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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #55500 (https://www.gutenberg.org/ebooks/55500)
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-The Project Gutenberg EBook of Twenty Drawings, by Kahlil Gibran
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Twenty Drawings
-
-Author: Kahlil Gibran
-
-Commentator: Alice Pearl Raphael
-
-Release Date: September 7, 2017 [EBook #55500]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK TWENTY DRAWINGS ***
-
-
-
-
-Produced by Paul Marshall, Mary Glenn Krause, MFR,
-University of California, University of North Carolina at
-Chapel Hill and the Online Distributed Proofreading Team
-at http://www.pgdp.net
-
-
-
-
-
-
-
-Transcriber’s Notes:
-
-  Underscores “_” before and after a word or phrase indicate _italics_
-    in the original text.
-  Small capitals have been converted to SOLID capitals.
-  Old or antiquated spellings have been preserved.
-  Typographical errors have been silently corrected but other variations
-    in spelling and punctuation remain unaltered.
-
-
-
-
-[Illustration]
-
-_TOWARDS THE INFINITE, Frontispiece_
-
-
-
-
-                            TWENTY DRAWINGS
-
-                            BY KAHLIL GIBRAN
-
-              WITH AN INTRODUCTORY ESSAY BY ALICE RAPHAEL
-
-                             [Illustration]
-
-                                NEW YORK
-                           ALFRED · A · KNOPF
-                                 MCMXIX
-
-                          COPYRIGHT, 1919, BY
-                         ALFRED A. KNOPF, INC.
-
-                PRINTED IN THE UNITED STATES OF AMERICA
-
-
-
-
-PLATES
-
-
-  Towards the Infinite, _Frontispiece_
-  The Greater Self
-  The Blind
-  The Mountain
-  Flight
-  Centaur and Child
-  Uplifted
-  The Rock
-  The Waterfall
-  The Burden
-  The Great Longing
-  Veiled Face
-  Crucified
-  Compassion
-  The Triangle
-  The Struggle
-  The Great Aloneness
-  Woman With Garment
-  Mother and Child
-  Innermost
-
-
-
-
-ON THE ART OF KAHLIL GIBRAN
-
-
-“The lives of former generations are a lesson to posterity.” This
-quotation from the volume which is currently accepted as the
-masterpiece of ancient Arabic literature, The Thousand and One Nights,
-serves in a slightly paraphrased form as a fitting introduction to the
-work of the most authoritative artist and poet of modern Arabia—Kahlil
-Gibran.
-
-In the near East there are over a hundred million whose native language
-is Arabic and the poetry of Gibran has become so incorporated with the
-national traditions of these people that one is not quoting lightly
-in saying that “the works of the present generation are a lesson to
-posterity.” But Gibran the poet, who has been known to the Arabian
-world of letters as poet, critic and historian for twenty-four years,
-has already been introduced to the English reading public by his book
-“The Madman,” a collection of poems and parables, some translated by
-him for his own works in Arabic and others written directly in English
-with an admirable fluency and command of the Western tongue.
-
-It is Gibran the painter whose drawings are now being brought to the
-attention of his American audience and the following interpretation of
-his art will perhaps serve as a clue to the ever entrancing mystery of
-the harmonies and dissonances which exist between the East and the West.
-
-Kahlil Gibran was born in Mt. Lebanon and although he has deliberately
-chosen to identify himself with the new world and its surging problems,
-his affiliations with Syria form such a vital part of his life that
-in this instance it seems as if the links between the old world and
-the new were admirably forged and adequately tempered. Despite the
-fact that he feels himself to be essentially a Syrian and that he is
-acclaimed as the authoritative spokesman for the Arabic people in the
-allied arts, Gibran belongs to the world outside of nationalistic
-interests and his art is a product of a deep sympathy with the problems
-which constitute the moving current of life in all nations and
-throughout all ages. His poetry is a blend of ancient imagery coupled
-with the poignant irony of modern introspection, and his painting is
-also a product of the abundant phantasies of the Orient set forth with
-as scrupulous a perfection of technique as the West has ever produced.
