughts can reach down throw it in various directions so that it does not oppress
depths, I can bring up those elements by which I will make a therefore I wish to change it into an architectural form, i.
summary or a deduction. And it seems to me that artistic form, for a civic structure cannot unweight
utilitarianism there exists only one aim — the creation cannot transform it into eternal beauty, cannot turn it
fortable things. What is 'comfort'? Is it not the threshold of thing that an engineer or mechanic or technician could
rest, the peaceful fusion of two into one, but is there it into, for eternal beauty is unshakeable, it does not hinder,
of two discomforts into peace, will not every utilitarian comfortable and does not oppress. So evidently, although
the world be a location of peace, does not every glance the task of architecture seems utilitarian, it only
to create peace in every thing. Does the engineer not want to this because architectural art is hindered b y the utilitarian
sweep every single thing from man's path: mountains, problem, i t should be brought to absolute
fire, so that nothing will hinder the movement forming phenomena into 'eternal beauty', as
And then, when utilitarian technology has swept therefore it can never be utilitarian for every day
thing it is obvious that nothing will hinder its tarianism is not its ideology, it no longer has ideas, it
then all utilitarianism and all technology will have come objective, and if a practical ideology were to lodge itself in it,
end; man will come to rest in that aim towards which then this will be only a temporary measure and it will
for everything which hindered him earlier is swept from like a
His movement was towards peace, but on his All workers and producers in utilitarian technology
water, fire, forests and space; time hindered his recreation in art and its world to get away from every
this peace and so, to conquer water, space, hills and time, For they see that in an artist is: art, absolute peace; the
276 y o k e d science and utilitarian technology, making i t 277 a c h i e v e d it. The artist alone possesses peace, he alone
 everything into the 'eternally beautiful'. Therefore the civil value.' This is the threat of the citizen who is afraid to
engineer strives to get his training at the Academy link of consciousness and subconsciousness in the world
tecture, so that his utilitarian knowledge will receive artist. — 'Art is defined in values only so long as my
artistic formation in order thus to conceal those in it as content' and of course the 'kind' of 'cowardly'
and all the processes of digestion which are being carried out in fright at this speech, transforms the human mug into a rose,
this civic building. Therefore one must seek eternal beauty in is afraid to `demug' the citizen, the lord of life. So the
peace but not in war, for war is a sign of the division of self leaves the image of this object in force, and bars
outside the divisibility of the world exist eternal and entrance to his world of the
tions, as in any work the world is expressed as From this it is evident that everything seeks rest, in
So art is something which has long stood in its cular case it is sought in what one calls beauty, i.
trolling world technology, as eternal beauty, as eternal where everything is ordered
sequently art is outside movement and dynamics, Hence the civil engineer seeks beauty in architecture
and time, it of his purely utilitarian structures, as in art which is
Thus art has masters who elevate existence into non-
but there is no master who would elevate existence into And so eternal beauty belongs to the arts, but eternal
eternity, and not every scholar would elevate existence to the rest — a non-objective abstract in which nothing moves any
eternal wisdom of science. Every returning day further towards its aim and possesses no idea. Hence it
unfulfilled intentions of his and of the scholar's that the essence of art lies in its static character, for in
the artist's picture becomes eternal are no objects of
Thus all the works of art collected in museums and And thus a painter's canvas or an architectural structure is a
ments in nature are always valuable to life, for they faultless mark of a stage of man's journey, finding himself
selves in a state of eternal beauty, i. e. outside time, artistic condition, and his decisions are eternal,
movement; this is what life wishes to enter. These are for in this condition there are no errors, no danger, they
stracts, these are the derivations into which man wishes in the waking world of
from his concrete affairs. Therefore the factory does In reality that equilibrium is lost which it is necessary
its workers in the matter of recreation; therefore the bank pate by technical means. Therefore, Mahomet says, they
market place, stations and any other institutions do forward into eternal life who keep their balance
man, and he would sooner go back home or to the home of bridge, which is like the edge of a sharpened sword,
a derived who are sinful will not retain their balance but fall into
So as not to lose touch with the consciousness of life, But utilitarianism is sure that it will conquer and will
duces the images of his own existence into a derived art. Not defects and will establish equilibrium through the
their reality but his conceptions, he then asks the artist: of consciousness and enter into the paradise of the future; but if
and transform my concrete affairs into images of it succeeds it will only have arrived at the point
because outside those images I shall be unable to by the first, i. e. art. Therefore the masses are still called
without them I shall not understand you, for me you will waking consciousness, they are aroused from the
278 o u t content, remember that outside my image your art 279 c e n t r e of dark places to a 'radiant consciousness' in
 will be able consciously to resolve questions of balance. And it be above the 'hurly-burly' of everyday life, i. e, superior
seems in reality that utilitarian things resolved in the light of conscious utilitarian tavern-like mentality. He has to
rational reality collapse on the morrow, and those intuition, i. e. in some place where he can free himself from
resolved in artistic circumstances endure throughout everyday hurly-burly. He must be in a non-real
So if an architect creates an architectural structure which will throw himself into some such order where inspiration
serve as refuge for others, then let them find in reign; these are the places where clever people do not
free spaces which have arisen in it, not through the solution of only the mad
their comfort and appointment, utilising artistic decision, It follows that there is a big difference between the
• architect always be abstract, not subject to a of the engineer and the artist, that they exist in a
or to science, for that is the concern of the engineer. If and circumstances, that their centres of perception
the side of the engineer, of the utilitarian concept he and there is hardly any possibility of uniting them, it
unsteady and efface himself, in this particular solution of the sible, impossible for the engineer at his work to be both
problem he will fail; this location is not eternal and not rational and transrational state. The one and the
beautifu the object is perceived in a different fashion, for one person
Therefore it seems to me that artists chase away science and necessary for art, for another, in the household, and it
technology, mathematics, geometry, engineering, the machine ferent effects on the subject, or so it seems, and if one
everything done by reason, to escape the torments of take man out of an artistic content into another, then
temporal things. The artist wishes to be cease to be an artist and, vice versa, an engineer who
the latest ideas, an idea for him is not the eternally transferred into an artistic context will become
reason, but, of course, the eternal is in the 'soul'. He prefers In reality the civil engineer strives without fail to go
judgment' to 'judgment'; something which is good for Institute of Civil Engineers to the Academy of Arts,
neer and the scholar is pernicious for be considered a different centre in relation to the
Thus conscious society demands from the architect both civil engineer rushes to architecture because he has
scious and an expedient type of creation because it pressed by the utilitarian slide rule of a trading society,
own affairs to be his object of attention, and strial society, the interests of economy and
him from the non-conscious artistic condition into Nonetheless one may make the supposition that
reality of its own objective, and, wishing to give occurred for the same reason: that both manifestations
assistance in the matter, leads him to his destruction. different places or centres derived from one and the
help, trying to forestall the danger threatening the lunatic the division [occurred] owing to the conception or cognition of
standing high up on the window ledge, it brings him with weight and
into conscious reality, he loses balance and perishes. Something has appeared which drags and oppresses, and a
return to that waking reality and instability in desire has arisen to be delivered of this weight and to lighten
itself is swaying, needing special aids which for the one's burden. Hence the whole expediency of
not necessary. But at the same time society itself says that for tool. This oppressive weight is present in all aspects
creative work 'inspiration' and 'mood' are necessary, but i t because weight is nothing but relationship; all struggle
280 d o e s not say that he has to be knowledgable, clever, that he 281 a c c o u n t of these relationships, on account of them
 arise, all structures; political, state, religious, artistic duce their concrete ideas as the sole content of a
nologica the same stupidity and lack of understanding of
Every engineer is occupied with calculating the relationships of which are irreconcilable, and which always destroy
one element to another; the artist too is busy calculating while destroying one another. Hence there are cases, at
ration of one element in relation to another, but only when artistic forces are manifest in Cubism, where
ference exists between them: the first forms an object concrete problem of utilitarian civic life, expressed in
thing 'concrete', the second as something 'non-objective', and of a monument or a face portrait, do not achieve
something 'derived', therefore there is no right of The artist at the stage of Cubism, instead of creating
the decisions of the second; in the case of the first, one image, has multiimaged the concrete difference, i. e.
to consciousness, to reason, to calculation; the second formed the face into elements and created a
weight in an artistic shape or form, the first in which in turn has become an abstraction and has roused
sity of the object; the second is always comfortable, the nation of the vigilant citizen's consciousness. This
never comfortable and consequently does not enter because existence, the object for society was in one centre
lation flection and, for the artist, in another, and what the
It follows that the civil engineer does not possess an sidered understood, ordered and natural, was, for the
and equilibrium, for he always depends on the ordered, unnatural and senseless. And then angry
of social relations, utilitarian or ideological differences; search either for a photographer, or for an artist not
is outside this, his artistic work does not change because of from that photographer, they search for a 'conscious
changes in circumstances and social relations, for his sees far, without associated type. In the stages of Cubism
beautiful' basis is eternally beautiful in its see the heightened artistic condition, i. e. a very rich
temples also serve as temples for Christians because they are of the kinetics of associations, when many
architectually beautiful, and it is only the signboard, are taken, hidden from the spectator, therefore an
logical banner on the building which change, because there is understood by the masses, the objective, becomes sharply
perfection in signboards and banners, only subjective, producing 'astonishment' in society because it
Therefore all artistic works are collected in one museum intelligible to intelligence, it is a phenomenon which
are of value for every epoch, for in them balance understood by any other sense. The Cubist has carried
achieved although time has sucked the content of life the intelligent into the unintelligent, and has
In another museum utilitarian things are collected, and the link with society, only because society has not had
of no value for contemporary life, they are naive and follow the kinetic associative displacement through to
smile. In the first museum collections are testimonies it did not follow the slow transition of the object from
filled artistic intentions, in the second are testimonies to of consciousness into subconsciousness where a new
fulfilled intentions of the utilitarian technical idea. taken over. The spectator has been unable to cross into
works of art, like the artist, appear to be in a very centre, it has remained in its own centre, and, of
of their own, distinct from the category of utilitarian the audience nor the artist have understood one
scholars, engineers, and therefore all these demands made on they are in two centres or at two points of view. And
282 a r t i s t s by utilitarian citizens, to the effect that he 283 a r t i s t s have taken fright at this break with the masses
 cut short the development of associations trying not to stray far everybody that this is why the cinema was born:
from society's nose or the masses, and therefore like the camel or ass. Therefore the finger of
are not far from, but close to society, objective, intelligible to at the old men from whom we ought to learn, for
the masses. Here the transformation or the generalisation of life, elevated it to eternal beauty, but he who is pointing
objects is slight, and the spatial gap between audience perceived that their productive value does not lie in the
is also small, for these artists will forever be life is reflected in them, eternal beauty does not consist
dawdlers of predigested objective ideas and doctrines, they will but lies in that artistic order on which the work is
architecturalise both palaces and nature in accordance cularly on the painterly order; in Rembrandt's canvas
trines and ideas, they will become second rate, not consider the prodigal son but the painting itself
Thus a multitude of monuments, palaces, parks are left, the rags of the son's clothing, one does not consider the
suit this utilitarian citizen, but the attempt to suit him that he has erred and been forgiven by the goodness
the great power of the artist to transform nature and father
mands. This was the imprisonment during which the Thus a ragged or torn life, dirty and full of lice,
\ to serve a utilitarian objective, and in this imprisonment on an artist's canvas, for it has never been anything
created beauty. But subsequently, in our days, a than a painting, but it does happen that we do not see
has dawned, expressed in the form of a new art, a for the louse. But life itself wishes to be beautiful, not full
has attained immortality, full abstraction from object and it cannot make itself beautiful without the artist,
tent, from prevailing ideas. Art has declared its supremacy, its fore it seeks its image in the artist. The same thing
concrete business, and on the basis of this has multi- at the moment of the artist's liberation: when he has
thing it was supposed to depict, and in its view everything built the abstract, the immortal, life has again started to
in a different way is not built and is false, its order is own demands and wishes to see its own reflection, wishes
one, its mutual relationships are different and from portrayed, and has begun to train new masters,
defiguration tions. What has happened? The following has happened, that
Cubism is that boundary where the freeing or liberation of art conscious life wishes to enter the eternally beautiful,
from the face of life is completed, becoming itself the face of life image, whatever the cost. It wishes to enter a different
based on artistic foundations. Cubism is not the child of the subconscious, into the un-intelligent, but it is afraid
life is not the mother of defigured, face-less, it wishes to reserve
But today, in its turn, the objective life of the And again the painter has taken to the portrait,
does not want to free art from its will, and forces it life's snout into a rose, into the beautiful. And
mundane life, turns it into a mirror of agitation, reflecting life wonders where in abstract dimensions he can cut doors
but not creating its own life, but only in this artistic dows out into life with its chronology, hygiene and co-
one create new and eternal things. The great cinema has not Thus the lion is scared of the cockroach, and the
found its line, it was not allowed to stand up on its feet, and life himself as the all powerful content
has loaded it, like an ass, with all its hurly-burly, life Hence approaches the threat to abstract, non-objective
to it and the cinema reflects life, the cinema has become the artist will take time to understand his own ideology,
284 v e y o r belt for moving life's dishes, and it has become clear to 285 c o c k r o a c h ' s , and when he does understand, he will say
 in all its aspects, architecture, music, poetry, is not• meant for build something for no cause but to express his own
utilitarian objectives. A t very least, it is something the static of the world, the cockroach will find his own
all objectives desire to enter and become the there is a crack in
immutable image. In art is everything—the highest Painting has now reached this universal static of art,
of utilitarian reason are turned into a non-utilitarian, worked out non-objective relations between itself and
phenomenon, such an answer would not be an error, for stence of nature, therefore they are equal, they never
roach or utilitarian citizen cannot discriminate, they are another, therefore they do not possess paths or more
hoopoe which, perceiving forest glades or individual trees are non-
abstract and absurd order of vegetation, regards only So at the beginning of this discussion it seems that
as concrete in which there is a hollow to build its nest and the cause of all movement, 'heaviness, weight' whatever
about his own concrete affairs. In his press he has sung a be. Whatever form this heaviness takes on: 'My soul
praise to such a tree and he has ordered photographs to down', when something is worrying my conscience, 'I
and printed to teach future generations what they with rage', 'A mountain is before me or some other
themselves with, what they should study and how to be all this can be considered as weight which hinders me
society and one's fatherland. In the press he has easily, spaciously,
contempt for all other trees as abstract abstractions, Thus everything that arises in me is of utilitarian origin
and aim of casting this weight from me. Hence arises
Man does not live by one gigantic perfection of under three aspects: religion, art, and engineering,
nology alone, all the best bridges only serve man lies the world of
places; all the skyscrapers or factories serve for a kind It is possible that this feeling of weight is completely
which only assists man to proceed further; good, tranquillity, thing and involves psychotechnology, and therefore
peace, all this is further, it is art; industrial life leaves logy, all utilitarianism appears to be a psychic 'seem',
in the vestibule so as not to produce any more, the cars psychotechnology, but reality never appears, for in the
left outside the walls of the house of art, for the in matter, there is nobody, no thing, no ideas. From this
been reached, there life is silent, for its tongue and reason 'everything' arises, and man wants this 'everything'
longer necessary, and before life stands eternally beautiful art, everything to arrive at material space, he does not want
without a tongue, noiseless, cars and the perfection of squashed by society or by walls. 'I want more space,
are powerless. But the hoopoe does not agree with immortal art more empty space, therefore I am drawn upwards onto
and wishes to see itself in art. In the evening he wishes to mit of the mountain, so that my sight be liberated, and
the theatre, to a concert; in poetry, in the picture he wants should become
himself transformed into a peacock, rainbow coloured. New art The architect who wants space, has consequently begun
has refused to do this kind of work, it went on strike and with this 'it appears', has started to shift and move
its own, abstract work, this is new painting, music which has encircled his freedom, and he moves the weight
The architect too must stop racking his brain to satisfy a way as to leave space between its parts, he removes all
tarian citizen. This is necessary for the engineer-mechanic, the at a time: thus the remaining space between the
286 c i v i l engineer, the business of the architect is different, 287 t h e aim, and that which we call walls, floor, and ceiling
 sides of a cube, and therefore the unfilled and the having made his way to the centre of the cube as to
the aim of man's movement, everything that in itself of
speaks of the aim of the image, but there is no question This meaning is derived from all human functions or
reality other than the entry of all the tools, necessary for arise from this meaning. The technology of art attained this
into the image. But the image is something which has to space, for in eternal beauty there are no horizons, there is not
come, because the image is a horizon which impedes my that limit which could hide eternal beauty,
consequently there is something in it which retards But what will happen when everything has achieved
it is not transparent, but nor is i t solid, obstructing there will be no more need for reason, hearing, sight or
trance into a sightless world where 'I' and the touch, for there will be nothing to overcome, there will
will existence to oppose me and direct my consciousness
The image is the final objective for it is considered to from itself and towards the conquering of existence itself. And
tion. And the image must represent that finality, then it will no longer matter whether my own single
of rest before the image of which everything will calm down, all objectivity exists in the cube
relationships of the world will be brought into alignment, but if Utilitarianism is not the essence of man, like war and
a change of image occurs, if another world of for existence, all this should be overcome in the world
it will mean that the other world is not objectivity, it is all a misunderstanding, this instability in
So, having moved the walls away and having created lance of relations, 'the conscious', this `all' is not the
space, I have derived little satisfaction in that no matter how I subconscious art in which everything is categorical in
shift away the walls, I am always surrounded by walls, for what is created non-objectively, weightlessly, in
meets an obstacle but senses space, and I decide to leave scious, is something for which consciousness is not
and cut holes so that I might go in and out and in i t there is nothing that can cognise consciousness,
to gaze through when I sit inside them. That is why the no
call windows have appeared, but through the window Hence all utilitarianism is a tool to overcome an aim and
caught of the horizon which is barring my path, and again I lift objective aim. This applies to every thing, but a work of
myself upwards towards it in order to reach that height from not a weapon of conquest, it is a world which
which it should be possible to see without any effort, conscious weaponry of imaginings. Therefore, for art,
without not all hostile, neither the hills, the slopes, the forests,
This is a path which opens out, but the discussion may of roads, the wind, the rain, none of them appear
other cause, which is that every stroke of bad luck but represent eternal beauty for the artist, immutable in
build a roof, walls, and windows with locks to transformatio
from harm. This is the other path, which closes up, and For utilitarianism everything is hostile. I t
man hides and conceals himself, armours himself against everything else and forces everything to
thing which suffocates and oppresses, and therefore this path thing else, to kill, and nonetheless, through these killings,
also rises, but for a different reason, and in this other poses that it will be able to soothe everything and
the same aim, for even when in the most And if it follows that, nature is not an obstacle to art
288 m a n wants to save himself and live undisturbed 289 h o s t i l e towards it, then architecturality is only a
its aspects outside the objective and the utilitarian, therefore 1/49 T h e World as Non-
not a murder weapon or a weapon of conquest, it
it ought to kill, i t sees peacefulness everywhere. Therefore
nothing is created in the world one for another, neither as
plement nor as a tool, nor as a struggle
So art is not utilitarian, for what clings to it cannot be said to
belong to it. Life has made horns grow on the head of a The life of man consists of two states: work and repose,
has put a bayonet into the hands of man, but this does in their turn desintegrate into a multitude of
that it is part of him. Life wishes to be expedient, whereas Work and repose are body and shadow, they are
parted with the image of an aim, as the concepts of ideas, therefore repose is not yet an attainment of rest, it is the lull
no beginning or end, it has no 'whither' or 'whence', therefore it before work, rest is something different, something in
has no enemy, no bayonet, consequently it is without attains peace; the artist creates a similar universal structure in
it is already reality beyond image. Everything moves art. This universe" is expressed in architecture, for art in its
reality beyond image: the bullet and the aeroplane fly, essence is non-objective, work and repose are missing;
rushes by, man runs, the bird flies, the planets and the tectural building—not a factory or plant, is a universe of
for only there, in the idealess state, does the world end, other, non-objective purposes, in which the whole
image, as will, as imagining, and the world dawns as irritated by the overcoming of work, is brought to rest
tivity. objectivity. The architectural universe is not only built
iron, concrete or marble which serve as a coating to
idea inside, but it comprises, with the help of all its forms,
such, which in its whole forms an architectural
represents the oecumenical universe, the universe
windows, doors, columns, without roofs and foundations. This
does not exist in architecture, for the window, the door
tecture are forms which did not arise from utilitarian tasks, for
the problem posed is to hack out doors, windows, in
turn into a form which deviates from general relationships, in
the universe of art they should not exist and they do
Even when the artist depicts a visage or an object, he
an artistic
The essence of the movement of objects is dissolved in art, it
becomes non-objective, but if it is though that art exists
objects visually beautiful that, like a mountain, it exists
from it man can admire distant views, then such thoughts
correct. In reality neither of these things was formed
291 t h e needs of man. If it is said that art is for the people, that
 extraordinary revelation, Art is not money or a mark formed the Academy of Arts, an artistic house with
which one neighbour could possess, but another not. I t is not sophy 'the world as harmony', and the fourth, civic activity of
something which can be given to one person and man has become isolated, the engineers of civic
everybody is rich in Art, and everybody possess it. not found a place under the roof of the Academy of
to expectations, something appeared in Art, then, if one is have built for themselves the Institute of Civil Engineers with
it to the people, one has to give them art as such, not the philosophy 'the world as will, mastery, expediency'.
