After impressionism, neo-impressionism, then cubism, which sought a geometric third dimension in painting, the expression of things seen in geometrical figures. But a purely subjective art cannot, of course, be bound by any form of expression the moment that expression becomes a convention, an established body of laws with accepted values. Therefore, he has cut loose from cubism, and is what, again for handy classification--an evil habit from which we cannot emancipate ourselves--may perhaps best be called “post-cubist,” with entirely unfettered, spontaneous, ever-varying means of expression in form and color waves, according to the commands, the needs, the inspiration of the impression, the mood received. Objective expression is strictly barred. He even ignores form as far as possible, seeking “color harmonies.” Harmony and equilibrium are his device. * * * * * But the Cubists are rapidly getting away from the cubes and angles. It is quite possible that a year or two hence we shall see no more _purely_ Cubist pictures. That does not mean the movement will come to an end--not at all. The movement toward abstract painting, toward the use of line and paint on canvas for mere pleasure of using them, and without copying objects in either life or nature, is in its infancy. * * * * * “But I don’t understand them!” Is it necessary to your enjoyment that you should? Do you understand what Caruso is singing? Do you understand that French song reproduced by the phonograph? Do you understand what the orchestra is playing? Do you understand the pattern in that Persian rug? How many people who rave over Japanese art have the remotest idea what this or that precious print or painting represents? Does an intricate design on a bit of Oriental pottery please you? And is your enjoyment lessened one whit by the fact it is all a mystery to you? Why will you accept as beautiful and buy at a high price a painting you do not understand because it is by a Chinese artist, and reject as ugly the painting by a French artist simply because you cannot see “what he is driving at”? * * * * * Suppose a Cubist picture is a beautiful scheme of color; is it less beautiful _in color_ because you do not understand the painter’s theory? His painting may be fine, his theory absurd. Would your enjoyment of Caruso be increased if he sang in English the ridiculous stuff he sings in Italian? Fortunate it is for most grand opera that we _do not understand_--we are not diverted from the music by the nonsense of the libretto. The enjoyment of music is a curious thing. First of all, there are all kinds of music, from rag-time to Beethoven, and each kind has its following. Then the following of each kind breaks up into its rag-time and Beethoven divisions.