“Following the same philosophical system in dealing with light, as the one he follows in regard to form, to him color does not exist, but only the effects of light. This produces in matter certain vibrations, which produce in the individual certain impressions. From this it results that Picasso’s paintings present to us the evolution by which light and form have operated in developing themselves in his brain to produce the idea, and his composition is nothing but the synthetic expression of his emotion.” Thus it will be seen that he tries to represent in essence what seems to exist only in substance. And, inasmuch as his psychical impressions inspire in him geometrical sensations, certain of these exhibits are in the nature of geometrical abstractions that have little or nothing in common with anything hitherto produced in art. Its whole tendency would appear to be away from art into the realm of metaphysics. Here is a design, a pattern of triangles, ellipses and semi-circles that at first glance appears to be little more than the incoherent passage of a compass across the paper in the hands of some absent-minded engineer. After a little attentive study, however, these enigmatic lines resolve themselves into the semblance of a human figure and one begins to discover a clearly defined intention behind this apparent chaos of ideated sensations. There is evident a method in his madness which, after all, may only be truth turned inside out. And this is what should make one pause and investigate the matter further. The fact that one may get nothing out of it as yet in the way of tangible or even vaguely experienced emotions is beside the point. The interest in this whole matter rests on the fact that here is revealed a new form of aesthetic expression as yet only tentative and groping perhaps, but reaching out in new directions. And it must not be forgotten that the pioneer is usually misunderstood; he is so far in advance of current ideas as to be out of touch with his fellow men who might appropriately be called follow-men, they lag so far behind the progress of new ideas. Cézanne and Picasso--they mark the parting of the ways: a fulfilment and a promise. Quo Vadis?[43] Not many years ago Picasso was painting under the influence of the pointillists. Almost every year he changed his style, until he developed the pure, the geometrical Cubism of the drawing shown herein. He had a period of painting very uninteresting blue portraits, one of which was shown at the exhibition. His “Woman with the Mustard Pot” belongs with his sculpture, which is interesting but, to most people, ugly. He has such phenomenal powers of absorption and his technical facility is such that he does anything he pleases [Illustration: PICASSO Drawing]