in art or the axe with an artistic ornament, for neither not concerned with fine art but with civil business.
nor the axe have any need of this. In essence, Art belongs other activity of man, religion, has not found itself a
people as rest, for it itself is rest. 'Darkness' is violated the roof of the civil construction, but only in the
light of psychic visions of ideological people, what does light in building which it has called the temple of the religious spirit
itself disclose to the people: new ideas, images of with the philosophy 'the World as World and Hell'.
something which does not exist in darkness, which people divided itself into three categories: the spiritual-religious
see, who are afraid of light and literacy and consider tual utilitarianism), the civil (technological utilitarianism)
than anything else and stand nearer to nature, to pure economic basis of gain and expediency, and the
Nature comprises rest only because there is no labour in with the philosophy 'the World as non-
are no business affairs, only idleness. Ploughs do not grow in and artistic life were in a higher category than the civil,
groves, clouds do not resemble buckets of water, and they was always attacked by religion on the basis of its
consciously water the corn. In this lies the and religion in various ways punished those citizens who
nature and man. Man's life is expressed in toiling their civil habitats, i. e. people who are not under a
division on the utilitarian 'conscious' plane advantageous and who do sinful things, submitting to material
self. Such a utilitarian plane is divided into several worrying more about their body than their religious
each with its own name, and together they comprise human life, is sinful, something not worth bothering about very much
conscious, profitable, striving towards the universe of gion). Only the religious and the artistic spirit living in
labour, i. e. to the subconscious, the striving of not sinful, and it is this that one should be bothering
non-objectivity. One category of utilitarian constructions with it is free from the lust of matter. Into this state of the
a particular materialistic science serves practical life man wish to transform and subjugate matter, to be at one
guarding the body in which the consciousness of man The artist subjugates matter in the form of spirit and
This category has been named civic building. These civic spiritual, the artist accuses citizens of not knowing beauty,
buildings are not arhitecture and are not the universe, knowing the spirit of art, living coarsely, not
mobile (moving towards good) the garage, the bank, behaviour is expressed in their lowly desires,
the plant they do not transform their life into harmony, they
The other is architectural, the universe of art, the house tarian needs higher than the spirit of beauty, they do
the third is the painting, the fourth is the sculpture artistic life, elevated above all material benefits which are
volume) as preservation of the spiritual side of the universe of transient, and they place the latter higher than the
art, it is the immobility of every utilitarian problem (civic), like the utilitarian thing, is
292 A r c h i t e c t u r e , sculpture and painting have joined 293 n o t h i n g but the product of self interest or concern for
 nological side of the body and its utilitarian peace. For this very reason the artist makes the object
Here it seems that technology wishes to equip the body with a construction more artistic so that the beauty of harmony will
mechanism that would make it healthy, the dwell in it, and transform it into artistic realism.
being that in a healthy body lives a healthy spirit, but this material — utilitarian structure does not escape this either, a
correct— it happens the other way round — the development of structure which comprises the interrelationship of
one side of industrialism cannot cover or satisfy man. And within such a form as to make the building comfortable and perfect,
him arises a new spiritual or the artistic desire, forms restful, in harmony, in repose with the body
he wishes to enter and consequently quit everything that is Any civil engineer who has not communed with
industrial. There appears in man a new category of nonetheless wishes to give his construction artistic form.
to material civic demands, he sets limits to their reception or why some civil engineers, after finishing at the Institute
negation, the point of which is to ennoble matter (the body), to vilian Engineers, desire to enter the Academy of Arts
elevate it to beauty so that the material, civic, life is impart a higher order of beauty to civic building, i. e.
the lowly animal state to, in one case, the spirit of body into something greater than that formed by
form and, in the other, to the spirit of the religious form. Citizens, brought up on art or in communion with it,
the artist builds the Academy of Arts, constantly pointing architect to build a house and tell him, 'build me a house
the citizens that matter can be transformed into a style'; this means that the citizen wishes to abandon
by elevating it from civic realism into the highest realism, the practical demands and transfer himself into the
artistic one. Marble, granite, are transformed into an of art, the artistic one, surrounding himself with objects
the image then reigns over marble, marble no longer sculpture and painting, avoiding and hiding
form of the spirit exists. The religious category also works at (the
these attainments and attempts to elevate citizens to The artist forms life in general and all utilitarian products in
spiritual realism: the religious form. Therefore particular. This indicates that citizens do not wish to
ture and architecture are three different things with one aim: to object which is not linked to art, and so bring objects to
make civil life artistic. The second aim is religious for him to make them more artistic, to be painted, to
civil life, strives to elevate it to the frontiers of God, it guarded from loss of value, as one carries a new-born
reach perfection—this is the priest to be sanctified, to be anointed with
Religion strives to make man's civic life holy, art to make it guarding the body from destruction by evil, the devil.
artisti case one should separate these two beginnings:
Therefore every material phenomenon is formed by art so that art (the skeleton and the forming), as art is not the
even a technological instrument strives to have the advantage of which objects and things are saved, if these are things,
form which, in its entirety, has what is unnecessary for are varied, some are artistic the others anti-artistic
pose, as though matter, the body, aspires to the In these two definitions there are variations: the first
through utilitarianism. This is why civic construction strives to the second non-objective; that which belongs to the
become more architectural, more artistic, and, at the that which does not belong to the object. The first
to become consecrated and deified. Therefore the practical realism, the second does not possess it and does
294 t h e building so that the holy Spirit will live in it, 295 f r o m it, for everything is practical —consciousness—
 objective is beyond it. The roof is painted so that it can offer from the composition, the fiction of the life of
resistance to water and be preserved from rust, it is example: the icon in the museum collection is an object
to make it look beautiful. All form relationships are the religious fiction has been dropped while non-
the power of weight division, utilitarian forms which and reality have remained in it. A l l objects in the utilitarian
the particular necessity of citizen's everyday life, and in the tavern-like way of
Considering nature as a materioid mass divided by reason into disclosed their absurdity, their fiction, but not
many categories of types, species, systems, although they were conceived and stemmed from the
creating, when they join together, various intention of creating a truly comfortable thing. And it
give birth to new species and, as a synthesis of all that anything that was comfortable for my body was
stances, according to man's own claim, man of course as soon as the body lies down a while, no matter
peared as the highest organisation of fortable the bed, I get pins and needles in my hands
reason and subjected to various psycho- I get tired of lying on my sides, the back of the
and perceptions. This man is therefore a complex of me from sitting quietly and at ease, my body tosses in
relationships and actions, of the acceptance and rejection of all tions, the whole inadequacy of the intention makes
the circumstances, therefore, like him, the circumstances too every half hour. A work proves comfortable for
change their aspect, they influence one another, but it is comfortable because it has no utilitarian meaning
are found only in his psychic vision, it itself fore it cannot ever be objective and it cannot reflect the life of
water does not change in any of its aspects, neither as other tavern-religious ideas. Such art is annihilated by
as snowflakes. These influences and mutual interactions as soon as it has manifested a new religious idea or
call a struggle, an overcoming, a swallowing up, a structure. It is destroyed because in these works
a subjugation, a formation of psycho-imagining into those faces, objects which have stopped being comfortable for
forms, of new aspects, which break up into the body and 'the spirit', they are broken like
or tools of struggle, and artistic forms. These are all aspects of fortable tools and furniture. Thus irrational art
never-changing and immobile existence. A l l these eternal, non-objective, outside ideas. These points of
are utilitarian production, the result of man's vision of considered stupid by objectivist citizens, for such art does not
image, and the realisation of this vision into a real have a rational, immediate, necessary contact with
provokes this struggle. The struggle itself is nothing stances of life, it is not objective but individual, it
of labour (fictions); labour is rationalistic (fiction), there outside power and politics. Its business is expressed by
no other labour, and everything irrational can be attributed to 'beauty', something without an objective concept and without
art, in this case it is non-objective, this is not a fiction, but time, it is capable of coming and going. Using their form, little
irrational begins to be rationalised i t becomes a African gods can possess people who live in the kingdom of
imagining. Utilitarian citizenship does not accept irrational electricity and radio, until the question of bread is posed, or of
things, it calls them abstract derivations, such art for them is beauty, or of railways of doubtful necessity, these
stupidity, idleness, senselessness. But, nevertheless, in things, 'concrete' and 'general needed phenomena', and the
of centuries not one work has proved stupid. On struggle for them too is not beauty but necessity. On
296 t h e value of a work has increased with the removal 297 h a n d , this 'utilitarian objective society' nonetheless
 art is not stupidity, on the contrary it is accepted by of civic life can do without artistic intervention, this
the highest circumstance, the highest method of forming of all concrete, waking civic life descends from the centre
the rationalistic actions of man, as though, by linking them ness to the centre of the subconscious where it receives
it wishes to make eternal, turn them into rest, which blessing of the artist, after which the object
objects of technology can give. But of course society considers it nary, for it has become an artistic image. This object
not stupid inasmuch as the face of the citizen is expressed in it, place amongst non-objective phenomena, for on it stands
his life, ploughs, hammers, christenings, sheafs of rye print of the artist which he has imprinted without knowing it
themums, funerals, weddings and their celebrations. Art, from himself, and which neither the past nor the new
the point of view of the citizen, is 'the highest creative of civic material life, nor spiritual-religious life, have
the result of inspiration which the artist possesses city to violate. In this case one can say that art is
stands above the ordinary citizen who is occupied guarding objects from the rust of life, but in art it has
useful things, acting with his consciousness, and be an object and became an image, something which is
the artist acts not with consciousness but through decay, for the body of the instrument does not exist in it,
let us say the subconscious, and therefore he taken away into that sphere, or, on the contrary, it is led
which is inaccessible to the conscious, it is that centre that sphere, in which it could be spoiled by rust.
show man existence in another form and relationship, ability of the image' occurs in art because it knows how
to consciousness, relying on clear logical registration movement, it knows how to take the image out of
culations which in the end prove to be fiction but not engineering aspires to this, but cannot
inasmuch as the centre of the subconscious carries within itself Religion, like art, is also busy with a similar hygiene, it
a part of consciousness, it possesses a fictional meaning. man, when he is free from matter such as dirt, can
pears only under the condition an influence of the centre on higher hygiene only in the spirit of religious inspiration
the remaining organism, and man who has fallen under draw nearer to God as beginning outside time. Religion, like
fluence begins to create works of a higher order engineering, struggles eternally with the body and
ness, and becomes an extraordinary citizen and artist themselves victors, the former when the body
advantages over other citizens in general, he is genius, perishable, the latter when the technological
sesses talent, this is the title society gives him. Therefore, not an unchanged perfection, when the body changes into
everybody can be an artist but only those lucky ones Thus man, like a material, technological container, is
the extraordinary sensitivity of the nervous system preserving value which can be saved by the hygiene of
a feeling of emotion, and, where the centre of the itself, either it will be imperishable or, as a mechanism, it will
has proved to be a good receptor, such people are be perfect. This value, according to the testimony of
can work miracles: transform objects and ideas into artistic munity, is 'the spirit' and 'the soul' and
images, into a higher spiritual-artistic reality. Their fore one part of the community is concerned that the
tends not only to the simple reproduction of nature convey not only the external side of the face but only
landscapes, genre-painting, but, through inspiration they can which is situated in this material box. The engineer
realise the whole of human life, without inspiration self with the construction of the instrument, the apparatus
298 p e r f e c t , this we see from the fact that neither religion nor 299 i t would be possible for consciousness to preserve
 'Convey the soul', says society, I f you wish your work to be of these categories exists a soul, in addition to a heart,
weight and value, or convey beauty and, still more naive, 'truth'! brain. But faith in the spirit still exists; earlier one
If this is so, then obviously all the utilitarian- 'Without God you cannot reach the threshold', now
only sees value in the soul, not in matter, in beauty, in say 'without the spirit you will not reach the ear', but
what soul, truth and beauty are, the waking future one can expect the elimination of the term
define, and yet it expects and obviously defines and science, and of literacy in general as art develops. The
them in pictures, but it cannot express them with its tongue, for dynamite waiting for a reason to explode, but this will
they are situated not in the consciousness but in the life easier for anybody. If the spirit protests then
centre of feeling, and their poles are different. cause is hidden in the consciousness, the spirit
scious, the semi-dumb, the dumb feeling of silence is everything to life, and life is rebellion, indignation,
than physical, and consciousness attempts to cognise spirit one can 'go anywhere' and achieve 'everything' for
it with its tongue, with a word, and therefore `theories' and mobile, it explodes etc., each of its actions, whether it
'science' appear but the solution of these theories lies in ment, rebellion or protest, is caused by a violation
conscious. The artist may be very familiar with the principles of rest, of peace which is exploded by violation of
laws, with optics, chemistry or with physiology, but which may be false, for one can provoke rebellion
of conscious effort will make him solve them in his work, their falsely and build a fiction of barriers. The spirit—the
laws are not artistic. Religion only saves the soul, religion all things which have appeared in the imagining, i. e.
it were, the science of safeguarding and preserving from evil, to life, and stimulates human labour in which people wish to
deliverance from corruption of soul through become perfect, i. e. statically absolute. In a work where
which presupposes the preservation of this value and pression of the soul exists, or the inclusion of such a
it into the category of the eternal. For the soul, life is the work, the thing becomes endowed with spirit or soul,
full of diverse dangers, and religious science is the guide thing, society affirms, is the highest category of perfection of
soul. Religion also guards the body and the container unshakeable static, outside eternity; such things or works
the soul exists, for this the priest exists. In another case considered completed and final, outside the eternal.
chanism is safeguarded, the mechanism in which art has taken a new path, with its same essence, but
lives, for this there is civic science and the engineer not recognise this essence and the works of new artists
sciousness and the car, the aeroplane which is safeguarded by to be considered imperfect, i. e. an ephemeral
materialistic science). This is the science of safegoarding the consequently false and full of errors, for the visage and
body, preserving consciousness, thus nature, matter seems society's labours has been lost in them, and this type of
divided into two categories: spirit and matter which give immediately attributed to rationalism, a cold
the science of matter and spirit. Matter and spirit in their turn and science were attributed to i t together with
are divided into soul, consciousness and the error. Society related it to rationalism and science,
can be related to the following: the soul to the it did not find 'soul' in the works of New Art, i.
