The department sets as its task to disclose the inner, positive laws on the basis of which aesthetic works are formed within every sphere of art and, in connection with the results obtained, to establish the principles of synthetic artistic expression. This task can be reduced to a number of concrete objectives:
(1) the study of artistic elements as the material from which a work of art is formed, (2) the study of construction in creation as a principle whereby the artistic purpose is embodied, (3) the study of composition in art as a principle whereby the idea of a work of art is constructed.
The work of the department must be carried out in two directions: (a) a series of lectures based on the established program and (b) experimental research. We have not managed to pursue this experimental research owing to a lack of funds essential for the organization of laboratories.
The series of lectures ‘Elements of Art’ has been given, and now certain of their materials, observations, and ideas are being processed. The series of lectures on construction in nature, art, and technology is being developed. The series ‘Composition’ is being prepared.
In accordance with these aims and tasks, the department’s scientific plan for 1922-3 consists of the following:
I – The completion of a session of preliminary research work concerning the problem of construction in art. To this end, the following lectures on the problem of construction should be given at plenary meetings: (a) construction in extraaesthetic creation (utilitarian-productional construction), (b) architecture, (c) sculpture, (d) painting, (e) printing industry, (f) music, (g) plastic rhythm, (h) literature, (i) theater, (j) productional art.
II – Research into primitive art and into all the aesthetic concepts that give primitive art its style. In this respect a number of specific tasks have been formulated: (1) Research into the laws of the statics and dynamics of primitive art: (a) in an individual or typical/group context; (b) in the evolution of one form from another. (2) Methods: (a) a formal, positive, art historians’ approach, inasmuch as the research is connected with the formal and descriptive study of art objects; (b) a psychological approach, inasmuch as the research will concern the psychology of artistic creation and perception. (3) Materials: children’s art, the art of primitive and backward peoples, primordial art, the primitives of early Christian and medieval art; primitivism in modern art; aesthetic concepts that characterize primitive art found, for the most part, in the art of the ancient East. (4) The materials can be developed with regard to (a) specific branches of art and (b) artistic groupings organically interconnected, and (c) they can be directed toward a synthetic summary of general inferences.
The research plan concerning the problem of primitive art and the aesthetic concepts that give art its style in the sphere of the spatial (visual) arts and vis-a-vis the material mentioned and outlined above can be defined thus: (1) Art that develops a plane or surface (so-called painting): (a) color, (b) line, (c) spatial expression, (d) material, (e) means of processing the surface, (f) laws of construction, (g) concept. (2) Art that organizes volumes (so-called sculpture): (a) material, (b) mass, (c) volume, (d) chiaroscuro, (e) color, (f) line, (g) surface, (h) laws of construction, (i) concept. (3) Art that organizes actual three-dimensional space (so-called architecture): (a) architectural mass, (b) space, (c) light and shade, (d) line, (e) surface, (f) color, (g) construction, (h) concept. (4) Types and phases of development of the general artistic concept in primitive art, their positive and aesthetic bases. (5) The psychology of aesthetic expression and perception (within the framework of primitive art).