-
-It is this blend of the poet and the painter which makes his work
-stand apart from the modern poetry of the East which we have come
-to know in the work of Tagore for instance, and which separates his
-painting from the traditional conception of Oriental art. For Gibran,
-in spite of his filial allegiance to Syria, is a citizen of the land
-of Cosmopolis—that ever moving realm, somewhat like the fabled island
-of Atlantis, which belongs to all times and to no particular place; so
-that Gibran, besides being the most widely read poet of modern Arabia,
-is also closely affiliated with Paris. There he worked with Rodin
-and he exhibited at the Salon a series of portraits, which included
-Debussy, Rostand, Sarah Bernhardt, and Rodin himself, who said: “I know
-of no one else in whom drawing and poetry are so linked together as to
-make him a new Blake.”
-
-His sensitive appreciation of the interrelation of the arts enables him
-to be the spokesman for the genius of the Arabic people to whom the
-Western world owes a debt which it is only beginning now to appreciate,
-and no poet of former generations has done more to bring about a closer
-understanding between the East and the West than Kahlil Gibran.
-
-Tagore, for instance, belongs exclusively to India. Whether we read
-him or not—whether we incorporate his work with that of other modern
-schools, nevertheless this does not affect the value of Tagore to
-India. For he has not lived in the land of Cosmopolis nor does he lend
-his interests to the new era in western literature. But Gibran has
-chosen to co-operate with Western arts and letters and his faith in the
-development of our “static culture” is indeed a lesson to posterity.
-
-He has surrendered his position as a leader in the world of the near
-East in order to bring the traditions and genius of the Arabic people
-to the attention of the Western world. And although commentators have
-long since acknowledged our debt in literature to the Arabs, who
-introduced rhyme into Europe over a thousand years ago, and historians
-have admitted the impetus which was given to the sciences by Arabic
-philosophers, yet it remains the task of a modern to introduce us in
-painting to the vast poetical conceptions which constitute a part of
-the heritage of the Arabian race mind.
-
-Kahlil Gibran is one of the artists who are engaged in the struggle
-between the old and the new, or as in other times, the conflict was
-termed, the oscillation between the classic and the romantic tendencies
-in art. As a poet, he is a Romanticist, moving abreast the times and
-incorporating the keenly analytic spirit of our age into the ancient
-parable or the simple form of rhythmic prose. But in painting he is a
-Classicist and his work owes more to the findings of da Vinci than it
-does to any of our modern insurgents. Thus Gibran is also caught in
-the struggle which is the besetting problem of the world today, the
-reconstruction of an era which will adjust the imperishable legacy
-of the old world, the classic traditions, with the ever evolving,
-fluctuating tendencies in art which constitute the essence of true
-Romanticism.
-
-For the cataclysm which has overwhelmed our world and is causing us
-to reconstruct our geographical boundaries and political tenets, also
-demands us to reconstruct our moral valuations and our standards
-in the life of the soul, of which art is one of the most profound
-manifestations. And as we think back upon the destruction which has
-separated the world with which we were familiar from the world in which
-we move today, we become more and more aware of the cataclysm which has
-so completely shattered our philosophies, dogmas and artistic beliefs.
-
-A sombre burden has descended upon the shoulders of the coming
-generation, whose task it is to create a world as yet in embryo—and,
-if our arts are not to go down before such inspirations as the
-camouflage, and if science is not to be prostituted to such creations
-as the tank,—if a nobler expression of energy is yet to redeem man
-from the pit into which his destructive power has plunged him, then in
-the period of reconstruction he must insensibly turn to new and more
-vital forms of self-expression. Religion in the traditional meaning can
-no longer lift him out of the rut of his suffering and only in another
-form of expression which will portray the realities of the soul
-devoutly, either in terms of art, science or social creeds, will he be
-able to effect a transition between the death agony of the old world
-and the travail of the new.
-
-But even in this dark traverse through which we are passing in an
-effort to win a newer life as our own, we are aware of certain
-germinating influences which already foreshadow the art of the future,
-so that the productions of an artist can never be evaluated in terms
-of self-expression alone but must be measured by their relation to the
-organic processes of which they are an integral part.
-
-To the interpretive mind, for instance, the destruction of Carthage
-cannot be judged as a pyrotechnical display of military prowess, for
-that which is significant was the impetus of change which that act
-gave to civilization. With the importation of the cult of Cybele, the
-great Mother, Rome was placed in direct communication with the East
-and a contact between the modern and the ancient world was firmly
-established. Eventually, the religion and the art of the East not
-only acquired a foothold, but became an integral part of later Roman
-culture, so that Rome was conquered by that which centuries before
-it had set out to subdue. The Romans set out to conquer a rival and
-brought back the religion and thereby much of their rival’s system of
-power. In this way a process which on the surface was nationalistic
-became fundamentally a part of the organic evolution of civilization,
-which redirected the cultural processes of a nation and eventually of
-what was, then, the modern world.
