Masks – August Macke



[…] Is life not more precious than food and the body not more precious than clothing?

Incomprehensible ideas express themselves in comprehensible forms. Comprehensible through our senses as star, thunder, flower, as form.

Form is a mystery to us for it is the expression of mysterious powers. Only through it do we sense the secret powers, the invisible God.’

The senses are our bridge between the incomprehensible and the comprehensible.

To behold plants and animals is: to perceive their secret.

To hear the thunder is: to perceive its secret. To understand the language of forms means: to be closer to the secret, to live.

To create forms means: to live. Are not children more creative in drawing directly from the secret of their sensations than the imitator of Greek forms? Are not savages artists who have forms of their own powerful as the form of thunder?

Thunder, flower, any force expresses itself as form. So does man. He, too, is driven by something to find words for conceptions, to find clearness in obscurity, consciousness in the unconscious. This is his life, his creation.

As man changes, so do his forms change.

The relations that numerous forms bear to one another enable us to recognize the individual form. Blue first becomes visible against red, the greatness of the tree against the smallness of the butterfly, the youth of the child against the age of the old man. One and two make three. The formless, the infinite, the zero remain incomprehensible. God remains incomprehensible.

Man expresses his life in forms. Each form of art is an expression of his inner life. The exterior of the form of art is its interior.

Each genuine form of art emerges from a living correlation of man to the real substance of the forms of nature, the forms of art. The scent of a flower, the joyful leaping of a dog, a dancer, the donning of jewelry, a temple, a painting, a style, the life of a nation, of an era.

The flower opens at sunrise. Seeing his prey, the panther crouches, and as a result of seeing it, his strength grows. And the tension of his strength shows in the length of his leap. The form of art, its style, is a result of tension.

In our complicated and confused era we have forms that absolutely enthrall

Everyone in exactly the same way as the fire dance enthralls the African or the mysterious drumming of the fakirs enthralls the Indian. As a soldier, the independent scholar stands beside the farmer’s son. They both march in review similarly through the ranks, whether they like it or not. At the movies the professor marvels alongside the servant girl. In the vaudeville theater the butterfly-colored dancer enchants the most amorous couples as intensely as the solemn sound of the organ in a Gothic cathedral seizes both believer and unbeliever.

Forms are powerful expressions of powerful life. Differences in expression come from the material, word, color, sound, stone, wood, metal. One need not understand each form. One also need not read each language.

The contemptuous gesture with which connoisseurs and artists have to this day banished all artistic forms of primitive s to the fields of ethnology or applied art is amazing at the very least.

What we hang on the wall as a painting is basically similar to the carved and painted pillars in an African hut. The African considers his idol the comprehensible form for an incomprehensible idea, the personification of an abstract concept. For us the painting is the comprehensible form for the obscure, the incomprehensible conception of a deceased person, of an animal, of a plant, of the whole magic of nature, of the rhythmical. […]

Everywhere, forms speak in a sublime language right in the face of European aesthetics. Even in the games of children, in the hat of a cocotte, in the joy of a sunny day, invisible ideas materialize quietly. The joys, the sorrows of man, of nations, lie behind the inscriptions, paintings, | temples, cathedrals, and masks, behind the musical compositions, stage spectacles, and dances. If they are not there, if form becomes empty and groundless, then there is no art.

 

Originally published in the Biaue Reiter almanac in 1912

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