However, if art and architecture were the reflectors of this phase of the cycle, then they are as surely indicative of the new spirit. The same century that has seen this great social reaction and change has seen impressionism, post-impression- ism and contemporary modern art, reinstate and revive the basic principles of the tradition of art on one hand, and lay the foundation for an art of the future on the other hand. Also it has seen a creat revival of architecture, again rooting itself in the fundamental principles of its tradi- tion and again laying the foundations for a new architectural epoch. In each the reason for change was much the same. Both had become deceitful arts. One was a futile attempt to capture purely physical values in a medium incapable of doing that; the other was a rhetorical adaption of ancient forms which were no longer valid. As in modern art, where a true expres- sion of the problem and a solution which is sensitive to its results in vital and stimulating work, so in modern achitecture an honest and creative approach to a prob- lem leads to frank and exciting architec- ture. Architecture, being a non-representation- al art, corresponds most closely to the formal or structural elements of art. The architect has the same problems of con- trol and articulation of space and volume, control of light, relationships of surface texture, transparency, translucency and opacity, patterning, etc. Both face these problems individually and their co-ordin- ation into a related whole. These ele- ments, which constitute the formal or non- representational elements in art, are ex- tended into abstraction in a calculated way to realize the exact expression of ideas, moods, etc.; and likewise, in architecture, they are used to create a definite and calculated aesthetic response not by add- ing superficial ornamentation, but by honestly making the organic structure of the building or structure be the expres- sive vehicle. The adage that “form must follow function” could apply equally to art as it does to architecture. In the latter case it is intended to apply more broadly than the mere function of economical space planning, and doors that open easily, part of the function being to supply a satisfac- tion to the human soul as well. So in art; when the function of a picture or sculp- ture is to arouse a certain emotion or response, then a suitable form must result. The rational and correlated ideas in one art inevitably will feed and extend all other arts, which in turn, as a collective force, will do much to stabilize human values in all fields through our changing era. e P=) Because Picasso is the focal point of contemporary art, and because there is a wide divergence of opinion regarding him, we have asked two students to present their points of view, pro and con. It is possible that neither of these stu- dents has discerned the true character and significance of Picasso’s art. That is for the reader to decide. In any case, the arguments they put forth should serve as a stimulus to further thought and discus- sion. COM... 2s By BOB ALEXANDER My reasons for disliking Pablo Picasso's later developments in cubism and absirac- tion may be partly blamed on a failure to see the end in such forms. My search to find some legitimate reason has always énded in a sort of frustration when con- sulting some beautiful and expensive edi- tion of Picasso’s works. Reading it through I am no more enlightened than when I began. It contained nothing more than a lot of sophisms and metaphysical gibberish. After giving up trying to understand through these means, I tried to acquire an appreciation by looking through reproductions, disregarding the printed lines below. Even after being bombarded with preparation for the “'Pic- casso Ball’’, I am still untouched by these great works, and so have resigned my- self, for the present, to be completely un- enlightened. My failure in seeing any- thing in these works has made me feel resentful, so, dear reader, that is why I am attacking this Great Art. It is nothing more than revenge, so please bear with me while I beat my puny fists against the great chest of Pablo Picasso. In Picasso's “Cubist Period’ he still remains comparatively representational, chopping up a portrait or figure into a series of connecting cubes and angles. To me this seems to be too self-conscious and obvious in its attempt to create a new world. The representational element still preserved to a degree seems to demand a more sensual treatment. I feel that he has failed in giving us a portrait or a figure and failed in convincing us that here is something new in the way of a treatment. The fact that a crystal is the Primitive Form of all things is an_ irrelevant theory to apply in giving us a sense of volume in objects. Instead we are re- minded that Science and Mathematics are again giving us an equation for all life, and that chemically speaking we are all worth about thirty-five cents. C~-A=5=5: 0. In Picasso's