-
-Thus the term modern loses its coin value when we see how lightly
-it can be shifted from era to era, denoting certain types of ideas
-rather than periods of time. For the life of the inner world is
-without boundaries other than personal limitations, without national
-or particularistic interests other than those we voluntarily adopt.
-We shift our emotional contents upon a word like “Spartacide” and it
-becomes a modern equivalent; it is at once cut adrift from its original
-connotation and it becomes vitally related to our own interests and
-feelings. In short the word, the symbol flashes the past to life and
-passes on to meaning into the present in order to stimulate the mind to
-seek out new intellectual pastures.
-
-For the soul is occupied with but a few problems and these are
-singularly few. Life in its elemental functioning is but a
-transformation of the processes of Birth, Love and Death. The hunger of
-the appetites and the hunger of possession; the desire for adventure
-and the fear of the unknown; to love and to be loved; out of these
-essential simplicities, man has erected the vast complexities of life
-and to these essential simplicities the artist must return who seeks
-a new means of expression amidst the clutter of religions, arts and
-moralities.
-
-Those who have witnessed the disintegration of a world can no longer
-find satisfaction in objective painting. What has the art of Messonier
-to say to a man who has lived in a trench? What has the art of Watteau
-to offer to men who have experienced shrapnel or the submarine? We
-know that Veronese worked amidst the voluptuous realities which he
-depicted; we know that Watteau phantasied the shepherd and shepherdess
-exquisitely, but to us this type of painting is merely interesting
-because of its historic value. Intrinsically, it has no message to
-offer us.
-
-It is at this point in art that symbolism reveals itself as the
-interrelating principle between the life of the soul and objective
-life; that is to say that just as the symbol of the word is the
-interchanging coin between ancient and modern concepts, so in art, the
-symbolic meaning is the interchanging medium between the modern and the
-antique. Yet before we apply the word “symbolic” to an artist we must
-first come to a clear conception of its value, for it is a word which
-one approaches with hesitancy as its meaning has become so clouded by
-misusage that our mind flashes instantly to that group who were thus
-classified and then to the satirical lyric of the man “walking down
-Piccadilly with a lily in his mediaeval hand.”
-
-We can get no clearer picture of symbolism in Art than by recalling
-that period and school which gave every appearance of it and yet never
-possessed its essence. The pre-Raphaelites for instance, attempted
-to recreate in their mode and manner, that which was for ever past
-just as certain modernists attempt a crude simplicity which was only
-characteristic of primitive humanity. The true symbolist is concerned
-with the life of the inner world. To his eyes the changing cultures of
-man are merely transformations upon which he focusses his attention.
-Whereas, to the ideationist—the objective artist—each epoch, each
-strata in the history of man is a separate and distinct reality and
-he occupies himself depicting the surfaces and planes of the outer
-expression of life. He is in constant relation to the present; he has
-no personal affiliation with the vast spiritual life of the past and
-possesses no embryonic conception of the future.
-
-But to the true symbolist life is a perpetual recreation and he moves
-in a world freed from traditions and confines. He need not attempt to
-escape from the limitations of the present by seeking the mannerisms of
-an enigmatical past. He is in direct contact with that past and hence
-the future is an ever fluid and ever luminous atmosphere; he is at one
-with fundamentals.
-
-If we examine the work of the early Primitives we see at once how
-deeply imbued they were with the essence of symbolism. In fact, they
-cared so deeply for the spirit of the idea that the manner of its
-presentation caused them little concern. They covered the walls of
-Assisi because they wished to tell the story of Jesus that others
-might know and profit by it. To them, Jesus was a reality, not a story
-about which to make a painting, and consequently it was a matter of
-indifference to Ghirlandaio whether the women attending the Virgin
-wore the dresses of his own age or those of antiquity. They _were_ the
-women attending the Virgin and that which has given the Santa Maria
-Novella its lustre, is the power of a feeling, visioned, experienced,
-grasped—and then put forth again.
