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The Music Phase of Modern Painting

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The Music Phase of Modern Painting THE MUSICAL PHASE OF MODEHN PAINTING. The MUSICAL PHASE of MODERN PAINTING A Thesis presented for the DIPLOMAINFINEAR S (HONOURS) in the Unipersity of Canterbury CHRISTCHURCH New Zealand by ,... J. N. MANE rg6g To ss. Cecilia and Luke. For the joy of ear and eye, For the be art and brain's delight, li'or the mystic harmony I! inking sense to sound and sight: * "Today a synthesis between the worlds of sound and appear­ ance seems to be a possibil i ·ty. "--Paul Klee. * Sacraments and other rites, The English Hymnal, no. 309. Preface i Introduction iii 1. Variations on a Theme 2 The Interfusion of Modern Painting and Music 3 Impressionism in Painting and Music Pos Impressionism: 'l1he Flusical ase 5 The Symbolist Decade: c.1890-1900 lJ: 1. 6 Fauvism and Music 55 7 Guld.sm and Music 61. H Orpldsm and Music 72 9 li'uturism and Music 77 10 ~xpressionism: Painting and Music 83 11 Dada 97 Coda 106 Append Notes on "Colour MusicH Bibliography -i- PREFACE. Painting and music interest me much. They a.l'e the twin summits of my artistic ambitions. In this thesis, I have tried to render intelligible to myself, in a very elementary way, the relationship between modern painting and musio, and the develornnent of painting towards the condition of music. rrhis is not to deny that other valid parallels may be drawn between music and, say, sculpture, architecture, poetry, or lrinetic art--such relationships do, of course, exis·t--but they do not seem to have been to each other's evolution as painting and music use the past tense advisedly because I cannot discuss tl:~ any semblance of competence developments in the arts of the present day, nor discern in them ·the trends likely to influence the arts of the future. rrhe interfusion of painting and music is a phenomenon of modern art. Because the most influential ideas in twentieth century painting and mu-sic have their origins in the period immediately prior to the First World War, I have centralized my area of study there. 1l'bere the patterns for subsequent developments in modern art were set. My aim has been to touch on the main areas of con­ tact between the two arts in those years• -i:i.- Not for a moment do I regard this thesis as having, in any way, exhausted the topic. It merely "scratches tbe surface~" so to speak--it is a l»egtnninr;. I shoulO. like to timnk my friends for their interest, encouragement, advice, and practical assistance. '!'o the painters and composers-~musicians alll--whose ideas laid the foundations of this thesis, and whose works sus­ tairled me in its darkest moments--my gratitude. J. N. Mo -iii- Music and painting are, matertally spealdng, 1 Very different arts. In the former a temporally presented mode of expression addresses itself to the ear, in the latter a SJlatially presented mode addresses itself to the eye, and they would not appear to admit of any comparison. Modern painting interfuses the dimensions of time and space, challenging the traditional distinctions between temporal and spatial arts. A kind of multi-dimensional art results. Gauguin and van Gogh believed that painting promised to become more like music. It bas. Modern painting has entered a "musical" pbase~-for the painter has turned composer and performer, c:md his works owe an obvio~us debt to the sister art. Music, in turn, has drawn from the :painter's domain such material as bas considerably enriched the language of sound. In no previous age were they so interdependent, and this assertion is confirmed in the astonishing parallels between them before the First World War, when the notion (._~ ofvrelationship between painting and music was at its zenith. "Musicality" in modern painting associated with a tendency towards abstraction. The nearer painting -iv- approaches a pictorial art which makes no specific refer­ ence to nature, the more nearly must it align itself with an autonomous and independent system such as music. Painting and music have come to share fundamental principles ·of organization. What malres a painting "musical"? A musical painter? So it would seem. A number of musicians and composers have abandoned promising musical careers in order to take up painting--among them Ciurlionis, Klee, l~'eininger, 11ussolo, and Larry Poons. Other painters have deemed it necessary to acquire musical skills0 Such painters as these were "musically" committed in their works: music instructed their visual sense and info~med their expression. But not all modern painting could be described as "musical". 