Note (return) — CLIVE BELL (continued 3)

And that, perhaps, would be all that needed saying about Art and Politics were it not that at this moment the subject has an unusual importance. Movements in art have, more often than not, been the result of an extraordinarily violent preoccupation, on the part of artists, with the unessential and insignificant. David rescued painting from the charming and slightly sentimental disorder of the later eighteenth century by concentrating on Roman virtues and generals' uniforms. The Romantics freed themselves from Davidism by getting frantically excited about a little hazy nonsense rather unfairly attributed to Lord Byron and Sir Walter Scott. From this the Impressionists escaped by persuading themselves that they were men of science. And against this my contemporaries set up a conscious æstheticism, slightly tinged with certain metaphysico-moral doctrines concerning the cowiness of cows and the thing in itself. With Cubism conscious æstheticism holds the field, for the Cubist theory is, in the main, æsthetic. That is one reason why I cannot think that there is any great future for Cubism. An artistic movement is unlikely to live long on anything so relevant to art; for artists, it seems, must believe that they are concerned with something altogether different. Wherefore, I think it not improbable—indeed, there are indications alreadyX—that, political progress having in the last few years somewhat outrun civilization, and the new democracy being apparently hostile to art and culture, artists will take to believing passionately in what they will call "order." If so, in the name of Napoleon and Louis XIV, but, let us hope, with the science and restraint of Poussin and Ingres, they will turn, most likely, to the classical tradition and, while endeavouring to create significant form, will assert vehemently that they are expressing their political convictions.