The scheme of the construction is thus toned down, even made invisible for many, by the looseness of the forms. Larger or smaller remains of _objectivity_ (the cannons, for instance) produce in the spectator that secondary tone which objects call forth in all who feel. The presence of the cannons in the picture could probably be explained by the constant war talk that had been going on throughout the year. But I did not intend to give a representation of war; to do so would have required different pictorial means; besides, such tasks do not interest me--at least not just now. This entire description is chiefly an analysis of the picture which I have painted rather subconsciously in a state of strong inner tension. So intensively did I feel the necessity of some of the forms, that I remember having given loud voiced directions to myself, as for instance: “But the corners must be heavy!” In such cases it is of importance exactly to discern all things, the weight, for instance, by the feeling. Generally speaking, I might almost declare that where the feeling that lies in the soul, in the eye, and in the hand is strong enough to faultlessly determine the finest measurements and weights, “schematism” and the much-dreaded “consciosity” will not become dangerous. On the contrary, in this case, the said elements will even prove immeasurably beneficial. I would that all my pictures might be judged exclusively from this point of view, and that the non-essentials might completely disappear from the judgment. * * * * * In subsequent letters he said: Whatever I might say about myself or my pictures can touch the _pure artistic meaning_ only _superficially_. The observer must learn to look at the picture as a graphic representation of a _mood_ and not as a representation of _objects_. * * * * * All that anyone can say about pictures, and what I might say myself, can touch the contents, the _pure artistic meaning_, of a picture _only superficially_. Each spectator for himself must learn to view the picture _solely_ as a graphic representation of a mood, passing over as unimportant such details as representations or suggestions of natural objects. This the spectator can do after a time, and where one can do it, many can. Given a work of art, painting, sculpture, music--anything--its appreciation and understanding depend upon the _attitude_ of the audience. A work of art may be, and ultimately must be viewed from two very different points of view--the point of view of the _artist_, and the point of view of the _observer_.