consciousness to the material category, the subconscious to the beyond the eternal, the non-mortal, the finite.
artistic. The soul at present appears to be in the process from the point of view of society, everything that is irrational
300 ' e l i m i n a t e d ' by society, society begins to doubt that in each of 301 b e c o m e s a category higher than
 From these relationships of behaviours it is possible in it there is nothing, and nothing menaces nothing.
that science, reason, consciousness, yield inanimate all the numerous technological weapons, all
are mechanical, purely physical states of material is based on considerations which become scientific.
which exists temporarily, they are not perfect. Nature, like arises, which struggles for its existence with the
matter, consists of one state or category, an ness, `nothing'; therefore this 'something' counts the centuries in
of elements and their non-objective this eternal song and of course muddles up the dates
ideas. The organism, as a non-objective mechanism, is of its age and is obliged to return to the abyss. It would
duct which is manufactured by the circumstances of things should continue this way, but in reality
tions. In such phenomena there is no soul, no spirit, no otherwise; a strong thirst develops for religious ritual,
pure non-objectivity, in them there is no inspiration; inspiration, for the eternal, as though things created
thing appears, then it appears because the material considerations cannot satisfy and fill out life in the
come into contact with another, let us say the of nature, and society affirms that we must have the
dropped and created a snowflake without engineer the artist must give form to all our high category
without industry and the chemist, in opposition to man nature too is not mechanical, and has not been created by
sciousness. Set this against another category, the scientific method. I t is an unconscious perfection,
situated in the thermal category, this is my mutable in all its aspects and changes, the artist must
and idea safeguarding my material complex like a container for to truth, elevating our ugly material mug to an
the preservation of consciousness, particularly of that which in perfection is equal to nature, for in it the non-
does not exist in the activity of nature. Under such a of the world already begins to arise, it will reflect my
it seems that one does not see either inspiration or spirit, life pattern in the form of artistic realism, for only in
soul, but only pure material, temperature formation will it commune with truth and transform
can be regulated outside the latter but at their expense. Warmth building into architecture, for art lives eternally,
and cold have created a new phenomenon out of the tavern-like division of life and its anecdotes; what is
contact: in one case a snowflake, in another a drop of water, in understand by this formation, would it be true to say that a life
the third a stove, the latter was not a result of the soul pattern is something without form? Is a utilitarian
caused by a change in temperature, and became a product without form? Are civic buildings outside form? No, every
understanding which was caused by safeguarding the utilitarian thing is formed by one or another necessity,
oneself and the consciousness, etc. and a series of requirement of its practical content. Consequently such
tions will create experience and science, is a thing with content and represents a work of equal
guarding of the spirit, and the soul, the subconscious, the artistic. Yet society does not agree with this proof
scious; if these elements did not exist then neither the mation that a thing may be utilitarian, concrete and
other instruments would have arisen, for in non- but its content is transient, temporal and
there are no such valuable or non-valuable things, and porarily comfortable, it does not carry timelessness
nothing to safeguard from rust or freezing, for i. e. perfection, and therefore cannot be contrasted with
in it and nothing is born, nothing burns and nothing work which is not transient, i. e. it is transferred from
302 ' s o m e t h i n g ' which must be afraid is not in it, it is 303 t i m e of ideas into timelessness. Therefore, the artist
 the mechanical aspect of reason and science, thought ter is like a hidden sound-weight which is led from
concerning material time and science, because all this is a system of musical sound-weightlessness. In this case
gorical, it is temporal, in this case there is a similarity easily perceive the analogy, the common rationality of
which considers the body sinful, just as art the engineer and artist as three different methods for
chaotic, not aesthetic, just as technology considers nature an sion of weights. But this work is carried out by them
unorganised phenomenon and strives to give it form, confess objective ideas and work in the interest
the chaos of nature into a technical organisation, utilitarian ideas;—the technology of
invention, For the art of painting, nature is a colour mass which
Hence the three ideas: technology, religion, art or the weightlessness of colours or is deprived of
the priest, the artist, all have one point of view in colour: this technology is also based on the distribution
which they observe matter, nature, as chaos, a blind and matter into a weightless construction. This is
organised, and each one of them ponders this in his own heaviest, most primitive method although it has existed
wishes to organise it according to his own method. None a long time. The difference between them is religion
three can tolerate chaos and all desire order, they desire that in matter nothing but ashes. The sinful body is inevitable
which lies in the absolute, immobility, they wish for something one can call a curse, with which man struggles to
do not desire protest or rebellion. With regard to religion establish himself within it, he establishes consciousness,
reckon that it has considered the body absolutely sinful, invents all possible elements of strengthening,
of it one can only create temporary transient things for the creation of a body in which his 'soul',
fore it has directed all its concern to safeguarding the soul in consciousness, his 'I' can live happily for ever. He does
matter, and it protects this value with all its temporality but desires permanency; from the point of view of
methods. Religion strives to free the soul from the weight religion every material project is a useless
the material weight. The artistic view of nature as an apparent stronghold when in fact everything is dust,
also be observed as a striving to transform matter into 'nothing' which cannot be changed into 'something'.
harmony. Art proposes to organise matter, i. e. to world is not built by religion in matter, for in religion
weight into an aesthetic system such that man would begin hostile differences 'the spirit', 'the soul' and matter which fight
its lightness, weightlessness. The artist has his own amongst themselves; the same thing occurs in another sphere; in
nology which links the elements in the work in a way technology and science, which both think of building
can, everything is held not by nails or glue, it is not gical body to live in the world with a consciousness
gether with chains. Music in many of its not be dangerous for him. Therefore science, technology
itself with the distribution of weight, for example: the engineer cannot build the world because they consider
the soldier when he is in formation and when he walks tical. Religion was considered the highest state above all
music of the march, his weight, it seems, is positions of technological activity, for in it one would
to the system of note disposition and becomes light in nology has reached its highest apogee, it had manufactured
ment in the musical order. Thus for the music of the material, a new spiritual technology, which safeguards
phenomena exist besides the material sound masses which from material influences and puts it in communion with
304 m u s i c a l system are distributed into sound 305 n a l kingdom of heavenly immortality and bliss. Thus
 in this case is immortal, an absolute, attaining God as This realism is the image which proves that only the
the soul is God, a spiritual building, the building of as the aim of all labour activity of man. Thus the idea
From the point of view of religion, the arts are only forward which gives birth to symbols, things, objects
steps of beauty on the ladder which the soul is climbing. whereas the image is the artistic symbol to which all
for religion are one of the best means by which matter come, as to perfection. Matter in this case is only the means of
an image, Art in Religion. Technology is the third level, expressing ideas, but not matter, for this reason
presses exclusively the rationalconcern with the body which exists in the utilitarian object although the whole object
attempts to reduce weight to absolute weightlessness and out of it, but is not it. The object which has taken on
the path of man free and light, leading towards itself with emerges from utilitarianism, architecture is the
production. Thus I regard religion as the highest level transforms a civic matter into an artistic form, and
activity which has expressed the world, like the soul, is the highest level of development of
ter disappears in the spirit, in the soul like the Citizens possess their own construction, a civic one,
'dust', as the arts have expressed the world in an image. from the requirements of purely utilitarian necessity, this
the technological phenomenon of the old before non- first and foremost reason for the construction, having
non-ideology, necessity the construction accepts architecture, i. e.
Matter as a mass is divided by man into three (The second stage of construction). Thus all structures
technology and art. There are three systems of utilitarian purpose are called civic buildings, they
matter for the sake of ideas, which are light in themselves but the first and foremost necessity. The second stage is
heavy in their realisation in matter, and therefore work arises in tectural construction, and the third organic construction. The
which the priest, the artist and the engineer are architect denounces civic construction because it is bereft
are split up according to these categories, people are beauty is absent. Religion denounces the citizen because
priests, artists, engineers and citizens. Engineers excessive concern for secular affairs, i. e. bodily, temporal;
with civic material blessings, priests with spiritual- little time to spare for spiritual inspiration, for God, for
the artist with aesthetic ones. All three form a triune culture of less. To artify is to deify, to beautify, to consecrate,
relationships. These relationships create the struggle citizen strives to beautify and artify his own house, in
which becomes the most evil elemental being, opposing elevate it to a higher category and to safeguard it from
to sight and consciousness; blindness and sight. Thus mically dangerous elements which are found
categories of man's activity which are symbolised by The religious man consecrates his building outside and
idea. Thus all professions are the professions of symbols, life, that the image of the higher category will live in it, the
therefore, consists of things and objects which are is educated artistically aesthetisizes his building with
they are the expression of symbols. Thus along all lines he is concerned for the outer and inner unity of beauty.
three symbolic forms: the icon, the artistic work — who does not know either religion or arts will not do this, he will
and the machine. The arts of architecture, painting, concern himself with the primary utilitarian side or
have created the Academy of Arts as the highest category of ganically non-objective one. Some engineers reveal a
organisation of matter in which all the material activity enter the Academy of Arts to perfect themselves in
306 i s formed, by elevating it to the highest level of 307 i n something which is bound to be eternal. Therefore
 of architectural elements by means of drawing has gical teachings and art there are nonetheless
duced in Civic Institutes. 'The pious citizen' erects are expressed in the fact that everything elevated by
church in his house, and his house is beautified by the arts, to art proves to be acceptable to everybody, although it
he performs an aesthetic ritual over its material forms, vidually anarchic and hostile in contents, whereas,
taches it to architecture. Such a citizen orders a building to the religious concept of fate, not everybody remains
architect, a 'house', but he does not order it from a and the same relationship to faith which is not acceptable to
he asks the architect to clothe his house not in other
utilitarian form, but in a style corresponding to his beauty, like Here we must turn our attention to the fact that art has,
an adult is asking a priest to baptise him in one of essence, something which neither religion, nor economical nor
religion political teachings possess, which all strive to make
America, as one of the young cultures, does not consider to one religion or political thought, or to a tavern
first purpose of the country to concern itself with the sphere of Such systems become hostile to one another as soon as
artistic activity. The civic material and up at some point. These divisions create prisons and
occupy first place, religion, as tradition, has second, art with heterodox people. Art is the reverse of this: all
third place. But the closer its tavern-like, their own particular form of art, but that art does not
comes to attaining its limit, the greater the renaissance to the nation which has created it and thinks differently from
in the sphere of art. It is possible that in every country other nations. As long as it is art it is accepted by all
economic, tavern-like apparatus is being reconstructed, art is far as honours are concerned, and there is no
relegated to the second and third level of necessity, them, and if hostility were to arise then this hostility will
and technology are put in a commanding position where they will to the influence o f many false positions which
stand until they have solved the question over
the most important. Until then they will not
activity to develop, on the contrary, they will take over art to
make propaganda for their ideas. Civic art, like One may consider the beginning of religion to be
relationships of material elements founded on vity of the existence of nature, or the cause of religious
objective basis, will be objective for the citizens, the to be the activity of materioid relationships, their
for religion which is founded on religious faith. The their enigmatic nature. They have found one solution
on the other hand remains narrow, individual and sharply planation in that there exists some sort of forces
personal, it has given birth to the saying: 'Tastes these phenomena; of course man had to define such forces
is different for each person, the artist enters the they should not remain
gory of the anarchists-individualists, and no matter After prolonged efforts, man managed to define that
he believes in the objective mass idea, his expressions of creates everything, through which everything lives—is
remain nonetheless anarchic. Hence all phenomena created by power is divided into a multiplicity and the multiplicity
material civic relationships in each painter are in aspects of God which
refracted and formed, ornamented and elevated to Further this power is divided according to the quality
308 d i s t i n c t l y subjective beauty. But between religion, 309 a n d evil, thus the reality of nature has been defined
 existence within her of two powers; God and the Devil, and proof. New science has replaced the old,
all combinations of life relationships depend on this, and it too will be unable to understand fully the being
trines concerning these relationships of two opposing activity, although it is based on experience; and
been called religious in one case, artistic in another, and civic in understandings will give place to new
the third. It is possible that our contemporary science is these will accuse past knowledge of misunderstanding.
tinuation of the religious knowledge of all those will be no advantage of science over religious knowledge
causes which have created phenomena, it is an attempt material activity. If all to-day's knowledge tomorrow prove
the true God, the cause which gives birth to a misunderstanding, then it will be necessary to
in nature. (Is it authentic that energy is the beginning because scientific cognition or knowledge does not exist, and in
birth to experience it will be necessary to recognise God as
After many efforts they have managed to disclose and standin
cause of the Aurora Borealis (the Northern Lights); i n one To-day it is God, tomorrow Nitrogen, the day after a new
scientific version it is said that the main cause of all names and X-s will form the sum total of
is nitrogen, which, present in the higher strata of Science and religion are a degree of scientific cognition
forms into a crystal shape at low temperature activity of material relationships which hold reason in
solar rays or electricity, gives forth a green light like light, by means of which they wish to enlighten
the Northern Lights. According to another version and see the authentic face of the phenomenon. They wish to
Lights depend on sun spots, etc. Consequently the transform it from something which is hidden,
is refuted, i. e. that the cause of the Northern Lights is masked, into understanding, i. e. into something which
let us say, lowers his beard which exudes light, or open and conscious. Together with this remains the third,
quality of the hair reflects the rays of the sun god Yarylo the artistic point which, in opposition to the two
(Nitrogen-God). If the new science of nitrogen, radium the light of reason. It recognises feeling, inspiration
considers the cause of many phenomena, it will —this is the whole complex, its hand, by which it creates truth, it
a whole series of those powers which were called does not want to understand anything finally, it does
through all phenomena. There are no grounds to think to cognise anything, it can only be felt, and because it has felt
this later discovery of nitrogen as the cause of the contact it has received inspiration, it is the first
Lights, a new culprit will not be found in the future. Neither a push, followed by a mood which is followed by activity. Art,
God, nor Nitrogen, nor X will be responsible. Nitrogen taking this decision into account, can be considered the
will be a misunderstanding on the part of religious of activity of the non-objective relationship, which does not
in the second case, of answer the question: for what reason, why, what for?
The contemporary scholar has understood more than asmuch as art is understood as something which brings
decessor; in both cases there was a demand to understand fully of nature into order, into harmony, inasmuch as it
to the very end the activity of material relationships. for to cognise chaos one must also cognise order, inasmuch it
acted perhaps in a wiser fashion than the second, seeks the help of reason and becomes an expedient act;
God, i. e. a force that cannot be finally cognised, for if he did its non-objective truth. Inspiration and mood in this
310 c o g n i s e God, then he would have cognised him 311 r e g u l a t e d by the activity of reason, not by intuition and
 conscious centre, and this alone is enough to create that existence directs him towards profit — the principle
concerning the aesthetic explanation of phenomena merchant: if God is of no advantage for him as a
method, even of these same Northern Lights, the reality than of material blessing, he will make him material
is built on the colour activity of harmony. Nitrogen or God will versa. Our significance must be lost beyond the limits of
prove to be only mirror-prisms in which is refracted the yet that does not satisfy us, we direct our telescopes
the colour ray. These little crystals are wish to comprehend and spread further out into the
where colour is to be seen, i. e. where God is corrected all its corners, and to pierce all phenomena with our
gen, the nature of phenomena is expressed in colour, i. e. we wish to inherit God who, as said, is situated in
there is no colour, no light. The brain too is a little mena. We wish to place our knowledge in phenomena,
in which is refracted everything that is refracted in the series of sciousness of ourselves, or to insert them into ourselves
other phenomena, nothing—the form of which we wish or like science, technology wish to make existence useful
into something. (God, Nitrogen, Hydrogen, Oxygen). and so strives to direct existence into that pipe, the flow
are the same causes, powers creating phenomena, which will bring him profit, not excluding, consequently
cient science of religions called Perun, wishes to receive as good the power with which one can
In various phenomena a particular God may be thing, by means of economics and politics man wishes
through him its enigmatic nature can be resolved; the power of God, but in itself existence is non-
in thunder was revealed a force: Perun, Piorun, knows neither debit nor credit, neither politics
in the sun the God Yarila was revealed. The newer as though remaining physio-chemical, outside consciousness.
in even greater details to the existence of new visible gods 'as though' for I doubt its physical aspect, and in the
causes, for example: Helium and others. Yarila has as it has been said: existence directs me only towards my profit
into a multitude of elements just as Perun has and its loss, win or loss. All these gains and deficits are
electricity. In the religious cognition of phenomena centre of consciousness (calculation) and out of this
mental qualities and kindness and various other thing flows and exists, and from existence in the
of revealed causes which are called God. Likewise in state nothing can flow. By existence I mean not only the
scientific cognition of enigmatic phenomena, idiosyncrasies of people but the whole of nature too. The
elements are established, capable of producing by existence creates an instrument of gain, but
The religious approach studied the world as God dispersed in instrument gives art, the image, i. e. death, immobility, finality,
everything; so in the scientific cognition of the there is no minus, no plus. Material space are forms
matter is observed as a world dispersed into a multitude in the essence of which there is no death, it is symbolised
nomena. And as in the former case it is said: there is in the image (the memorial) which reminds one of
without God, in the second case it is said: there is no physical reality of existence refracted in the consciousness of
out matter, without power. We stand before another mystery of bein
the hidden meaning of the universe, and this Existence directs my consciousness; whereto? In one
within itself matter and God. It seems to me that both the temple by virtue of which it has been created, in the
rious for they do not possess meaning or thought. Man the factory, in the third to art, i. e. in these directions
312 t h e m by virtue of what seems profitable to him, 313 n o t exist in existence itself. Either all this exists in
non-objective chemico-physical reception and rejections, and Append
then our consciousness is like something given form
standing From the Book on Non-
Hence I differ from life around me in that in the former
no consciousness but in me there is, a value on behalf
I am struggling for my existence, the unconscious directs my
conscious: I have the capacity of invention, I give life
a religious, civic and artistic form. Life falls into three forms of 'It is obvious that the state cannot go any way other
a single triune of culture, the aim of which, and the law of God. God in the people is something which
formation is architecture (art), which must be other thought: 'Thou shalt have no other God before Me',
outside waking consciousness, in the unconscious state, for it is thou shalt have no other thought except Me.
the completion where reason ceases its activity, and this differently — is My enemy and I shall annihilate him for
the last height of rational and subconscious activity God, I am the true light. God according to St. John the
one enters into non- Light. The State is the apparatus for oppressing those
in a different fashion and which says: 'There shall be
government except Me'. Any man who thinks about
Government is my enemy and I shall annihilate him. For
is the true light to lead the people out of this situation.