111N1ere are musical pictures, just as there are unmusical ones, pictures t[Jat are posi.tively hostile to the WelDr l e no t 1.on. o ..f mus1c.. '' i ( Dy tl·1e same "O(en,t 1 th·ere 1s. a 1 so music "positively hostile to the whole notion of music, and coHsequently, to the whole notion of modern J)ai.nting.) Some pai~ti.ngs which invite musical association are ambiguous and confusing. They may remind us of music, they may not. One cannot hear a painting or see music save in the experience of abnormal sensory agitation. However much synaesthetes would persuade us to tlle contrary, painting is :not music. 1 . Anil da Silva, Otto von Simson, Roger llinks, Man through his Art: Musi£ (London: E. P. Publishing Co. Ltd., 196t1), p. -v- The relationship between painting and music is best explained in terms of their Qarallel developments, and in order to do this I have looked for corresponding gestures in the two arts. Painting arrived at abstractlon by anulogy with music (a useful ally, since music is fundamentally non-representational.) Before the First World War (and fo~ a short while after) painters and .o:amposers were attuned to each other in a way that had few precedents in history: a strong bond was cemented between them, and there were a great many areas in which they met. All subsequent developments in painting and music refer, in some way, to the innovations and inventions of the musical phase of modern painting. Til~ LIGRAI\Y Chapter :1.. VARINriONS ON A rrrrEME. Colours may mutually relate lil<:e musical concords for their pleasantest arrangel:fent; lil<:e those con­ cor •.ds mutually proportionate. Those words, uttered over two thousand years ago by Aris­ totle, express the essence of an idea constantly elaborated whenever and wherever it has since manife:la~ed itself. The notion that painting and music are in someVinterrelated is a recurrent theme in the history of painting, but one which has eluded definition until very recent times. Numerous tings testify to the fascination which the notion afforded: such a relationship exist, the writers were sure, but there appeared to be little evidence to encourage further investigation., Thus, curiously, variations on the same theme occurred again and ain as original consideration, reconstituted and presented accord­ ing to the spirit and tenor of the epoch, only to be deferred because they failed to fulfil their initial pro­ mise. 1Aristotle, "De Sensu", quoted Image 1965. -1- ~;ome would have it tha.t, of all the arts, mustc ancl architecture make a more convincing·equation. Goetlle descril:lctl arch i tee ture as "dmub music", and he quo ted ·wt th approval Gtlrres' famous aper~u of arcld.teeture as "frozen music". :1. "Music", said the famous German philosopber, Hegel, "is Architecture translated from space into t:Lrile....,­ for in music, besides the deepest feeling, there is also a vigorous mathematical in tell ig;encf~ • 112 In addition to spatial and temporal considerations, music often resembles arch:i.tecture in the formidable distance f:that separates the ereator and his creation. Medieval man constructed lds arclli tecture accord~ ing to musical harmonl.c proportion. rrhe beauties of musical consonance were considered to be an echo of meta­ pllysical truth, and visual heanty had to he the mirror of that truth. The proportions, 1:1; 1:2; 2:3, were felt to be as pleasing to the eye as the corresponding conso­ nances were to the oar. fJ.1hat is why st. Augustine and his pupils considered architecture, the 'rt of geometrical proportion, the sister of music. 1L. A. Willoughby, rrhe Homan tic Movement in Germany: (Oxford University Press, 1930), p. 179. 2Georg Wilhelm Friedrich Hegel, (1770-1831), quoted in King l)almer's Compose Music (London: 'l'he English Uni­ versities Press, 1947), p. 2. 3Anil de Silva, Otto von Simson, lloger Hinks, Man Through His Art: Music (London: E. P. Publishing Co. Ltd • , 1 96l.~:) , p • 28 • -3- The Middle Ages conoeived the cosmos as a kind of musical universe, a symphony composed of an in­ finite variety of individual parts related to one another by the harmony of musical proportion. 1· If architecture was the visual equivalent of music, painting, sculpture and allied crafts contributed, as com­ ponent parts to the unity of the composition. In the fourteenth century, perspective and prehar­ mony evolved together out of the basically unperspective and unharmonic world of tlle later !vficldle Ages. At the be­ ginning of the Henaissance there was a radical shift to per­ spective and harmony proper. As long as painting had per­ sisted in a two-dimensional attitude, music bad been 'linear~ proceeding either in one single unaccompanied line, as in the Gregorian chant, or else combining these single lines with other single lines simultaneously in a type of counter­ point essentially different from the harmonically based counterpoint of tbe polyphony of the J_,ater Ages.. 'rhe painter's increasing confidence in perspective is syn­ chronized with the composer's confidence in harmony.
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