-
-However, in the minds of the pre-Raphaelites, the vision was most
-assiduously cultivated. Their very pre-occupation proves them to have
-been objective artists diverted from their proper functioning. They
-did not seek the vision of England, which would have been their true
-expression, the sentimental Victorian England of their day, but they
-turned their eyes towards the Italy of the past and became blinded
-by the dust of the centuries which lay upon it. The result was
-narrative art, a beautiful and ingenious affectation of the source
-of inspiration, but the symbols of love and sorrow, of joy and pain
-became involved in confused mysticism. For the pre-Raphaelites sought
-not their own spirit but that of another, not the meaning within but
-that lying as far away as possible—in fact the more remote it was,
-the more they sought it. They reproduced instead of creating, and
-they have given us beautiful stories, beautiful pictures, beautiful
-ideas—everything except that which can never be reproduced, and that
-is the spirit of their own age.
-
-In the separation of the symbolist from the ideationist, the art of the
-East is most concisely divided from the art of the West. To the East
-the lotus is a flower, but also a symbol of divinity; to the West it is
-a flower developing into the acanthus design and completing the circle,
-it becomes a decoration, and so again only a flower. Again the earth,
-the sun, the sea, that which is above, and that which lies beneath, are
-to the Western mind, materials of study to be touched, represented,
-understood and grasped. But to the East, it suffices that these things
-are and will be eternally, and that behind these realities which we
-visualize and know, lie other and again other forces and experiences,
-other suns, other seas, melting mysteriously into one another as the
-leaves of the lotus.
-
-It is at this dividing line of East and West, of the symbolist and
-the ideationist, that the work of Kahlil Gibran presents itself as an
-arresting type in our conception of painting. He has accepted both the
-traditions of form and the inner meaning of the idea, and he exhibits
-both a new type of work and another method of approach to fundamental
-truths.
-
-The qualities of the East and the West are blended in him with a
-singular felicity of expression, so that while he is the symbolist
-in the true sense of the word, he is not affixed to traditional
-expression, as he would be if he were creating in the manner of
-the East, and though he narrates a story as definitely as any
-pre-Raphaelite, it is without any fan-fare of historical circumstances
-or any of the accompaniment of symbolic accessories. In his art there
-is no conflict whether the idea shall prevail over the emotion, or
-whether emotion shall sway the thought, because both are so equally
-established that we are not conscious of one or the other as dominant.
-They co-exist in harmony and the result is an expression of sheer
-beauty in which thought and feeling are equally blended. In this fusion
-of two opposing tendencies the art of Gibran transcends the conflicts
-of schools and is beyond the fixed conceptions of the classic or
-romantic traditions.
-
-An illuminating beauty informs his work; to him the idea becomes
-beautiful if it is true; the emotion becomes truth if it is real. He
-possesses a singular power of dividing what is essential from what is
-extraneous in the presentation of beauty and truth. And he keeps to
-a simplicity of manner in the portrayal of an idea which is closely
-akin to the spirit of the Primitives, albeit the art of the centuries
-has gone into the moulding of his powers; but in his statements he is
-simple, almost instinctively simple. In fact, he may be described as an
-intuitive artist—as that type of artist whose feeling is like the
-divining rod which leads down to shafts of golden values and who does
-not obfuscate his mind with intellectual conceptions of what or how he
-should create. And having followed his instinctive flair for truth, he
-now applies his conscious powers to perfect his finding and to create
-his embryonic expressions into paintings of beauty and value.
-
-He needs only a small sheet of paper to give us the meaning of the
-“Erdgeist”; we see a body of a woman who rises out of the vast form of
-the All-Mother, carrying in her arms man and woman. Only the head of
-the unfolding mother with its mysterious smile is drawn in what we are
-accustomed to think of as drawing. There is the story, interpret it
-as you will; Erda—Amida—Ceres—Mary—the choice is a matter of time
-and temperament. The meaning is the same and Gibran is dealing with
-fundamentals.
-
-But in the portrayal of the idea he is scrupulously faithful to the
-perfection of his technique. Thus beauty is the final arbiter upon
-the destiny of his production. He creates with intuitive feeling then
-shapes his work into unity with the power of thought, but both these
-impulses are guided and guarded by a profound love and appreciation
-of the beautiful which enables him to portray that which he has to
-say as simply and as sincerely as it is possible for him to do so. It
-is this quality of instinctive simplicity which makes his painting so
-clearly akin to the art of the sculpture, for the sculptor, unless in
-relief, cannot deal with anything other than the essential idea and the
-beauty of form. In sculpture there are no accessories of background,
-no gradations of colour values to attract the eye and deflect the mind
-from thought. Very few painters have been able to express the
-essentials of life in painting. Da Vinci attempted it but he was lured
-away from the quest by his love of subtleties, and pupils like Luini or
-Sodoma expressed the subtleties but failed to grasp the inner meaning
-which held Da Vinci to his perpetual quest.