God as the people imagine him means conquering the
conquering light, for light is God, but until the State is
quered the Holy Place and light are unvanquished.
lution is only a change in the State structure, and
sanctity and the enlightenment of light are replaced by
stronger light in which there is no darkness, and
St. John the Divine: God is Light in which there is
The replacement of the old prophet, the replacement of
by the technical light, is like the replacement of
Plekhanov, just as Vladimir replaced Perun having said:
you, o people, a new light', not torch light but kerosene.
light of Perun there is much darkness, it cannot
and where there is darkness there is no God, for God is light
without darkness. With kerosene I cast a brighter light
path which you will see better and more truthfully than by a
tord. Soothsayers and priests held you in darkness
did not know the true light which would annihilate
315 I will give light from the true God, etc. ... Next, I will
 electric light and you will see that in this new light there •image, but not of physical simple realism. A r t
gods on earth except Me, there is only one true light— which do not submit to materialistic accounting or
rialistic one whose son's name is Spirit, 'his Spirit which will analysis, they do not belong to science which deals only with
soar above the world' (Preobrazhensky" 'About Him'), the simple registration of elements, physical phenomena
when on the sixth day the world will be built by Him causes most closely linked with them. A painting in
the world His spirit of a body, matter and paint, whereas an image consists of
the spirit and the beautiful, i. e. these latter qualities
placed by the artist onto the plane canvas of
'There is' can be relative because every point of science will find nothing but matter in them and the rest
a new 'there is' and a new science. And therefore, from my matter of faith, a faith more real than reality. This
previous discussion about non-objectivity one can deduce my realism. The body can be broken down into
contention that the temporal path of scientific and the image is soluble too, although it has a
or conscious realism is an objective curve, to to itself which dissolves morals through arguments, the
artistic, aesthetic realism. Scientific realism can be justice lies in the proof of its imperfection and that is
the masses, as running counter to subconscious- make it new. Such objects can be analysed by philosophy
personal realism. In the subconscious artistic be judged; philosophical thought cannot be registered, it
must understand semi-divinity, its general features weight and influence on phenomena, for it is only
in common with the real expression of the discussion about phenomena, it sketches images in our
a scientific formula which can be real only inasmuch as it is like art and religion. Not one single Crucifixion of
applied to life; the other reality of the formula is sembles the reality, because the painting is artistic,
knowledge, non-utilitarian. Artistic aesthetic realism image, idealised. I t is a special, ideal, aesthetic registration in
the natural photography of scientific, telescopic or painting of philosophical discussions, an illustration
analysis which deals with the nature of the of ideal realism, doctrines concerning the life of the
by science and disclosed, as 'it is'; it creates new allignments of main character, and the scene itself are
the revealed powers, and forms a new thing. Artistic from the realism o f reality and transported to the realm
an aesthetic invention — an idealised powdered fact, of the ideal, o f aesthetic imagination, t o something which
menon of nature and things move from existence into a reigns supreme over the simple, physical,
gory of aesthetic reality, as though it were then real, just as in mena o f nature and over scientific formulations;
religion any phenomenon is visible in God, in the image, spirit. Art and religion are similar to light which has
religion are capable of doing it. To transform the image, the into two states; darkness and light which sometimes
spirit, and the soul into existence, to make a real existence times reveal phenomena. Both travel to the same sphere
myth, to incarnate it in the body. The visage of Christ, and of supra-material kingdom, the ideal spirit, perfecting
His mother and disciples are the product of artistic realism of in the mirror reflection of material; matter has become
phenomena which, in reality, do not exist, the ordinary category above the scientific world, for the scientific
raised into the image of the ideal spirit, of soul not perfect anything, it only opens up new
316 e l e v a t e d into the holy place. Nothing is raised to the face 317 o r functions in matter, whereas life puts these
 they belong, transforms them into so called practical But this event happened in the state and became an image,
cannot say that art and religion are weak, they been metamorphosed from the small materialistic 'he'
power over State materialism, always lowering it to the third large 'HE', i. e. into that 'he' which governs the fates
level of importance. Materialistic thought or awareness is still —of people in one case, in the heights God, and, in the
so weak in man that at the moment of death his depths of Government; they both rule 'the true
attitude to the world takes a religious and artistic turn, and they annihilate those who are 'not true believers'.
has not had time to approach God while alive, when he arisen from the small 'he' which generally cannot rule
he will be turned to an image within which his disciples hilate i f it has not become the large 'HE', for it has
save themselves or wish to save him, to save his body believers or non-faithful, the small 'he' is on the same
death which can come upon him in the process of other 'he-s'. Therefore shrewd intelligent people
ments: then they resort to the preservation of his image a God who sits in heaven and will judge the soul of
arts. Thus he is transformed into an image, even if his after his death, up till his death he can live according
been kept here through enbalming, i. e. he is transposed commandments and then give an answer, the sense of
phantom state which is physically, materially lies in fact that man lives out his life without seeing his ruler
indivisible, beyond elements, free; science here is of use who can punish him only after death, something which
knowledge preserving the visage (a sacrament), it will to be
solve him or make him live again, an apparent confirmation of
the fact that apart from the physical elements II
body into a particular organisation, there exists too an However, religion just like art must be annihilated as
idea which must be preserved from the dissolution of phenomenon, which does not spring from the sense of
the image. This is why art in its imitative form is scientific materialism, but it can be annihilated only
and necessary whereever there is still a need for images and state is annihilated, when every large 'HE' is brought down
relics, until a new materialistic relationship to events small 'he'. Only the physical interrelationships must
lished, which will have no need for it, where ground with scientific analysis of the nearest causes, of
will not make use of the icon or the deification of cumstances which have collided with, or surrounded
dweller for its simple purpose. In this fashion Christ a struggle with images and ideas must be maintained
used as a tool of propaganda until His Ascension, and tific materialism must be established, but the struggle is difficult,
ganda is still carried on, hence remains on earth, not for the materialistic spear must prod the immaterial
propagand phantom becomes invulnerable and holds in its power
who have a memory, in its memory there is a dwelling,
I dwelling there is no heart, no lungs or brain which
In the world to-day a new event has occurred, expressed rialistic spear could pierce. Therefore one has to
death of Lenin, and I shall take this as an example to people, i. e. annihilate the memory in which this phantom or
thought. It is significant in that it is the second event image exist, or kill it, i. e. break the skull, free matter
death of Christ which must bring about a change of phantom image, bring it into a non-conscious state, turn
318 c h a n g e which has caused a change of image by 319 a primeval infusoria and begin a new organisation, in
 of which there would only be a scientific material artists replace old priests by new, talking already in
images and conceptions. The new kingdom of earth- about the new light, we, in our new 'speeches', talk about
in Communism, with Leninism as its spiritual aspect, light, the new life, we talk and elevate a new corps of
can be a purely materialistic kingdom, this is impossible while new images and we bow to their shrines, we elevate
spirit and matter exist, for they are not steam we pass everything that is material, into a world in
is no sound, no material of reality, we transformed
i of matter into an image, an idea. In one case we created
The fixation of phantom images is the occupation of of sounds in bell-towers and organs, accompanying
artists, for they see no other world and cannot create or speeches with a hymn. We have created forms of
can only see an imagic world; one believes in God, the other in did not speak; he spoke about the world of two or three, i.
beauty, therein alone do they find the reality of rest. In another case we have arranged a new system
'the darkness of people', i. e. their tranquility, i. e. that i. e. factory sirens, about which Lenin did not speak.
both beauty and God must lead, they continue to show about rest, did not Lenin also speak in that sense:—
as a real fact of the existence of such a reality, they will stand in my name, shall find rest, will annihilate war,
ception, indignation in those people who are in a state simply sent his disciples, if these were his disciples, to tell
i. e. in darkness. People accept both the religious and he had said, destroying, with his doctrine of rest, the
image as a fact; with all their might they confirm of sounds and wars already established on earth, the
religious realism as the image of a higher reality, his own time. Christ spoke about the new and old
they suppose they will find reality for themselves, and reality heaven new among us but not above; do not go above
will prove again to be rest, i. e. nothing else but in pursuit of heaven for the kingdom of heaven is
They do not recognise the simple reality of life on earth, or in your every step advances your heaven or your hell,
earth, but only in the kingdom above the earth, in beauty, pends on heaven, for it is not in the place where you have
in the kingdom of heaven. And in all cases the spirit is space there; on the other hand the disciples who stood
the world, and if, according to Preobrazhensky, his taught the people what was necessary for them, and
above the world, why should one admonish those who the Gospel in which are heaven, hell, judgment and God
the spirit of Gad moved above the waters, to prove that angels and the demons and
of God is the spirit of prejudice, whereas in this case the
something real; this is to stand on one and the same V
to hold materialism in one hand and, in the other, the wing of I imagine that Lenin did not say a single word about ritual or
the spirit, if it ceremony in his own name as the most important aspect of
pattern. Nonetheless a life pattern is being built, the Lenin life
pattern, the life pattern of the Leninist — not of the
One should annihilate churches just as one without life pattern, the non-objectivist. He talked to
Academies of Art. Vladimir is followed by Vladimir II. about action, about the word, and as a new teacher he
become a necessity of State and people, the workers and the markable and different from other teachers because his
320 p e a s a n t s ; likewise the priests and artists, for all we 321 l i n k e d with action, and action was linked with the word, he
 suprematised matter, not idea. He taught the disciples to act it is outer truth, the scientific is inner truth, both
rather than to talk or write a Gospel about a way of life. He be a portrait. Therefore the portrait of Lenin does not exist in
taught that they must not detach their gaze from the art, as other portraits in general do not exist; when they
ces, surrounding them, of old world which was going sphere of aesthetic painting they depart into the future,
them up, and least of all did he tell them to turn their gaze ideal. The portrait of Christ also appeared in the future, but is it
gleaming haloes of images and he warned them about a portrait? In any depiction of Christ He is recognised
considered the image an archaic prejudice, he wanted say yes, it is a real likeness of Christ, Christ praying
it and to take reality outside the image and show it to fering, preaching as though alive. Lenin is also
tariat, but as a result the image was shown. He these subjects: Lenin on the tribune, amongst the
how to be materialists, not to believe religion or art, for he is in a sarcophagus, but not in a communal grave.
were founded not on reality but on its image; he pointed created in the end a reality of Christ which did not
cinema and science, two systems which fix reality will also create a portrait of Lenin in the future.
invention; with the cinema and science he wanted to image will convince the Leninist and he will accept it as
vention, the taste and beauty of reality. But even the fact. The Leninists therefore will see their teacher as
not saved and the image entered into it, if it was not in an artistic ideal image, the simple material reality
image it was artistic, moral, aesthetic, and boastful—my from them, His material shell does not lend itself to
better, the new temple of doctrines. Scientific realism `He' was not seen in matter. Thus `His' teaching will
being pushed out, earlier it was pushed out by religious, together with the artistic portrait, as with a religious
artistic realism. The cinema is for artistic drama and will be opposed by one section of Communists. In the image
it is full of fantastic stories, factual circumstances been transposed from material existence into sanctity,
in it, conquered, too, are the disclosure of the activity emerged from materialistic Communism into
mena and their origin. When Lenin accepted the Communism, he rises above the materialistic plan of
was a definite relationship to artistic realism, and like God he orders matter to take on a new order of
the ray of the cinema to the artist, the ray of truth to in his name. The image is outside matter as the reflection
Thus imitative realism, from the point of view of Lenin, side the mirror, but in the mirror is the image,
only scientific, descriptive: how does a phenomenon which the Communists must depart but at which
change. Only science can give a more truthful portrait than art nevertheless arrived. Materialistic existence in
in general, science will dissolve what has been created in holy, transfigured into every-day life. The image
the spectators and will show them the reasons, science is the source of strength, the strength of the spirit, so
action of creation and strongholds can be built; this is what Lenin was
The spirit of Lenin is amongst us. After material
V have been raised up in this manner, the spirit of the image will
I have not met a single person who would say that live in them as a fact which has been given form.
portraits of Lenin correspond to reality, they are stronghold will become a temple, the only
solved, nor collected by science, and only science can Lenin will send a new spirit, he is superior to matter,
322 t r u e portrait. The greater reality of his portrait is in 323 i t to change into his, Lenin's, image, into his teaching.
 been transfigured in the image, now it is no longer decent which has nothing else inside it except matter, yet
the word Lenin but only 'He', 'His', by 'Him', nobody occurred. The bells of the churches have fallen silent—
be called by that name, just as nobody can be called Testament; and truly they are no longer needed, a new
can be Christians and Leninists. The word Lenin is been formed, the new mourning organ of factories
earthly word, just as his calculation, and to confuse it for bells too are the sounding of that same matter,
materialistic causes which exist outside the image is wrong, but pany the spirit in mourning, the soul which lives in it; that
the reverse has occurred, his calculations remain, whereas sending off to a place where matter cannot go, as the
turned into a mystical phenomenon and has become a get into the kingdom of God. The factory and the
the Leninists. If Lenin is already 'He' then 'He' stands taken over the religious ritual. The new form of the
communal grave, but not in the grave, for 'He' is not he, but has ended with God, it has transferred its spirit to the
only 'He'. He is their new spiritual banner which eternity, it has singled out from itself something which
'His' path. Therefore the burial vault is a cube, like the come holy and higher than it. Materialism has found a
eternity, because 'He' too is in it as eternity. But this is with the image, God
poral, logic will proceed along its iron path and show that all
who are buried in the grave, those have died for I
temporarily dwell outside eternity, just as once After the death of Lenin or of 'Him', who died for us,
died for Christ, and Christ led them into His must follow 'Him' and in the future suffer for 'Him' in
they will stand together with 'Him' in the cube of the commune with 'Him'. All the ritual must be carried out
eternity, as with Christ, and will sit with 'Him' in factory. Factory hooters must accompany the Leninists
of the new teaching. A new eternity of 'His' paradise grave and to life. The body of the person who has died
created and the symbol of this paradise, of this new for Lenin, must be carried to the factory where there must
a cube, it is no longer paradise with trees or in the place for the celebration of the requiem and
a geometrical paradise. The cube is the completion of by Him. These are parting words. Later the question
and misfortunes which had existed because they were the form of the link with 'Him'. This link can be
sional, two-dimensional, or three-dimensional, they followed all entrance into the cube as eternity. The cube of eternity
the teachings and in the end, in Communism, they must finally placed as a sign of the union of the dead man with
arrive at the last organised cube, the cube of eternity, i. e. we receive forms of a new religious ritual which will enter life
patterns and push out the factor of materialistic
vi essence of which is outside any ritual. Hence a divergence of
His body is carried from Gorki" (an analogy with the hill of opinion in Leninism will occur; the behaviour of one group of
Golgotha) and is lowered by his disciples into the vault disciples nearest to 'Him', will differ from that of others
sound of factory hooters. The matter of the new accepted 'Him' only as one of the active members of
sounded. The sound or the spirit has emerged from it, it rialistic group of Communists, as a unit with a greater
enclosed by silence in order to be in it. Why—is it energic elements of dynamic force, but do not accept
in it was a soul, spirit, i. e. something which could depart from it significance of 'Him' or of the static cult. Dynamic
324 - and what has it lost— for after all it is matter, i. 325 b e c o m e
 trary, religion, like a cult and art, became the first element
Every Leninist workman must have a cube in his house as excluded from state existence, as an element of custom
minder of the eternal, constant doctrine of Leninism which and old existence, the arts were put into third place,
becomes symbolic, dividing the material life pattern into were inventions which had nothing in common with
All rituality must of course be done by the artists for up of materialism, the doctrine of reality. Art as
day it is supposed that the artist gives life a form and not exist, and hardly even art as science, for in it people
bolists and Idealists will be successful, not the element of the old life pattern as it was before
Suprematists and Non-objectivists. They elevate rituality of the new Lenin life pattern. Artists were divided into
image of the artistic symbol, but this is something other worked according to inspiration, and those who worked in
life. Masters will arise, entrusted with the painting accordance with science. Everything must be
rating of new temples which will have to be placed next to fically and be productive; some produce images,
factories lest clubs begin to look like them. Music and poetry will Hence an attack was launched against art as
create their own music and songs. The clubs must be rather than an economic, scientific fact; another group
the houses of Lenin, i. e. Lenin's corner will grow into who thought materialistically went against
a house, and when Leninism takes over in Italy, the house of affirming one scientific, materialistic realism. The struggle
Peter will be renamed after Lenin. Only then will the portrait against art as inspiration was declared by objective
or image of Lenin be created in universal grandeur groups. Not trusting the organised necessity of material
ideal, symbolic, static like a cult Art will occupy their own artistic value, they thought of bringing into it
after the Lenin religion, whereas scientific economic element of art. The other grouping, on the contrary,
rialistic matters will come third; this will be the analogy art which has been liberated from the two factors, i. e.
