LAJOS KASSAK: Relief in wood. paper. and tin
new and elementary harmony from surface, colour, and form and their rela
tionships which are subject to certain laws. The domination of subject,
which was the distinguishing mark of naturalism, has been replaced in
modern painting by the domination of form and intellect (Hildebrandt). In
the art of today, therefore. one will not see a (possibly distorted) version of
nature but a genuinely new creation, not dependent on nature but an addi
tion to it, being another kind of nature with its own laws. More than all pre
vious art, the art of today demands creative will and strength. Its aim is
utmost clarity and purity. It makes use of exact geometric forms and so
achieves an aesthetic paraphrase of our technical-industrial times. Just as
exact geometric forms hardly ever appear in nature, so the colours of the
new painting are not derived from nature either, as they largely were in
earlier painting. The new painting has been developed from its own