dematerialized objects. The more an artist uses these abstracted
forms, the deeper and more confidently will he advance into the
kingdom of the abstract. And after him will follow the gazer at
his pictures, who also will have gradually acquired a greater
familiarity with the language of that kingdom.

Must we then abandon utterly all material objects and paint
solely in abstractions? The problem of harmonizing the appeal of
the material and the non-material shows us the answer to this
question. As every word spoken rouses an inner vibration, so
likewise does every object represented. To deprive oneself of
this possibility is to limit one's powers of expression. That is
at any rate the case at present. But besides this answer to the
question, there is another, and one which art can always employ
to any question beginning with "must": There is no "must" in art,
because art is free.

With regard to the second problem of composition, the creation of
the single elements which are to compose the whole, it must be
remembered that the same form in the same circumstances will
always have the same inner appeal. Only the circumstances are
constantly varying. It results that: (1) The ideal harmony alters
according to the relation to other forms of the form which causes
it. (2) Even in similar relationship a slight approach to or
withdrawal from other forms may affect the harmony. [Footnote:
This is what is meant by "an appeal of motion." For example, the
appeal of an upright triangle is more steadfast and quiet than
that of one set obliquely on its side.] Nothing is absolute.
Form-composition rests on a relative basis, depending on (1) the
alterations in the mutual relations of forms one to another, (2)