previous life pattern, consisting of three elements: and factory, which had swallowed it up and made it
2) art, 3) economic conditions. I n Leninism there must be no means of formation, can be independent and can give
changes in art, Futurism and Cubism must not be, for for its reality is non-objective. But now people look at
fluid and dynamic; here of course everything must and consider that it is the servant, a lackey, or a
all matter takes on the image of Bramante, Palladius, maid who is dressing her lady. It accompanies the State
of Raphael, here begins the struggle between the pyramid of holy men, gives the ideological heroes a higher, artistically
Cheops and the cube, the form of the burial of Lenin. beautiful visage; besides the fact that from any
one has to choose a place and build a pyramid, or a cube, order and tavern-like division arise both the form and
that cube a pyramid. The triangle is conquered by a art, it is flesh from flesh and bone from bone, the child
hence rectangular culture can be called Communist from the mother, every tavern-like order gives birth to art, a
culture, but ancient, triangular change of life is a change of art forms, therefore it
this new tavern-like system and serve it well, for it is
x the child born from the mother must serve her, for this is
When purely materialistic consciousness began to be nificant of the child and the mother is his content, as later
by revolution, the problem of establishing scientific child is the content of the mother, but facts speak of different
326 p o s e d as a problem of exact knowledge of reality. On 327 t h i n g s —whatever the order may be, our architects will
 this order is shod in classical sandals so that life will remain life whom one must not only not give, but from whom one
and the sandals will remain sandals. In other words, art as much as possible. According to the speed at which
eternal mirror which does not change because the face has the new religion of Leninism, they will be used, they
structure. The mirror reflects this new structure but does not serving the Leninist pattern of life, the Proletkult,
undergo the first atelier for producing iconostases, the artists of
A small addition was made to art-aesthetics, and so it regime do not produce new patterns of life, do
come artistic, by virtue of which it must turn the ugly mug of life them. Religious artistic objects of the old regime are
into something prettier, into a beautiful face, a factured, just as the old regime did not produce
ladies' nails has nothing to do and looses his meaning and fetishes; new fetishes have arisen and after them
conten artist', associated with them in spirit. Measured by
Non-objective art has had war declared on it by the to artistic and aesthetic schools, they have become of
war was declared on new art because it is without importance, their priority is not yet made clear, whereas no
abstract. Since it will not beautify any of life's ugly mugs. War money is expended on the religious cult, as its lack
is also declared on the addition to art, on aesthetics and is quite obvious, for who in the old regime gave any
these additions have proved to be an added concept or the image of the pagan Priest, thus the old form finishes
tion but not the meaning of art itself. All this is temporal. stence. Artistic schools strive to unite the creation of new
aesthetism is demanded which will act more strongly their interrelations with production, i. e. to link up with
and blackheads. New arts are therefore rejected because of factories and plants, and to put both 'Art for art's
people see an anti-artistic, aesthetic activity, they do not 'Life for life's sake' as far away from religion as possible.
they do not see a remedy for freckles, and the ugly mug of life union one observes the struggle against art with its
is made of freckles, and even i f the toe nails are painted in ticism, and on the other hand, creates aesthetics
brilliant vermillion, the bust is not improved because it them to new forms, a new culture of the proletariat and of
have images, the visages of other ideas, i. e. masks Leninis
oneself in, and if one were to build an ornament from
decorate it, ornament the skirt of the State, then XIII
sympathy of an aesthetic order is aroused, although the The link between the artist and the factory was,
not be built on an aesthetic basis, similar to any flower clear, for no object manufactured on an economic,
field fortable basis needed an aesthetic to give it another aspect,
of art, in order to increase the weight of its economic, utilitarian
XII pliability, which is, in fact, its content. This fact must
Artistic life has fallen. The artist has been put on a foundation of a new proletarian culture.
dole and will receive a piece of bread when the in the workman while he is a workman. Every thing is
man and scholar are satisfied, his business at the time a result of the technological struggle of two
tion was a suspect necessity, but this was in the past when labourer is brought up on this eternal duel, the ability to
peared unnecessary; the artist and the priest were reduced to sword (hammer) must produce new forms of this
328 n e a r l y the same level, and to-day they are free wanderers, to 329 s e c t i o n of artists has consciously taken this path,
 path, having called their business the artistic work in world' (Preobrazhensky), the image has appeared in it.
but this is simply an importunate fly. Such a group, tory has become the church, the only fact of the
Communist, has based itself upon the fluctuating, dynamic fight soars in spirit above the world. The factory hooters
of technology with the new organisation of the to carry out the functions of bells and organs, the
in the fabrication of things, discovered by science in nature. But world has started to run along a religious path and
the cause of this case is artistic labour, therefore is it machines, factory hooters, workmen and orators have
in the new elements, discovered by science, there is fulfil functions which conform to the circumstance of
element by which they give form to the thing? The materialistic cult. Thus, all that was materialistic, at the
of artists took the other path, not of forming but reflecting life Lenin, has been designed by his pupils into symbolism,
patterns and have formed a group belonging to the religious life spirit; factories and workshops are no longer aspects
pattern of Leninism. The third group wanted to reflect the life rialism but part of a cult, and one has to await the
patterns of plant and factory (Futurism), of matter, new machines. A l l production must serve
exposing those elements on which the worker works. church, for everything that is born now is born in
group took the scientific path. The fifth path is that step is born on the path of Lenin, Lenin is in every thing,
objective can be taken without Lenin, just as no goal can be
out God. Hence arise the consequences of
xi must accept three factors: counting in reverse order: 3)
It is a historical mistake to consider the artist as one with terial, 2) the artistic, 1) the religious. 1) the imagic, 2)
tory, with industry and with everyday life. The repetition, the 3) the material, reverse
analogy of that moment occurred when art was torn
its scientific analysis of phenomena and made one xv
or, in its own right, with aesthetics. So to-day, having The communion of the artist with the factory,
away from religion, art communes with the factory, out in elemental fashion, has taken its place as such, and in
expecting the factory to change into a church which chapel has been formed, a spiritual, religious, ritual
icons, standards, banners and various kinds of relic factory has ceased to be a factory, the workshop has ceased
Some part of materialism will change into image, a workshop, the proletarian club has stopped being a
such a moment is coming. Materialism has slipped from the icy thing has stopped being a thing, electric light has become
path and fallen onto the religious path and, having arisen, of Lenin. The clubs have become purely places of prayer or
whole business in the image. Materialism ran towards it with audience in every-day existence. The factory has become
dizzy speed. Before it rise customs, ritual, cult, image, church. The idea has flared up of making Lenin
Here is a close analogy to the church, and to
x Church, which has taken care to arrange corner shrines
Having destroyed the old icon lamp of the church, and all His saints. In this way strength of awareness
established the electric light of the factory, it has rialism was lost. Thus the revolution ended with the victory of
the religious path as an electric icon lamp, it has ceased something which has turned into spirit, and according
330 a s a materialistic existence and 'its spirit will soar 331 d i s c i p l e s will soar above the world in the image of
 xvi was orthodox, all his life he fought against the
The hidden religious spirit awaited the death of the freed himself from it and wanted to free others. He
it waited until the heart stopped beating and, in a lead everybody out of the icon corner, he fought for
lifted up to himself those who remained and now was opposed to both God and the devil, and when he
along its own path, and in them now neither heart it seemed to go unnoticed that the revolution carries a
function in their own right but only as moved by 'His' within itself with newly transformed devils, and
material spirit is in the power of the spirit of religion, or who shouted long live Lenin, shouted Hosannah to-day
has pointed out to the materialist (Communist) a place morrow chased him back into the shrine. In the aspect of
but itself has risen on high and soars above the earth as he stands as a testimony to his former material covering,
whither everyone temporarily remaining on earth will have to and those who believed in him were told that 'His'
evaporate. He created, too, the image of the materialist, soar above them, that the spirit alone can overcome
confirming that you have risen from an image, and that you will talism and the devil of the bourgeoisie. A new form of
turn into an image, the paths lying beyond the boundary of death (the life of
images, symbols, amulets are closed to you. With
the religious spirit has pressed materialism into a corner from xvii
which there is no exit except through transfiguration After his death none of his disciples believed that he was dead. It
It is the Perihelium or the Aphelion of the was proclaimed to the people that he was alive and
after which you will turn into an image. So ended the life of with them for eternity, but afterwards this particular
Lenin. Just try to correct the mistake, try to return 'Him' changed and it was said that he had died but 'His' Cause still
material world, otherwise everybody must be with 'Him', lived. (Would one not find under the aspect of the
everything must emerge from the orbit of aspect of the soul, which does not die but lives?)
and change into an amulet, a banner. Hence all feast told the people that Christ lives. Do not build temples
brating revolutionary victories will become holy Christ — for the temple of God is within you. The disciples of
sions (the procession of the Cross or the procession of Lenin could have said the same: the temple of Lenin is within
all the relics of the 'orthodox' and depictions o f the you, and, instead of a soul, his Cause is within you,
believers', i. e. devils with frying pans and burning chains, with seemed incomprehensible, for, if 'He' is within us, then what will
all the hell of Capitalism, the bourgeoisie has become be 'His' Cause on earth, and they started to build temples,
porary devil which tortures the faithful who believe in pagate 'His' Cause. Lenin did not say that one had to
and those who are with 'Him' will be saved, those who are in his name or name other houses after him, or set
'Him' belong to the devil or to the bourgeoisie and will shrines, but this was done, since this is the source of
nal damnation. The victory of the orthodox spirit has come and the guiding shrine of all affairs on earth. The
renewed form and proceeds towards victory over the does not need religion but it saw the tool which
has changed into the bourgeoisie; before this the devil was The bourgeoisie had no need of a prophet or holy angel,
below, now he is on the surface of the earth with all or the devil, this was all needed for other people, for
ments of torture which never let man live in skinned, since it was easier to govern by means of God
332 d i s r u p t i n g his faith so that man sinned, killed and 333 d e v i l . One would think that the revolutionary
 the peasant do not need such professions which filled the commandments of Christ, and to save
to deification, to the creation of a guiding spirit soaring above in seating them next to himself. Christ taught: if you have
the heights, governing all our minds. But if this must be, ments, give one to your neighbour, love him as you
it be, for is there a man who can be without this? but to his neighbour, the proletariat who has a
Leninist in consequence will make a shrine in his home he has not given a single one. Then Lenin was sent and
cate it to 'His' name, and in every village reading-room or nished them, he destroyed the temples and banks and
clubs there will also be 'His' corner shrine from which everything to the proletariat. Now the whole point is to
ing (sermon) will be preached. Models of these little corners the proletariat that which has been given
created and others built on the same lines throughout the land of
the faithful. What the teacher did not want is xx
there is no way out, for the shrine is not destroyed. A If somebody conceives the idea to commit Lenin's body to
been established, consequently a static rotation this will only be a second fact, when Christ after
Thus the new religion of Leninism is linked the heat of the fire to lead forth the proletariat. What
the image and reality, spirit and matter. If this is so then can it mean? I suppose that a similar fact shows that the fire
be that the death of Lenin has become the synthesis rialism, from whose hell everything must be freed and
munism, and Communism has fallen away like an egg the spirit towards God, the image: burning would now
from the egg has emerged matter, and now there is synthesis, particular
the soaring spirit, which has emerged, as stated, into
for it is impossible to soar below— whither exactly XXI
and it soars there above Lenin took on the image 'Lenin' — 'He', and the
be burnt, the great 'He' is incombustible, in it is no material for
xi fire. The crematorium is hell fire, which did not burn
There is no escape, even if somebody thinks of Christ left his body in the tomb, a technical notion,
remains in a crematorium, for the cause is in 'Him', in the fire of the crematorium will not burn Lenin, for it is
soaring above the world (i. e. the earth), his spirit question of the body, but of the spirit into which 'He'
burned. There is no return to materialism, because 'His' spirit will (according to Prebrazhensky), the crematorium can burn
not become a body, 'His' spirit will no longer be clothed but not 'Him'. He has become something which
'His' further life lies in the spirit. (As all great people become. A simple mortal completes his life with
rest for themselves in the heavenly dovecot of the tion of his body. Fire can burn only simple mortals, the spirit
tion will only complete the analogy with the risen which can soar above the body is not in them, they
entered fire (the crematorium), liberated the just and and are remembered on occasion by the masses, but Lenin
again to judge those who have transgressed mortal. All the others are buried in communal graves,
know only that here are the graves of those who have
x us. What sort of people they were we do not know, we
In the Second Coming one can see 'Him' in the face of they are the victims of the revolution. They are pure
33 is come to complete the punishment of those who have 335 t i v i s t s who submit neither to the image nor to the
 and one can only create them according to the image pleases: a nose, eyes, a machine, one could paint
likeness of those who have remained on the surface of make Gods, petty gods. We do not have an authentic
it, we can only create an image of our conjectures,
xxii unknown into the known. Many artists will draw portraits of
The artists of IZO" protest against non-objectivity, Lenin on his deathbed— will this be a concrete depiction?
lack of content, and this is the means by which one can representation will not be true, for Lenin is immortal, i. e. 'His'
from all content: content generally is a suspect thing, living spirit soars above the world, and his essence is not
rise up against Communism because the last stronghold tomb, but in the cause. Hence we can say that any
appearing, the last basis, the foundation for existence, death will be a lie, for it is not in the nose and in a pair
is coming to them, non-objectivity, their activity has that the essence of a portrait lies but in its dynamic spirit,
tion of object from which, and on which, to develop days of mourning will be nothing else but a false alarm,
mena; some have capital, others have the object. do I care about non-living things when life itself is
too, object to non-objectivity, since, for them, tion. Lenin died and his disciples' confusion began: at
an object, like the capitalist without capital, cannot exist. With did not know whether he was dead or alive, what to
non-objectivity disappears their means of reflecting people. Here we see an analogy with the disciples of
and portraits, propaganda through the took down the crucified body and laid it in a tomb,
through capital in the other case. The non-objective gotten that Christ is alive which was confirmed on the
hensible. New art raised a storm of indignation in —by the Resurrection, this they declared to the people
before and after the revolution, to the effect that it is that, if He is not alive, His faith is alive with us
tive and abstract, that the face, customs and life of
vists, Capitalism as well as Communism, are not xxi
on the contrary, deflected. The consciousness of society Lenin's disciples must meet this differently, outside
prived of its main support, what to see, what to dices about death, even about life, for these are two relics
was nothing to cognise once the object, or the portrait old concept of nature. This should not occur in
object, disappeared, and in its place appeared some it is there, and this marks the difference between it
'conveying nothing either to soul or reason'. When it came to objectivity. Lenin died and life stopped for five minutes,
building monuments to outstanding people who the sun darkened at Christ's death and brought life to a
themselves absolutely concretely, new art disfigured instead of is an attempt at the grandiose, static state of complete
depicting their face, changed it into non-objectivity and element of the
straction. This is, and was, its straightforward function. The We do not have many minutes for these true signs of
function can be materialistic, matter does not have vity for which we can allow ourselves only five minutes.
portrait, a concrete fulfilment, if it is fluid and dynamic. What five minutes of normal life after an onslaught
is it like? With eyes, a nose, without legs, or does it objectivity
legs, it is everywhere for everything is everywhere, but what Matter must be solidified, turned into rest, if it cannot
exactly is it like—this nobody knows (multiplicity of completely, then at least it should be stopped to the eye
336 m a t t e r we can make material and from material 337 s a k e of appearance, it should be stopped for five minutes,
 stopped, you will say that this is playing at 'mysticism', from which the synthesis has emerged, i. e. Leninism.