later experiments in "'‘papier- colle’’ he seems to have worked himself off the canvas into the realm of the kinder- garten, where paste, paper and the sand- box are ready materials for furthering his ideas. It seems that if he remains with paint and canvas he will finally have to resign himself to being an ordinary paint- er, painting just ordinary pictures; or that his cubist forms might finally end as decor- ation. His later development in Abstraction and Plastic Embryo, or the essence of life, has proven that this great inventor has escaped from the bogey of representation and decoration, and is now well on his way to being the most talked about painter of our times. His abstractions almost con- vince us that his theory of reducing all objects to an essence is valid. Here Pi- casso is in the realm of the Oriental de- signer, and here is where the trouble begins. In the realm of the Oriental, Picasso is avoiding his obligations as an Occidental painter, that is to say, failing to. supply the wants and cravings of the Western mind towards painting. The Western craves space feeling or third di- mension, and Picasso is shirking one of its problems and opportunities. In order to fully appreciate this Eastern form we would all have to embrace an Oriental philosophy. Even after one has taken the trouble to look on it as an Eastern form, we are still unsatisfied with the result, because the motifs used in the design are not quite as easily recognized. This makes for inconvenience and dis- penses with our pleasure and satisfaction. The second point against Picasso’s ab- straction is the fact of it being inconsist- ent. Here, sometimes, I find little chunks of realistic or comparatively realistic detail floating in a soup of abstraction. For example, in his painting “Les Trois Masques”, we find a fragment of sheet music comparatively realistic in treatment, against large areas of flat colour. If I look on these paintings as colour shapes alone and examine them for just colour, I am still left cold. In comparison to Georges Braque they are inferior in my estimation or if held against a Persian print they fail miserably. The colour is crude, raw and uncultured. What then has Picasso given us in Abstraction? Here is nature so purified, perfect and absolute, that we are given a dusty powder instead of a lemon. These paintings are embalmed mummies. of nature. This cold processing with its organizing and arranging appears just as clever, calculated juggling, and no more. However, if art and architecture were the reflectors of this phase of the cycle, then they are as surely indicative of the new spirit, The same century that has ‘seen this great social reaction and change has seen impressionism, postimpression- ism and contemporary moder art, reinstate ‘and revive the basic principles of the tradition of art on one hand, and lay the foundation for an art of the future on the other hand. Also it has seen a creat revival of architecture, again rooting itself in the fundamental principles of its tradi- tion and again laying the foundations for ‘a new architectural epoch. In each the reason for change was much the same. Both had become deceitful arts. One was a futile attempt to capture purely physical values in a medium incapable of doing that; the other was a rhetorical edaption of ancient forms which were no longer valid. As in modern art, where a true expres- sion of the problem and a solution which is sensitive to its results in vital and stimulating work, so in modern achitecture ‘an honest and creative approach to a prob- Jem leads to frank and exciting architec: ture, Architecture, being a non-ropresentation- al art, corresponds most closely to the formal or structural elements of art. The architect has the same problems of con- ‘rol and articulation of space and volume, control of light, relationships of surface texture, transparency, translucency and opacity, patterning, etc. Both face these problems individually and their coordin- ation into a related whole. These cle- ‘ments, which constitute the formal or non- representational elements in art, are ex- tended into abstraction in a calculated way to realize the exact expression of ideas, moods, etc; and likewise, in architecture, they are used to create a definite and calculated aesthetic response not by add- ing superficial ornamentation, but by honestly making the organic structure of the building or structure be the expres- sive vehicle. The adage that “form must follow function” could apply equally to art ‘as it does to architecture. In the latter ‘case it is intended to apply more broadly than the mere function of economical space planning, and doors that open easily, part of the function being to supply a satisfac tion to the human soul as well. So in art; when the function of a picture or sculp- ture is to arouse a certain emotion or response, then a suitable form must’ result, The rational and correlated ideas in one art inevitably will feed and extend