a great gulf appears between consecutive manners, because Picasso
leaps boldly and is found continually by his bewildered crowd of
followers standing at a point very different from that at which
they saw him last. No sooner do they think that they have reached
him again than he has changed once more. In this way there arose
Cubism, the latest of the French movements, which is treated in
detail in Part II. Picasso is trying to arrive at
constructiveness by way of proportion. In his latest works (1911)
he has achieved the logical destruction of matter, not, however,
by dissolution but rather by a kind of a parcelling out of its
various divisions and a constructive scattering of these
divisions about the canvas. But he seems in this most recent work
distinctly desirous of keeping an appearance of matter. He
shrinks from no innovation, and if colour seems likely to balk
him in his search for a pure artistic form, he throws it
overboard and paints a picture in brown and white; and the
problem of purely artistic form is the real problem of his life.

In their pursuit of the same supreme end Matisse and Picasso
stand side by side, Matisse representing colour and Picasso form.



IV. THE PYRAMID



And so at different points along the road are the different arts,
saying what they are best able to say, and in the language which
is peculiarly their own. Despite, or perhaps thanks to, the