rialism. But the latter is only a coincidence of the tariat is the workman who has not yet entered
with another order which has become a religion, and in Leninism is that into which the proletariat has to enter
case a well-thought out attempt to stop everything, to make it peace in the world, one flock and one shepherd which soars in
dead, for the spirit has left, the raging spirit has been the aspect of spirit above the world, from everything
and the lack of necessity for any movement has been created the
Having come to their senses the disciples said: Lenin
death is overcome. Thus victory will inevitably be xx
there was no resurrection as a fact of victory over death, for in Victory must come, and who among the devoted
fact life stopped not for five minutes but until such not rejoice on discovering that Lenin is alive, and in fact
Leninism begins to exist as a religion; it cannot be been proclaimed by 'His' disciples that 'He' is alive,
cause, if life moves on, obviously new circumstances quently, in a book 'About Him' it was said 'His spirit
which it has to overcome, and if there are new above the world'. Yet there is no festivity. Why? They
obviously they have appeared after Leninism, their believe. The third day is not yet come. So believe that 'He'
a departure from Lenin; if everything is foreseen as and rejoice, for His spirit will soar above the world. 'He'
creation of the world and its path of rotation, then in because he is He. The small 'he' can die, but, the great
life in God has ceased, everything is ended, but it is been transfigured in spirit into the great 'He' and
yet among the righteous, for it has to go mechanically the small
pre-destined path and be united in rest. There is no
yet, and does not yet come because there is hesitation and xxv
certainty whether he is alive or has truly died. Christ Thus the Leninists are in mourning. Should they shed their
by His disciples by virtue of this hesitation and by virtue mourning or remain eternally in it. How can one come out of
same hesitation Lenin was buried too but the sequel mourning i f the deceased carries on being dead. The great
public: Lenin has died but 'His' Cause lives and we teacher lies lifeless. One can only come out of
the victory. Here lies the difficulty in defining the the memory of him has disappeared, when time has erased it
tween life and death, here lies the difficulty for the and we have forgotten him. He is no longer within or
to depict his portrait; but the latter must be dropped, it then mourning will fade away of its own accord, but who
cause which must be depicted — they are alive and he disciples will say that in a year's time the teacher will
But the reverse occurred, the boundary between life and gotten? Not a single disciple will say this. How can
unknown, what is reckoned to be Lenin, whether it is such a teacher who has universal significance. His Cause will
or his teaching, spirit or matter; and so it turns out that progress further and further until it embraces the
has no power to draw the portrait of Lenin, he now needs to We will shed our mourning only when the teacher has
depict as a cause not electrification, but the spirit of to life again, and this has happened according to
tion, as previously he depicted the soul. But the worker of his disciples who declared: He is alive—long live
this for he is a Leninist, he is part of Lenin's Cause, was the declaration of Christ's disciples to the people,
338 L e n i n in himself, Communism as such is an 339 f i e d was raised up on the third day of His burial. This
 victory over mourning. This was the dynamic victory multitude of shepherds and flocks, there were
it was not a festival. A new victory must be awaited for between them. There has been only animosity on account of
alive. Through resurrection we can shed mourning Christ. Christians not only have not overcome the world
death, having overcome death by death, and having given life they have aggravated the differences. Spiritual teaching
to the dead. So Christ's disciples took off their mourning integrated into a multitude of hostile sects. The doctrine
to-day the disciples of 1924 vanquish the new flock and one shepherd had at its source the
Lenin's immortality, through his transformation into of Christ. It is possible that the realisation of what has
a living Cause. One of them said: Lenin has died for the can be achieved in the religious approach, but the signs
is alive for those who remain alive. And in the scriptures realisation I have noticed only in the purely materialistic
said of 'Him': 'His' spirit soars above Communism. Such a teaching has forced people to
faiths and accept a new teaching, Communism as
Xxv body has become a Communist; the Mahomeddan,
Thus the problems of the new and proletarian life style, the Catholic, the Orthodox and the Capitalist have formed a
of the Leninists, are solved. Just as in the first case a single flock. Thus Communism is something into which
consisted of three beginnings: religion, art and gions must enter in order to be rejected and to form
so now it has become three elements: the economic, the said by Christ and not understood earlier on. Lenin's death
a cult, and the external aspect of clothing and things. It is forestalled the consciousness of the disciples as the sum-total of
sary condition for every Leninist to have in the corner people who at some time were religious. The
room a portrait of Lenin, but this is no longer a mere portrait, it created between death and the disciples was involuntarily filled
is already He—the image existing in the heart of the by religious signs. But it is possible that this is the way
one can say: do not build the portrait (the temple), for be, for it is necessary that there 'should be one flock
lies in your heart. Hence imitative art may, or may not, shepher
application again and create new Raphaels who
the Lenin shrines and transform them into temples, and
cient triangle is ready to take into itself the new content. The Part II
development of such a path will lead materialism to a
gion, a church which will be filled with depictions of
history and with amulets of the movement and the suffering of The cube of eternity, eternal glory, immortality, death, hell,
those who have fallen for it. Others will be lead out eternal fire, symbolism, the law, the teacher, the
darkness into the new light of materialism, the light may idea, the image — all this is the invention projected
bright light but nonetheless it will senselessness of what we call matter or thought. Matter
appear as an invention, projected from thought, then
xxvi as nature of phenomena is nothing but an invention; but
'And there will be one flock and one shepherd', said world as matter is not an invention but matter, then there
nineteen hundred and sixteen years have elapsed and cube of eternity, or eternity itself, there is no eternal
340 n o t been a single flock or a single shepherd. There has 341 i m m o r t a l i t y, no death. What can one call mortal
 glorious or inglorious in matter? Nothing. Matter is materialistic reactions which can act mutually, but if the spirit
tive, non-relative, outside symbolism, outside religion, is that higher element which soars, then obviously
cult, ritual, art, painting, science and consciousness. reactions depend upon it. If a war has broken out,
inventions elevate themselves above the world, such is material circumstances have occurred which have forced
they disturb the world's rest, being divided into two part of the material circumstances or society to adopt
spirit and matter, having defined immediately the axis of their behaviour, and, to achieve victory, it is necessary to
points of contact; the beginning of the spirit and technology but the spirit, to raise the martial spirit. I
two different and hostile aspects, and different aspects are people who became enraged when I took piece of linen
created from spirit and matter, invention has begun; but teeth. But in this case it happens unconsciously,
spirit, of what beginnings and elements does it are outside the spirit, the spasms of the body are an
knows and the same applies to matter — it is the product of irritation. I could have persecuted them, they ran away, their
thought, and even more so is material. I f spirit behaviour changed, it happened too when I put dry powder
then matter would not have to divide. It is obvious tooth brush. What is it that guided their behaviour, it
the spirit is something that does not come under the power of possibly be the spirit but only a physical fact, rejected
matter; it is not the power of the radio or of electricity, nervous sensibility of the organism. One circumstance,
mands the radio and elevates electricity into an or behaviour of the phenomenon distorts the other,
the spirit dominates it and at its head stands the idea, without different behaviour from the other and that is all. On
which the spirit is powerless, for the idea is something hand there are new categories: Symbolism, the
the spirit organises the most powerless beginning of immortal, glorious, inglorious, spirit, soul. These images
hence the behaviour of man depends on the idea and results of distortions, a new category of
the supramaterial powers, and by this behaviour we which reign, soar above the material world. It is the
idea motivates man and which spirit guides the idea —good or hallucination of imagining, it is the category of
evil. There exists the military spirit, the revolutionary objects which are divided into symbolic and
religious spirit, the materialistic spirit, the Capitalist religious, material and practical objects. Thus
spirit of Socialism, without the spirit nothing can arise thing, as an object, is equal to all other objects, an object or
the spirit is the author of all causes; in all these teachings are only a reflection on the plate of matter. Objects
spirit and soul which soars above the material world, festations of conceived ideas, which man wishes to
fore not one single teaching can function without spirit reality, but matter is strong in its struggle with the
such is the technology of doctrine. The world is full of therefore both matter and spirit have only one path, spirit will
so there is noise in the world which has to be driven out, soar and matter rotate. Thus the material order
driven out before, it is driven out now. The spirit is could not stand firm in pure material order, and
force, and the motivated is the idea, and that which divided into two beginnings: Communism (matter)
formed is matter. What is the spirit, by what does it move, by (spirit)
which physical units does it elevate the material
knows, all spirits soar from all teachings; the sky is I
342 l o g i c a l , spiritual dovecot. A l l circumstances have the link of 343 T h e cube as a symbol of eternity, the chair as an object
 the icon as a religious object—have the capacity of bolic order, whereas matter is not symbolic but
themselves from one conception into the province the first are only symbols of the fact that it is
Material things depend on the idea and the spirit. Venus, that it can be manipulated into a cross-shaped and
object of a cult, has been transformed into an artistic shaped
as the icon — the second stage of religious realism,
the object of art and vice versa. Matter remains in its i
it does not transform itself into one of the conceptions, it The eternity of Lenin must be accompanied by
know of any circumstances, in conceptions there are let us say, the carrying out of electrification, will
which are considered material, but which in fact have nothing in under these conditions which have now been created,
common with matter, they are things and not matter, symbol, which proves there is no reality, only a symbol
cern is not for the body but for the greater good. Does All manifestations of these objects will create a ritual
good? No. But perhaps it does need it, I wish to eat, new phenomena. A phenomenon has been born,
to eat, and it wishes to eat a good piece of meat that arises: what to do with it, where to attach it? Of course
from it. Hence we see that the object slithers away, it to Mahomed, to Buddah, to Leninism. What name can
established in any static way, and it cannot be it? Of course the name of Lenin, for everything is
eternal. This possibly occurs because the crystals in and now we commune with the symbol and give it his
their angle, and the idea is distorted, the form changes, name will be symbolised, and the calendar of names
appeared straight how seems curved, a different symbolic. We need a non-objective calendar. The
from the same actuality. Venus, as an icon, having Oktyabrina has appeared (although October must
ferred to a museum, disappears as an object of religious cult, the month of Lenin, for what role do the times of the
now at a new angle of vision and turns into an object here), it symbolises the true October, or the name
imagination but, on the other hand, it never spelt backwards— there is the fear of naming
for the aim of art is identical to that of religion. Its so that it does not resemble reality, and perhaps now no one
depends wholly on the mode of invention or of behaviour. worthy of bearing his name. Later, whole swarms
remain an artistic object until such time as invention finds will appear in the materialistic Weltanschauung or,
aspe rectly, in Leninism, and they will envelop reality
New saints will appear, like symbolic spirits, who
II at some time in reality. The weeping and suffering of
The point of view that Lenin's death is not death, that he body, the alogism not of the body, but of the
and eternal, is symbolized in the new object which has When Christianity was victorious the same symbols
of a cube." The cube is no longer a geometrical body. In transmuted as symbols into Christian names and
object we attempt to depict eternity, to create such a identical symbols of a renewed religious idea. So to-day, with
by which the eternal life of Lenin will be affirmed, the victory of Communism or, more accurately,
life that has overcome death. This is the new path of objects in Communists, not being capable of finding new
materialist consciousness. The cube, the sickle, the resorted to the same symbols, but now that attention
344 e n s i g n , the portraits, the busts—these are the products of 345 t u r n e d to this a new calendar exists, the church calendar
 Hence we find the ritual of giving a name to a new- milarly, at some time the artist has attempted to
Christening him with the hammer and sickle, the new symbols of all religious activity and has left his imprint on all
the hard and laborious path, which has replaced the duction; and what will happen? Religion will be
thorns. The ritual will not be long in showing itself, and things with his imprint will never be. Now, as I write
shall have to go into new forms of religious ritual, the power of the artist is entering into another sphere—
all the Leninist paths. Hence it is evident that the sphere of production, the factory, the workshop and to civil
object cannot be established outside religion. This also construction. The artist in this sphere begins to place
establishment of a life style which must be joined to, in order to safeguard by his power all human activity of
artistic realism. Thus the second case will be the this sphere, and he influences this sphere of technology
the previous life style, where the cult and art will give gates it to himself. This latter sphere of civil activity
every manifestation. Thus many signs show subjugated to him. Like 'the great spirit' he
and materialism could not maintain the line of and transforms artistic objects into artistic images. Therefore it
building, but went over to an artistic and religious cult becomes clear that the factory represents a
establishment of a static life style, the fetish, world which one artist transforms into an image; and
on which he has left his stamp, becomes an image and
into that sphere which comes under no other power but that of
The artist gives form to life. A t present such a formulation is the artist. There chemists, and the whole assembly
impossible—materialistic life is not an image; life is a brains, are powerless. Matter will not penetrate to that
like plus and minus, the accumulation of units or their matter the image is reflected, it is only a mirror.
but not an aesthetic shaping. Earlier, this relationship artist protests in the wildest fashion against science, for
pressed in the religious, the economic-material and in it an extraordinary force which strives to build life
aesthetic form. Life built on these three forms. None and outside image, simply to show how and why.
forms are formulated by another, for they represent reason are also hateful to him, for he supposes that all
ferent forms with one aim. Not only is there no beyond them in the inexplicable spirit. The artist
them, they are actually hostile. It is enough to transfer image into another sphere, accessible only to him. This
object onto another path for it to loose its past value. an inexplicable mystery which he cannot explain himself,
shaped by the artist, no longer has a religious value, like the mystery, is outside intelligence and reason. His
ment has been made, the artist seeks to conquer it, still to wrench all objects into the imagic kingdom as
imposed his stamp on it, he reckons to win it, sooner or were escaped phenomena; he turns their scientific clarity
object will fall into his power—into the museum, the artistic image. Any attempt to objectivise ideas returns
tions. Thus, in reality, the stamp of the artist is so strong (as a image, for the idea is that same image. The emergence of
phantom generally is) that not a single revolution has is the moment which forestalls the future object, the
to annihilate the counter-revolutionary picture itself. must be identified in the material substance; it is the war of
of the artist safeguards it. The icon is counter-revolutionary to matter and idea, the idealisation of matter and the
scientific materialism but thanks to the imprint of the artist on it, of the idea. And as soon as materialisation of the
346 i t is preserved more strictly than the eye of the 347 t h e artist places his stamp and transfers it back into
 calling it artistic realism, which is linked with the idea, does not attain the object except as an image. The image
not linked, in it there are possible, finite form of materialism and reality.
speaks only of non-objectivity to his disciple, but
V the teacher's death, not one disciple understands the
A new sphere arises—non-objective and abstract; a so creates objectivity, wishing to realise the idea of the
of nature, of the world, and of all phenomena, or it. Thus a multitude of rituals and objects are created
is a vision—this sphere is the strongest of all, it is the prism the teacher did not speak, for he knew that the idea
annihilation of phantoms and of all objects and ideas. to become a material object, always falls through, it does
artist look into this prism, the engineer, the scientist, further than the image, for it goes against
they will all se that the world is indivisible, beyond able, against something which cannot be embraced
the world does not possess two different beginnings every machine, which has at its source the imagining of
the world is the world, not spirit and matter. The world coming of perfection, the blessing of perfection, is no
relationships and the principle of relativity. The world thing but the image of future reality. Matter cannot
objective, inter-ideological, inter-magic. Just like man by thought, it leaves behind it something which cannot
tempts to become international, and counts on attaining bliss at braced by intelligence — nothing. Therefore every thing
that moment when people, like objects, will step out idea is nothing, it does not exist in matter. Hence we can
will stand between objects, between people, they will what we call the object is not the object, but the image of
objective, although at the same time they will possess
of objects. Hence one must understand that if one VII
amongst others, then they are no longer a people, they The idea is everything for a great number of people.
objective. The man who has lost his nation, his he is ideologically orientated, meaning that one can
qualities," is just as an object which has become with everything for he is a non-objectivist. Here the word
—he will be non-objective. The annihilation o f objectivist—is used in a sense which differs from that of
already guarantees the path to non-objectivity. By attaining pression — non-objectivity (that in which there are
that point where all or one religion will stand The idea is still the image of the object, the future
gions, it will attain non-objectivity; all will possess God, but the objectivists of old observe the ideological from this point of
no one will possess Him as his own, He will not belong view, safeguarding the wholeness of their object.
body. Communism, as the Third International, Comintern, gically motivated man is not the possessor, but he wishes
already non-objective. Its problem is to make an ideological object which will not so far belong
objective, to free the world from the attempts of men to grasp it individually, but he manages it only in the form of an
as their own possession. In this lies the attainment of is the unfulfilled intention of the
end. Here the new religion has found its own international limit,
the signs of which lie in Leninism but not i
The life of ideological men is spent in images, conceptions, a
VI dream about the ideal object, the order of State and
348 A l l doctrines teach only one thing—non-objectivity, that 349 f e c t i o n ' , these people are thinking about their image, for
 be ideal only in an image, in art and poetry which also travel the idea, i. e. expressing the teacher; the whole concept lies
along the same path as the political builders and also hope to case in elevating the teacher, as an idea, into a
draw reality, but as a result an image appears. It is not to make out of this object a utilitarian, practical,
of material reality, for materialism itself is not yet matter, it In the other case it is an artistic image. From this
degree of materialised matter, matter directed into material objects, numerous artistic portraits and
material again into the object, or rather, the image marks the tions will come forth. Many of them appear because
limit. Two Weltanschauungen exist therefore: one—the is not expressed in any of the objects, and not in a
idea besides which nothing exists,—and the world as matter, portrait do we find his likeness. Therefore every artist
physical circumstance outside idea. The world as idea consists of order strives to obtain this likeness, and each political
amass of objects which are created from material to attain political likeness, but at this point the
matter, it creates an objective world, which is also and its features slip from memory and argument
world, nature invented by man, and hence what we call artists and the political masters about his
objects are inventions which do not exist in nature; in features not agreed upon in his lifetime. This is one reason for
do not find a teapot, a plate, bread, a machine, towns, the emergence of objects; another origin of numerous
only one sole non-objectivity, action, abstraction and that some other complex of new material amalgams
vented world as nature, proached my complex. Take, for example, fire: in order
serve myself from burning, I begin to guard my complex,
doors, this is not symbolism; or if it gets cold I build stoves
The invented world or nature with all its utilitarian serve warmth, and from these endless circumstances utilitarian
leaves our real life to the image. Life outside objects arise as a defence and a mastery. Yet, despite
not to exist for us. Where invention stops, death begins. dence, their necessity is arguable, invented; under
sciousness did not exist in primitive man, nor did stances of our complex nothing may be needed, since in
are new arguments—the attainment of our is neither fire, nor cold —this is our invention, matter
how is it possible that at that stage there was death, if radiate fire or cold. If fire existed and were to burn
primeval state there was no consciousness, nor does it all matter would by now have been utterly consumed or
neither does thought, where can we get them? We enter into have been frozen. In nature there is nothing which
factual non-objectivity and we fear it. We are afraid to or
own thought, consciousness, to loose the image. After
of man we carry on living by what he has invented xi
out—this we call his Cause which has arisen from The idea wishes to idealise matter and wishes to emerge
of cognition and thought, from which one can invent or sleep beyond life into the waking world, i. e. to
objects and divide them into material, spiritual and artistic but matter can only be reflected and does not change of itself;
categori distorting and changing the idea itself, it distorts objects, and
men cannot find their exactitude, and this is the third reason for
X the multiplication of objects. Objects are perishable or
350 Te a c h e r s are ideological people, the disciples carry 351 d e s t r o y e d , i. e. matter frees itself from them,
 objective, it no longer reflects even the idea as a broken mirror of the material passage of life on earth. The image is
does not reflect the face. Only the image remains for man, that earth, outside
which has remained outside matter, in which he does
it is reflected in his brain, and some people say in his xi
therefore his image or heart, whether it be Christ or Lenin fought against image, opposed image, i. e. did not
faith in him must be like the image from which matter reflect images in himself, did not want to be the mirror
itself. Every Leninist without faith in him is not a or to be reflected in matter, and he sought salvation in
as matter does not exist, nor does Christ. Now his image exists in wiped away the mirror qualities of varnishes, so that
matter, and so does faith, through which the future not reflect reality and not lead the audience into error
reality is safeguarded, i. e. the immortality of Leninism. double depiction, so that they would not take the reflection for
to defend the image, the portrait of the idea-giver, he reality, but matter disintegrated, Lenin remained as an
to the level of the saints; the faithful must preserve reflection. The disciples buried his body; but can one
from any stain or change, if the image is not holy, it the body, matter, in a grave, nevertheless they buried it.
tible. The elevation of the phenomenon into a holy burial the ritual of the old order was carried out in
is equivalent to the elevation of a technical means which is bury the body in tombs only because it is matter, dust, it
capable of conserving and of preserving the object of and the living part is the spirit, the soul has gone, has
from change, preserving it from movement. If the formed into image. This is incomprehensible even
faith changes, and so does the idea. Leninism is themselves, and whoever it may be ought to consider
but an absolute static (Lenin is dynamic). The word holy, the the point of view of hygiene, but not in a ritualistic,
deification, had the same significance in religion as a tool of for 'the soul' has gone, 'the spirit' has gone, i. e, what
technical preservation. Every religion is static. We believe in buried and to which we relate in a different manner,
Lenin, we believe in his teaching and in nothing should not attach any significance to the body, otherwise
the Leninist cannot say, as the Christian who believes that the matter of the body also becomes holy, like the
for if he moves forward, then by that same distance he in that case there is nothing to be said about dust and
rate him from Lenin, as the Christian who moves superiority of the soul or spirit But the body is buried
thereby away from Christ or the Mahomeddan sing: 'eternal rest', for in this lies the significance of that
or the Lutheran gone out of matter, of eternal rest, and returns into
and the possessed spirit remains and enters the living.
xii buried in a glass coffin for no other reason except that
Lenin in life is material, and his image is only a reminder be seen as a sacrament. This was foreseen and described
materialistic life. Perhaps Lenin never taught his and it has occurred in reality. When I wrote I did not
his ascension, i. e. his translation from one condition the idea of the glass slit. My glass coffin was reckoned
from matter to image. But, by virtue of some law, culation, that a man who has been sanctified is a
happened which nobody expected: Lenin was the degree of his holiness corresponds to the sacrament
like Christ and written in the book 'About Him'—'His spirit will Catholic world, the sacrament is placed under glass.
