My purpose in this book is to elucidate, so far as I can, the
principles which underlie the practice of drawing and painting as a
Fine Art. Art is generally regarded as the expression of feelings
and emotions which have no explanation except perhaps in such a word
as _inspiration_, which is expletive rather than explanatory. Art is
regarded as the one activity of man which has no scientific basis, and
the appreciation of Art is said to be a matter of taste in which no two
persons can be expected to agree. It is my purpose in this book to show
how, in the practice of Art, as in all other practices, we use certain
terms and follow certain principles. Being defined and explained, these
terms and principles may be known and understood by everybody. They
are, so to speak, _the form of the language_.
While an understanding of the terms and principles of Art will not,
in itself, enable any one to produce important works, such works
are not produced without it. It must be understood, however, that
the understanding of terms and principles is not, necessarily, an
understanding in words. It may lie in technical processes and in visual
images and may never rise, or shall I say fall, to any formulation in
words, either spoken or written. The terms and principles of Art have,
as a rule, been understood by the artist in the form of technical
processes and visual images, not in words. It is in words that they
will become generally understood. It is in words that I propose to
explain them in this book. I want to bring to definition what, until
now, has not been clearly defined or exactly measured. In a sense
this book is a contribution to Science rather than to Art. It is a
contribution to Science made by a painter, who has used his Art in
order to understand his Art, not to produce Works of Art. In a passage
of Plato (Philebus, ¶ 55) Socrates says: “If arithmetic, mensuration,
and weighing be taken out of any art, that which remains will not be
much.“ “Not much, certainly,” was the reply. The only thing which
remains in Art, beyond measurable quantities and qualities, is the
personality, the peculiar ability or genius of the artist himself.
That, I believe, admits of no explanation. The element of personality
is what we mean when we speak of the element of inspiration in a Work
of Art. Underlying this element of personality are the terms and
principles of the art. In them the artist has found the possibility of
expression; in them his inspiration is conveyed to his fellowmen. I
propose to explain, not the artist, but the mode of expression which
the artist uses. My purpose, in scientific language, is to define,
classify, and explain the phenomena of Design. In trying to do that, I
have often been at a loss for terms and have been obliged, in certain
instances, to use terms with new meanings, meanings which differ, more
or less, from those of common usage and from those of writers in other
branches of learning. In all such cases I have taken pains to define my
terms and to make my meanings perfectly clear. I do not expect any one
to read this book who is not willing to allow to my terms the meanings
I have given them. Those who are unwilling to accept my definitions
will certainly not follow me to my conclusions.
I am giving this book to the Public with great reluctance. Though I
have had it in mind for many years and have put no end of thought
and work into it, it seems to me inadequate and unsatisfactory. It
will hardly be published before I shall discover in it errors both
of omission and commission. The book presents a new definition of
principles, a new association of ideas. It is inconceivable that this,
my first published statement, should be either consistent or complete.
It will be a long time, I am sure, before it can be brought to a
satisfactory shape. It is simply the best statement that I can make at
this time. One reason, perhaps my best reason, for publishing this
Theory, before it is completely worked out, is to bring other students
into the investigation. I need their coöperation, their suggestions,
and their criticisms. Without assistance from others the book would not
be as good as it is. I am indebted to a number of persons for helpful
suggestions. I am particularly indebted to three men, who have been
associated with me in my teaching: William Luther Mowll, Henry Hunt
Clark, and Edgar Oscar Parker. Each of them has had a share in the
work. I am indebted to Professor Mowll for very important contributions
to the doctrine of Rhythm, as it is presented in this book, and he has
kindly helped me in the revision of the work for the press. My friend
Dean Briggs has kindly read my proof sheets, and I am indebted to him
for many suggestions.
DENMAN W. ROSS.
HARVARD UNIVERSITY,
February 16, 1907.