all other aris, which in turn, as a collective force, will do much to stabilize human values in all fields through our changing oe P| Because Picasso is the focal point of contemporary art, and because there is a wide divergence of opinion regarding him, we have asked two students to present their points of view, pro and con. It is possible that neither of these stu dents has discerned the true character and significance of Picasso's art. That is for the reader to decide, In any case, the arguments they put forth should serve es a stimulus to further thought and discus- sion, CON. 2 x By BOB ALEXANDER My reasons for disliking Pablo Picasso's later developments in cubism and abstrac- tion may be parlly blamed on a failure to see the end in such forms. My search to find some legitimate reason has always @nded in a sort of frustration when con- sulting some beauliful and expensive edi- tion of Picasso's works. Reading it Shrough I am no more enlightened than when I began. It contained nothing more than a lot of sophisms and metaphysical gibberish. After giving up trying to understand through these means, I trled to acquire an appreciation by locking through reproductions, disregarding the printed lines below. Even after being bombarded with preparation for the "Pic- asso Ball”, I am still untouched by these great ‘works, and so have resigned my- ‘self, for the present, to be completely un- enlightened. My feilure in seeing any- thing in these works has made me feel resentful, s0, dear reader, that is why I am attacking this Great Art. It is nothing ‘more than revenge, so please bear with me while I beat my puny fists against the great chest of Pablo Picasso. In Picasso's “Cubist Period” he still remains comparatively representational, chopping up a portrait or figure into a series of connecting cubes and angles. To me this seems to be too self-conscious and obvious in its altempt to create a new world. The representational element still preserved to a degree seems to demand a more sensual treatment. I feel that he has failed in giving us a portrait or a figure and failed in convincing us that here is something new in the way of a treatment. The fact that a crystal is the Primitive Form of all things is an irrelevant theory to apply in giving us a sense of volume in objects, Instead we are re- minded that Science and Mathematics are again giving us an equation for all life, end that chemically speaking we are all worth about thirty-five cents. GA SS 3O:- 0 In Picasso's later experiments in “papier- colle” he seems to have worked himself off the canvas into the realm of the kinder- ‘garten, where paste, paper and the sand- box are ready materials for furthering his fdeas. It seems that if he remains with paint and canvas he will finally have to resign himself to being an ordinary paint: er, painting just ordinary pictures; or that his cubist forms might finally end as decor- ation. His later development in Abstraction and Plastic Embryo, or the essence of life, has proven that this great inventor has escaped from the bogey of representation and decoration, and is now well on his way to being the most talked about painter of cur times. His abstractions almost con- vince us that his theory of reducing all objects to an essence is valid. Here Pi- ‘casso is in the realm of the Oriental de- signer, and here is where the trouble begins. In the realm of the Oriental, Picasso is avoiding his obligations as an Occidental painter, that is to say, failing to. supply the wants and cravings of the ‘Western mind towards painting. The ‘Western craves space feeling or third di- mension, and Picasso is shirking one of its problems and opportunities. In order to fully appreciate this Eastern form we would all have to embrace an Oriental philosophy: Even after one has taken the trouble to look on it as an Eastern form, we aro still unsatisfied with the result, because the motifs used in the design are not quite as easily recognized. This makes for inconvenience and dis- penses with our pleasure and satisfaction. ‘The second point against Picasso's ab- straction is the fact of it being inconsist- ent, Here, sometimes, I find little chunks of realistic or comparatively realistic detail floating in a soup of abstraction, For example, in his painting “Les Trois Masques”, we find a fragment of sheet music comparatively realistic in treatment, against large areas of flat colour. If 1 lock on these paintings as colour shapes alone and examine them for just colour, I am still left cold. In comparison to Georges Braque they are inferior in my estimation or if held against a Persian print they fail miserably. The colour is crude, raw and uncultured. What then has Picasso given us in Abstraction? Here is nature so pi perfect and absolute, that we are given a dusty powder instead of a lemon. Theso paintings are embalmed mummies of nature. This cold processing with its organizing and arranging appears just as clever, calculated juggling, and no more.