352 s o a r above the world'. His image and that of Christ 353 t h e utilitarian object, attempting to direct historical
 into the form of Communism to establish his materialism, a cube, in something which does not exist in reality.
into idea; he wished to make it non-objective; in the utilitarian will be an invented sign. The cube will be a symbol
object he wished to save consciousness, he wished to wants to turn into the fullness of knowledge. This is
tion, but it came to pass that all objects are symbolic, of perfect fullness. In the cube lies all man's culture
imagic. Lenin became an ideological man who strove ment, by the cube the first epoch or the first cycle of
tivise matter, form it in an ideological image.—'And in cognition of ideas will be symbolised, the new epoch
where He stood nobody will stand again, and there where He towards a new creation of form, which he thinks to
lies, the strings will fall silent and, with cause he will move the cube of his knowledge into space
or the cube as mobile space will create a new body, a
x This new path, the path of logical analysis of ideas,
The artistic depiction by the artist of existence and of the question what is to be done with what has been
in life reveals that all objects of life, like life itself, are the cube, nature, the world. But there is another tendency, it
and an artistic image. In order to rid himself of the leads along the path of art which affects the cube in
in this case too, recognises the cinema and science as truth, in cube has moved further and forms a new body and
order to rid himself of invention and inspiration. For him only by Cubism, as the correspondence to the logical analysis
scientific value exists, for there is no value, this is a and it answers the question: what is to be done? This is
is beyond registration — it is inspiration, image, therefore all pretation of Cubism, but there is another which says
artistic depiction is hateful to him—it is is the dissolution of the cube and the emancipation
ness which will have to stand face to face with non-
xv The consciousness is deprived of ideas and
The image is the final path, the image is something
the exit, by means of the image the further path is
everything which has paths converges towards the image, all The cube is the result of all man's strivings, the cube—is
paths lead to the image, particularly if it is holy, hence I cally constructed mousetrap, from which painting frees
justification and true significance of the Orthodox corner in the first time, for the first time it directs itself
which the image stands, the holy image, as opposed to objectivity. Cubism is the culminating point of the culture of
images and representations of sinners. The holiest painting, as Communism is the culminating point
centre of the corner, the less holy occupy the walls on culture, the difference lies only in that the cube in
The corner symbolises that there is no other path is dissolved in movement, disobjectivised, but the
except for the path into the corner. This is the final goes towards the final point of the objective idea.
movement. A l l paths, whichever path you were to reason was the symbol of the cube used for Lenin—as
tread, if jou are going towards perfection, will converge Lenin is the culminating point. Will not the symbol in
corner; whether you were to walk in the heights too be in a dominating position, Lenin as a symbol, but
down below (the floor) on the sides (the wall) the result Symbols exist only in the world, lying outside matter,
path will be the cube, as the cubic is the fullness of of ideological conceptions. I t is only from outside
354 h e n s i o n and is perfection. The attainment will be expressed in 355 s u b j e c t s itself to this image and always reflects it, as a mirror
 reflects objects. The cube is nothing but a geometrical We must not build monuments to 'Him', for a monument
In the material world the cube does not exist. image, but this best of ideas has not persevered unto the
to metamorphose matter into geometric realism, but has only suggested a new form. Hence the construction
bodies are not bodies, they are those same icon-ideas, or homes for invalids in 'His' memory, and it will be
And mathematics is closely linked with geometry The same way in another form. Baptising by name,
birth to numbers, indefinite, matter, we strive to transform it into an image or into
of the professed idea, It is no longer matter but only a
XvflI the name remains a name, and matter remains matter.
One can say that Lenin taught the objective understanding of pletes its process and the name lies on it as an imprint
nature and, because he fought images, and was not lapses when matter dissolves. The non-objectivity of matter
people create images. As if his teaching were not seen overcome by the imprint of idea, although man wishes to
but in the image which has been reflected in it. Matter the idea alone. And in reality man does live by it, has hopes for
become like a mirror which reflects, but itself continues to the future, that his idea will be victorious over
a mirror and does not change into the doctrine which accepted ideological baptism, that in the end matter
Lenin is idealised, and then he will attain the final blessing, i.
corner-
xi
Lenin was reflected in matter as an objective material xx
his disciples bore witness to the fact that Lenin as matter It is obvious that the path of all doctrines lies in the
exist; Lenin exists as an image. 'He'—'His'. And one of one of the leaders leads the people by the power of the
said: 'Every man who saw the living Il'ich at least once banner of which he wishes to raise after overcoming
this image in his heart until the end of his days'. This turning it into ideological good. Hence the materialist
in matter the image of Lenin can remain until it surpassed, for good is ideological, corner-like. In order
its mirror-like qualities. And one of the poets has sung: come we invoke technology, the essence of which lies
that there are no portraits that are a good likeness to over the transformation of matter, into an ideological object in
there never have been, in the centuries to come the conception
portrait will be completed'. Who will now complete
An artist-poet. But which heart will pose xxi
Leaders, like prophets, always make themselves
x through simplicity. Disciples elevate this simplicity
We learn: `Do not build monuments to him, palaces ness, and further into a degree of holiness, the image
him'. This was one of the best attitudes. It means that These are all steps to deification and they say themselves: 'We
remain non-objective, for not a single object will be do 'His' will, we promise on oath to do 'His' will and
given his name, i. e. not a single object will be symbolic. It will 'His' teaching'. Yet it is to 'Him' one has to swear an oath
be simply an object. No one must bear 'His' Name, giance, not to them. These degrees contradict material
356 t h e y are not worthy, but because it does not accord with 'Him'. 357 w h i c h there is neither great nor small, neither eternal
nor immortal, nothing swears an oath to anything else, Note
static swears an oath, everything is non-objective in
Which atom is the more clever or stupid, weaker
which atom holds more good, and which less, and does
as an idea? Does the Sun swear an oath to the Moon, or the
Moon to
1. Imitative art: (Russian: izobraziternoye iskusstvo) the
25th January, used by Malevich both in the neutral sense 'fine arts',
opposed to Cubist and abstract art. (Cl. Malevich: Essays on Art
II, Copenhagen 1968, p.
2. painterly: (Russian: zhivopisny) also translated
painting, of painting. By this Malevich understands
physical qualities of the painter's image, the term
the concept of painting based upon texture and
tonal painting. Finally used in contradiction to
(cf. note
8. manifestation: (Russian: vyyavlenie, to manifest,
word is frequently used by Malevich in unusual
Also translated as to develop, express. Cf. Greek
4. The formula is missing in the manuscript. It is inserted
corresponding passage in one of
5. Malevich here and in the following refers to
book. I n order to preserve continuity ' V
'predstavleniye') has been translated as
possibl
6. Malevich wanted to base a new chapter or an
on the following pages. The following section ending on
line 29 was extracted from the manuscript. Cf.
notes to chapter
7. The expression 'the fourth dimension' acquired
meaning for the Russian avant-garde from abt. 1913
wards. The writer Uspensky introduced the notion in
'Tertium organum' and referred to the book 'The
sion' by C. Hinton (Howard). The viewpoints expressed by
Hinton were particularly favoured by M. Ti. Matyushin.
359 c o n t r i b u t i o n to an unpublished annual report from
 of Artistic Culture in Leningrad (cf, bibliographical notes to rences to the charts are given in the following notes
chapter 1145) he writes: 'The question about the editor's comment
occupied the minds, and the artists in particular. A 18. Note in the manuscript: Charts IV, V. and VI. (Cf.
ture about the fourth dimension was created. Everything new in dactic charts nos. 15 and 16, A catalogue, p.
art or science was supposed to spring from the core of 14. Note in the manuscript: Chart VII. (Cf. didactic chart
dimension. Occultism strongly interfered in this matter, ibid. p.
now, fortunately, taken its way to Germany. 15. Note in the manuscript: Chart VIII.
prehensible seemed to follow from the fourth dimension and 16. Note in the manuscript: Chart X. (Cf. also the
occultism. To me this meant the end of vision tied to the violin, used in the
and the departure from peripheral rendering of nature. (...) 17. For this distinction, cf. the didactic chart no. 8
realised how feeble our spatial sense and imagination p.
superficial and narrow our eyesight is.' (C.G.A. 18. Note in the manuscript: Chart XII. (Cf. didactic charts
fond 134, opis' 2, ed. 7, 12, ibid. pp. 119,
Malevich remained sceptical towards the question of the 'fourth 19. Note in the manuscript: Chart XI!!. (Cf. didactic chart
dimension'. Recent investigations on this curious aspect o f ibid. p.
art theory of the Russian Futurism seem to have 20. Note in the manuscript: Chart XIV. (Cf. didactic chart
the importance of Hinton in relation to ibid. p.
8. world: (Russian: mir) Here, as in the title of the book, the 21. Note in the manuscript: Chart XV.
double sense: world, and peace, rest, is lost in 22. Note in the manuscript: Merezhkovsky, Russkoye
9. Cf. Malevich, Essays on Art, ii, p. 141 ff. June: 'Here comes the lout, well meet hinz gentlemen,
10. Cf. mongerers,he spits in your eyes and you will say God's
11. The quotation occurs (with minor changes) on the plan of Aleksandr Benua, Rech: 'Before us no longer stands
the didactic charts, now in Stedelijk Museum, Amsterdam. Cf. the new icon of the square. All that was holy, hidden, all
Andersen, T., Malevich. A catalogue raisonne of the loved and lived by—everything has disappeared. Oh,
bition 1927, including the collection in the one find words for a curse so that all this
Amsterdam, Amsterdam 1970 (hereafter quoted as return into the herd of swine and disappear in the
p. The present speeches are in a similar spirit, as though the
12. Note in the manuscript: Chart I, II. In the of the chain of criticism is soldered to
rences are made to 15 charts. They were presumably to 23. peredvizhnik: here and elsewhere the word which
duced with the text. They were closely connected member of the realist movement of the 1870-1880's in
charts reproduced in the Bauhaus-edition and with the has been left untranslated. The derived word
dactic charts reproduced in A catalogue. On the used by Malevich is slightly
page 113 from c. 1925 Malevich stands in front of 24. Falk, Robert Rafaelovich ( 1886-1958) worked for a
photographs and drawings in the Institute of Artistic Culture in in Vitebsk together with Malevich in the art school.
Leningrad. The material seen on this photograph is most likely duced a moderate concept of modern painting, based
360 t o correspond with the charts referred to in this text. 361 t r a d i t i o n of Cazanne, after Malevich's
 Malevich describes Falk's development in a notebook entry in 40. Malevich uses the word inarodnose which also means
1924. Cf..Vol. IV of the qualities
25. In one of the notebooks there is a schematic 41. The text is dated four days after Lenin's
the development described by Malevich. Cf..Vol. IV. added the following note to the date: 'Additions made
26. Note in the manuscript: I do not wish to publish the when the book 'About Him' by Preobrazhensky came
the painters on whom I am conducting experiments, but the words 'and his spirit will soar above
help me if painters would send me letters saying
find themselves in any of these
27. Presumably the sentence should read: he sees
else. .
28. B. P.: Braque,
29. K. M.: Kazimir
80. The Russian expression is 'materiovidny' 'matter-like', Bibliographical Notes
ing the appearance or aspect of matter'. The word is
the neologism
81. Malevich's own name for a group of works from
Cf. A catalogue,
82. Malevich is punning on the words
for face) and The present edition of The World as Non-Objectivity'
38. Malevich uses the neologism 'utgrazhdanin', a compound of upon two collections of manuscripts. The first collection
'utilitarny grazhdanin' (utilitarian served in West Germany throughout the war 1940-45
84. defiguration: (Russian: razobrazheniye) Malevich plays on traced in 1953. It is referred to as the von Riesen
the words izobrazhat' (to represent) and razobrazhat is now kept in the Stedelijk Museum, Amsterdam. For
figure) of the von Riesen collection, cf. the introduction by
35. universe: (Russian: mirozdanie) The Russian Riesen in Malevich: Suprematismus—die
a double sense which is Cologne 1962, and Museum Journaal no. 3, July
86. Preobrazhensky, P. F.: Russian revolutionary. The 125-128
tioned by Malevich has not been The second collection used in this edition is in
3 7 . • Gorki:Lenin died on January 21, 1924 in Gorki, at in the USSR. It has been kept by the present owner
situated 34 km levich's death in 1935. It is referred to as Private
88. Izo: abbreviation for: izobrazitel' noye iskusstvo (visual Several versions of the various chapters of the book exist
arts collections. Most parts of the book were first
8 9 . • T
efirst mausoleum for Lenin was projected by
h written down in the extensive notebooks used by Malevich in
A. Shchusev in January 1924 and erected in three and a the 1920's. Five notebooks are known to exist today, only
It was a wooden construction consisting of a cubic main part of the original number. From the notebooks it is
362 t w o wings. It was removed in 363 t h e basic work on The World as Non-Objectivity' was
 1923, and that the typewritten versions of the a new article. They are inserted in their original position
present
were produced later. This also explains the use of
in the text where one can find references to 1924 or Other
a. Ms. pp. 2-88 of Notebook. Handwritten. 8°.
the text is finally USSR. Draught for
For all texts in the von Riesen collection the ante quem
May 1927, when Malevich left the texts in custody with b. Loose pages, typescript, 4°. Private archive,
Riesen family. With regard to the texts in the of typewritten copy, prior to the version
USSR, the corresponding date is presumed to be
in his last years is believed to have worked only on 1/4
graphy. However, amendments and corrections may Proofs, pp. 1-38. 8°. The von Riesen collection,
undertaken even at a very late stage. There is no Museum,
this possibility, that the main body of 'The World as The proofs are stamped with the mark of a printing
tivity' can be considered as established by the end inscribed with the dates July 3 and July 7, 1926. The
The state of the manuscripts which have been prepared for an annual report or a similar type of
for this edition varies. A detailed description of the the Institute of Artistic Culture in Leningrad. It was
used and the known existing variants is given below. contain texts by the members of the staff of the
the typewritten versions are identical in typescript, for the same publication of an article by M. V.
altered in handwriting, so that they must in fact kept in the C.G.A.I.L. (Central State Archive for Art
independent versions. In other cases new ture, Moscow). The book was
were then produced from the corrected copies. In a few Several proofs of the article by Malevich are known to exist. At
least two copies are kept in private archives in the
have we been able to classify a manuscript as a
are virtually no corrections in the copy in the von
lection and it seems therefore to have been considered a final
1/4 version by Malevich
Ms. pp. 1-20. 4°. Typewritten, with corrections. The
The chapter 1/45 formed the basis for the book published by
collection, now Stedelijk
Formula on ms. p. 6 (p. 16 of the present edition) Laszlo Moholy-Nagy in the Bauhaus-book series in 1927. Only
excerpts were translated, however. The existing
Other of this book was retranslated from the German edition.
a. Ms. pp. 1-14. 40. Typewritten. Dated 1922. Pp. 2 and
rison with the present text shows significant differences.
identical. The von Riesen collection, now
strations referred to in the proofs (cf. Notes)
Amsterda close to those presented by Malevich in the Bauhaus book
which are now kept in Kunstmuseum Basel) and the charts
1/4 'A
Ms. pp. 1-4 and 12-66. Folio. Typewritten, with
Private archive, USSR. Pp. 5-11 are kept in the von Other
a. Ms. 1-34. Typewritten, with notes on illustrations
lection, now Stedelijk Museum, Amsterdam. They were kept in
365 r e c t i o n s in handwriting. Private archive, USSR.
364 a cover with the following inscription: From 1/42. Extracted for
 translated here is presumably based upon a retyped version of scribed
this e. Ms. pp. 1-14. Typewritten. 4°. Private archive,
b. Ms. pp. 10-43. Typewritten. 4°. Pp. 35-37 partly scribed 'Eclectics' (Eklektika). Corresponds to version d,
fire. Pp. 1-9 missing. This ms. was saved from destruction alternative corrections in
time of Malevich's arrest
c. Ms. pp. 1-23. Typewritten. 4°. Private archive, 1/4
ponds to a, but with different additions and corrections Ms. pp. 1-67. Typewritten. 8°. With corrections in
writing The von Riesen archive, now Stedelijk
d. Ms. pp. 1-20 and 25-27. Typewritten. 4°. With There are two identical copies in the von Riesen archive. All
rections in handwriting. Private archive, USSR. Early variant corrections are entered in both copies. The ms. seems to
of a. Marked in red 'retype' 5 definitive version.
e. Ms. pp. 1-33. Typewritten. 4°. Heavily corrected Other
writing. Carbon copy of d, but with different a. Ms. pp. 1-18. Typewritten. 4°. Private archive, USSR. A
f. Ms. pp. 1-32. Typewritten. 4°. Private archive, shorter version of the ms. translated in the
copy as e, but without b. Ms. pp. 1-4. Typewritten. 4°. Titled 'Five points' (Pyat'
punktov). Private archive, USSR. Corresponds to pp. 4-18
1/4 previous version. The text is interrupted at
Ms. pp. 1-21. Typewritten. 4°. The von Riesen c. Ms. pp. 1-9. Handwritten. 8°. Private archive,
Stedelijk Museum, minary version of a (pp. 2-9) and b (pp.
The ms. is inscribed: 'Must be shortened, particularly the
movement as (progress).' (The Russian inscription 1/4
nuzhno vybrosit' v osobennosti mysl' gde ofor. dvizh. kak Ms. pp. 1-18. Typewritten. 4°. Private
gres). Dated 1923. Presumably first written in a notebook Other
and retyped 1925. There are references to both 1924 and 25 in a. Ms. pp. 1-16. Typewritten. 4°. Private archive, USSR. Titled
the text in the sense of and introduced by a letter to Lisitsky, dated December
Translated by Hans von Riesen into German, published Corrections in ink in this version are included in the
levich: `Suprematismus - die gegenstandslose version translated
1962 pp. b. Ms. pp. 1-7. Handwritten. 8°. Private archive,
Other scribed `To the magazine 'The life of art' (K zhurnalu
a. Ms. pp. 1-16. Typewritten. 4°. Private archive, kusstva
March c. Ms pp. 1-6. Handwritten. The von Riesen
b. Ms. pp. 1-15. Typewritten. 4°. Private archive, USSR. Stedelijk Museum,
missing. Draught for version a, with corrections The first one and a half page differ from version b,
c. Ms. pp. 1-6. Typewritten. 4°. Private archive, letter "w" on p. 2 the text is identical with the
for version a, with here pp. 9-18. Formerly inscribed, not in Malevich's
366 d . Ms. pp. 1-14. Typewritten. 4°. Private archive, 367 ' N o t known from
1/4 List of
Ms. pp. 1-20. Typewritten, Folio. The von Riesen
Stedelijk Museum,
Inscribed: 'final version, all definitively
redaktsiya vernaya, ispr. vse
Other
a. Ms. pp. 1-19. Typewritten. Private archive, USSR. 1. Malevich with group of pupils, The Institute of
as the version translated here, but with more scarce ture, Leningrad,
2. Malevich lecturing, c. 1925. (The photograph was found in
Appendi Nemchinovka
Ms. pp. 1-30. Typewritten. Folio. The von Riesen
Stedelijk Museum, 3. Drawing by one of Malevich's pupils. Pencil on
Dated January 8,5 cm. From theoretical chart no. 18,
Other Amsterda
a. Ms. pp. 1-29. Typewritten. Folio. Private archive, 4. Drawing by one of Malevich's pupils. Pencil on
copy as the version translated here, but without corrections in 10,4 cm. From theoretical chart no. 18,
handwritin Amsterda
b. Excerpts from the text were published by El Lisitsky
translation in Das Kunstblatt, no. 10, 1924, pp. 5. Three drawings by the same pupil. Above: pencil
9 X 6 cm. Mid: pencil on paper, 9,7X6,8 cm.
cm. A l l from theoretical chart no. 21,
Amsterda
6. K . S. Malevich (?): Suprematist drawing. Ink on
7 cm. From theoretical chart no. 18,
Amsterda
7. K . S. Malevich: The Orthodox. Pencil on paper,
and 4,1X2,5 cm. Size of sheet: 14,9X 11,2 cm. Inscribed in
Russian by Malevich: Pravoslavny (T III ris 2)
(Chart 3, drawing no. 2)). Reproduced in K. S.
gegenstandslose Welt, 1927, Bauhausbiicher no. 11,
ill. no. 10. Kupferstichkabinett, Kunstmuseum, Basel,
of the Marguerite Arp-Hagenbach Donation. Acquired by
Marguerite Arp-Hagenbach from the estate of
holy-Nagy. The illustrations no. 7-33 all form part
369 d o n a t i o n .
 8. K . S. Malevich: Cubism. Samovar. Pencil on Reproduced in K. S. Malevich: Die gegenstandslose Welt,
cm. Inscribed by Malevich: Kubizm. Samovar. Below left: 1927, p. 67, ill, no. 67. Kupferstichkabinett,
1910 g. Reproduced ibid. page 45, ill. no. 62. Base
kabinett, Kunstmuseum, This, and the following drawings, also carry a
9. Chart prepared by Malevich and his group, published into German of the notes by Malevich, and an
Bauhaus-edition, page 39, ill. no. 39. Consists of the sequence of illustrations in Russian (tablitsa,
Top row: Ckanne's curved line (Krivaya Cezanna). Size of a number. They are reproduced here in the
sheet: 19,9X18,2 cm. Diameter of the circle: 13,8 cm. The quence, except for no. 29, which should follow ill. no. 26 in
side-shaped curved line of Cubism (Serpovidnaya krivaya the original
kubizma). Size of sheet: 20X 18,6 cm. Diameter 11. K. S. Malevich: The second basic Suprematist
14 cm. Malevich's straight Suprematist line on paper, 10,8 X10,9 cm. Size of sheet: 20,5X26,5
kaya pryarnaya Malevicha). Size of sheet: 20X19,5 scribed by Malevich: Vtoroy osnovnoy
meter of circle: 13,9 an. Second row: A 1, B 1, B2 1,1381, tizma. Osnovnoy suprematicheski element 1913 god. (The
(The letters refer to combined influences of second basic element in Suprematism. Basic
trends). Size of sheet: 22,6X72,6 cm. Diameter of ment. 1913). Reproduced ibid. page 68, ill. no.
13,9 cm. Third row: A 2, B1 2, B2 2, B8 2, C 2. Size stichkabinett,
21,8X66,1 cm. Diameter of the circles: 13,9 cm.
AS, B1 3, B2 3, B8 3, CS. Size of sheet: 20,4 X 77,9 cm. 12. K. S. Malevich: The third basic Suprematist
the rectangles: 15,1 X13,5, 15 X13,5, on paper, 12,3X12,2 cm. Size of sheet: 20,5X26,5
cm. Below: A 4, B1 4, B2 4, B3 4, C 4. Size of scribed by Malevich: Tretiy osnovnoy
cm. Size of the rectangles: 13,6X11, krestovidnoy formy. Vtoroy (sic) osnovnoy
15,9X 12,9, 13,8X 13,8 cm. element 1913 god. (The third basic Suprematist element of
seum, cross shape. The second (sic) basic
10. K. S. Malevich: The basic Suprematist element. Pencil on 1913). Reproduced ibid. p. 69, ill. no. 69.
paper, 12,5X12,5 cm. Size of sheet: 26,5X21,5 Kunstmuseum,
by Malevich: Pervy suprematicheski element 13. K. S. Malevich: Shift of the square. Pencil on
vida. Ne imeyushchey tochnogo 11,1 cm. Size of sheet: 20,5X26,5. Inscribed
gol'nika Voznilcnovenie ego 1913 god. Sdvig kvadrata i obrazovaniye novogo elementa
nym elementom, iz razvitiya kotorogo proizoshli nogo vida pervaya gruppa. (The shift of the square
elementa sm. krug i krestovidny. KM. formation of a new element of two-dimensional
ticheski element 1913 god. (First Suprematist element of group). Reproduced ibid. p. 70, ill. no. 70.
rectangular order. Does not form an exact nett, Kunstmuseum,
Year of appearance 1913. The basic element from
lopment of which two new elements followed, cf. 14. K. S. Malevich: Elongated square. Pencil on paper, 11X
37 cross-shaped. K.M. The basic Suprematist 371 1 0 , 9 cm. Size of sheet: 20,5X26,5 cm. Inscribed
 Udlinenniy kvadrat supr element 19. K. S. Malevich: Formation of aerial
vuyushchim vo vsekh sootnosheniyakh v sisteme with sensation of flight. Pencil on paper, 11,1X11,1
chiye sistemu) 1913 goda. (Elongated square. of sheet: 21 X 16,4 cm. Inscribed by Malevich: Odna
element that appears to be active in all relations in pirovka (sic) Suprem-elementov aerovidnaya $
(creating a system). 1913). Reproduced ibid. p. 71, ill. niyem poleta. 1914-15 g. (Formation of aerial
Kupferstichkabinett, elements with sensation of flight. 1914-15). (For
15. K. S. Malevich: Suprematist group, derived from sion aerial Suprematism, cf. Malevich. A
Pencil on paper, 11,2 XII an. Size of sheet: 30 ff., 127). Reproduced loc. cit. p. 79, ill. no. 76.
Inscribed by Malevich: Supr gruppa vytekayushchaya iz kabinett, Kunstmuseum,
kvadrata. 1913 god. (Suprematist group derived from the 20. K. S. Malevich: Complex Suprematist formation
square. 1913). Reproduced ibid. p. 73, ill. no. 72. Pencil on paper, 11X11,1 cm. Size of sheet:
kabinett, Kunstmuseum, Inscribed by Malevich: Odna iz slozhnykh supr.
16. K. S. Malevich: Three basic Suprematist elements elementov s oshchushcheniyem metalicheskogo
Pencil on paper, 10,2X6,4 cm. Size of sheet: sil'nom dinamicheskom ustremlenii. Okraska
Inscribed by Malevich: Tri osnovnye supr-elementy cheskoy medyanoy gammy. 1915 god. ( A
trastnom sopostavlenii 1913 god. matist formation with a sensation of metallic trembling
Suprematicheskuyu stadiyu kontrastnogo strong dynamic tension of movement. The colouring in a
mentov. (Three basic Suprematist elements in pale, metallic copper scale. 1915). Reproduced ibid.
of contrast. 1913. Defining the Suprematist stage of ill. no. 77. Kupferstichkabinett,
tion of contrast of elements). Reproduced ibid. p. 75, 21. K. S. Malevich: Suprematist group of elements
73. Kupferstichkabinett, of current (telegraph). Pencil on paper, 11X6,4 cm.
17. K. S. Malevich: Formation of Suprematist sheet: 20,9X16,4 cm. Inscribed by Malevich:
on paper, 11 X 11 cm. Size of sheet: 21 X 16,4 cm. elementov s oshchushcheniyem toka (telegraf).
Malevich: Odna iz gruppirovok (Suprematist group of elements with sensation
1913 goda. (A formation of Suprematist elements. (telegraph). 1915). Reproduced ibid. p. 81, ill. no.
produced ibid. p. 77, ill. no. 74. stichkabinett,
museum, 22. K. S. Malevich: Suprematist group (white) sensation
18. K. S. Malevich: Suprematist formation, dominated solution (non-existence). Pencil on paper, 19,1X12,7
angle. Pencil on paper, 11,1 X 11 cm. Size of of sheet: 26,5X20,5 cm. Inscribed by Malevich:
cm. Inscribed by Malevich: Supr-gruppirovka Supr. gruppa (belaya) oshchushcheniye rastvoreniya
niem treugol'nika (redkiy sluchay v suprem sisteme) tiya). (1916. Suprematist group (white). Sensation
(Suprematist formation, dominated by triangle (a tion (non-existence)). Reproduced ibid. p. 83, ill.
in the Suprematist system). 1913). Reproduced ibid. p. 78, ill. Kupferstichkabinett,
37 no. 75. Kupferstichkabinett, 373 2 3 . K. S. Malevich: Suprematist element at the moment
 solution of sensation (non-objectivity). Pencil on duced ibid. p. 97, ill. no. 90.
12,7 cm. Size of sheet: 20,9X16,4 cm. Inscribed museum,
Supr. element moment rastvoreniya oshchushcheniya
predmetnose) 1917 g. (Suprematist element moment 28. K. S. Malevich: Mixed sensations. Pencil on paper,
solution of sensation (non-objectivity) cm. Size of sheet: 20,5X26,5 cm. Inscribed
ibid. p. 84, ill. no. 80. Kupferstichkabinett, •Smeshannye oshchushcheniya. 1913 g. 13 god
Bas nykh elementa proizvodnye krug i kvadrat.
tions. 1913. The year 13, two basic productive
24. K. S. Malevich: Suprematist group of elements, sensation of circle and the square). Reproduced ibid. p. 89, ill.
magnetic attraction. Pencil on paper, 14,2 X13,9 cm. Size of •Kupferstichkabinett,
sheet: 26,3X20,3 cm. Inscribed by Malevich: 29. K. S. Malevich: Suprematist sensation of a mystic wave
elementov oschushchenie magnitnogo tyagoteniya. universe. Pencil on paper, 13,8 X9 cm. Size of
(Suprematist group of elements, sensation of cm. Inscribed by Malevich: Supr.
traction. 1914). Reproduced ibid. p. 85, ill. no. koy volny vselennoy. 17 god. K fot. 22.
stichkabinett, tion of a mystic wave of the universe. The year 17.
25. K. S. Malevich: Suprematist group (magnetic graph 22). Reproduced ibid. p. 93, ill. no. 87.
Pencil on paper, 16,5 X10,9 cm. Size of sheet: 26,5 kabinett, Kunstmuseum,
Inscribed byMalevich: Supr. gruppa (Magnitnoye 30. K. S. Malevich: Sensation of the universe (space).
1914 g. (Suprematist group (Magnetic attraction). paper, 14,8 X10,5 cm. Size of sheet: 20,5X26,5 cm
produced ibid. p. 87, ill. no. 87. same sheet is ill. no. 31). Inscribed by
museum,
shcheniye vselennoy (prostranstvo) 1916 g. (Sensation
26. K. S. Malevich: Suprematist formation. Sensation universe (space). 1916). Reproduced ibid. p. 90, ill.
ment and resistance. Pencil on paper, 19X 12,7 cm. Size of Kupferstichkabinett,
sheet: 26,5X20,5 cm. Inscribed by Malevich: Supr. grup. 31. K. S. Malevich: Sensation of universal space. Pencil
Oshchushcheniye dvizheniya i soprotivleniya. 16 god. 14X!1 cm. Size of sheet: 20,5X26,5 cm. Inscribed
prematist group. Sensation o f movement and levich: Oshchushcheniye vselennogo
1916). Reproduced ibid. p. 88, ill. no. 83. (Sensation of universal space. 1916). Reproduced ibid.
Kunstmuseum, ill. no. 86. Kupferstichkabinett,
27. K. S. Malevich: First Suprematist spatial elements. 32. K. S. Malevich: Sensation of mystic wave
paper, 14>33,7 cm. Size of sheet: 20X26,5 cm. on paper, 19X 14,9 cm. Size of sheet: 26,5X20,5
Malevich: Pervye supr. ob'emy poluchivshiye razvitiye v by Malevich: Oshchushcheniye misticheskoy volny
1923 godu. 1915 god. Pervye noe) 15 god. (Sensation of mystic wave (not full).
elementy. (First Suprematist volumes reaching 15). Reproduced ibid. p. 94, ill. no, 88.
374 i n 1923. 1915. First Suprematist spatial 375 K u n s t m u s e u m ,
33. K. S. Malevich: Suprematist group as sensation
raneity (the world as non-objectivity). Pencil on
X9 cm. Size of sheet: 26,5 X20,5 cm. Inscribed
Suprematich. gruppa kak oshchushcheniye
(mir kak bespredmetnost') 1919 god. (Suprematist
sensation of contemporaneity (the world as non-
Reproduced ibid. p. 95, ill. no. 89.
Kunstmuseum,
34. Malevich in Germany, 1927, with Tadeusz Peiper (?). The
photograph was found in Nemchinovka in 1971. On
Malevich has written: The architect van
(illegible) Suprematist roof and terrace. K.
7, April 1927. A photograph showing Malevich and
person is reproduced in Essays on Art, vol. I, illustration
Malevich states on the back of the photograph that
sents himself and Le Corbusier. It also carries the date April
7, 1927, Dessau. However, a document, recently published in
the catalogue of the Exhibition 'Constructivism
1923-36' (Museum Folkwang Essen, May—June
Malevich and the Polish critic and writer
Undoubtedly the two photographs mentioned
Malevich's entries, represent himself and Peiper
he, it seems, did visit the Bauhaus Dessau in
35. Malevich with group of pupils, Dom
c. 1930. The last platform, left to Malevich as a
at the Dom iskusstv in Leningrad. He is supposed
taught there