-
-The art of Gibran is symbolic in the deepest meaning of the word
-because its roots spring from those basic truths which are fundamental
-for all ages and all experiences. He senses the meaning of the earth
-and her productions; of man, the final and the consummate flower, and
-throughout his work he expresses the interrelating unity of man with
-nature. He shows us Man evolving out of the beast in a struggle with
-another centaur; he portrays the recumbent Mother crouched against a
-centaur who holds the child in his arms—the child who is already one
-step beyond, a conception closely parallel to that of Nietzsche. In yet
-another picture he shows us Man driving or being driven by a horse,
-divinely frenzied.
-
-His centaurs and horses have a charm beyond their natures so that
-they are never wholly animal in character. They have a grace which is
-reminiscent of the Chinese statuettes of horses, with their square
-nostrils and delicate hoofs, hoofs that paw the air rather than the
-ground and stamp upon the mind the finest qualities of a horse, its
-fleetness, swiftness and strength. So that in regarding these centaurs
-we sense the beast that is yet man and again that man which is and
-must be animal; we become conscious of that evolution upwards which is
-in itself a miracle, although there is a barrier which will for ever
-prevent man from clutching the stars.
-
-The picture of the flying figure suggests the sweeping onrush of the
-winged victory, man’s supreme aspiration; it is symbol of the divine
-force which impels man for ever onward to higher levels of evolution.
-The study of the human body in flight has been a source of inspiration
-to almost every artist; in the Palazzo Ducale at Venice for instance,
-Tintoretto has introduced a multitude of flying figures into his great
-ceiling painting of “Venice as the Queen of the Adriatic.” But in
-all these studies there are certain distortions of the human body.
-These forms are either too aspirant or too convulsive so that one is
-unpleasantly reminded of the muscular sensations of cramped arms and
-benumbed legs.
-
-In the Sistine Chapel however, the great patriarchal paintings of
-the Jehovah creating the world, dividing the waters of the earth or
-sweeping through space to touch the finger of the recumbent Adam, are
-all so balanced and so benignly reposeful that they convey not only a
-sense of flight through space but the impression of the very weight of
-space which is able to sustain these moving bodies.
-
-Gibran’s studies of movement are akin to those of Michelangelo because
-he has arrived at a unity of thought and representation. Not only is he
-the master of the symbolic idea which he expresses but he has attained
-the technical grasp upon his material. Hence we are not disconcerted by
-false conceptions of the human body or erroneous perspectives.
-
-His paintings are mostly wash drawings and only here and there does his
-pencil co-operate with his brush to suggest and complete the theme. The
-level of his painting is very delicate—plane suggesting another plane
-in the most subtle gradation so that at first there seems to be but
-little colour and then comes a swift realization that it is all
-colour—only imperceptibly diffused. In one or two of the studies
-like the sombre picture of the man with the cap, more vivid reds and
-blues are introduced and a certain greenish blue, wholly of the East,
-reappears constantly in his studies of definite types. But in his more
-profound interpretative work, the gradation of colour is delicate in
-the extreme. He uses colour to reveal his form unlike many painters
-who lose their sense of form in the pursuit of colour; that is another
-reason why his paintings are so suggestive of the art of the sculptor.
-
-This impression is conveyed most powerfully in the study of a woman’s
-head, the frontispiece to this volume, a painting which is the most
-complete exposition of the art of Gibran. The head is thrown back and
-seems to rest upon a white background that is yet not exactly white;
-it is the colour of the sea at an infinite distance when colour is no
-longer colour but merely light. The head, lying upon this luminous
-ground is so delicately delineated that the throat veins almost
-quiver and the pale lips are about to move. And as we look upon the
-fine profile, the sensitive, highly arched nose and the tender,
-compassionate mouth, it seems as if this woman’s head had arisen out of
-those deeper waters which we call the sea of memory, as if indeed
-
-    “Our souls have sight of that immortal sea from whence we came.”
-
-There is little drawing as we are accustomed to think of drawing, but
-the painting is modelled in colour and is akin to the interpretation of
-a sculptor who usually seeks the greater freedom which larger material
-begets. That something flowing which alone makes the earth other than a
-piece of stone is revealed in almost all his work. It is the very soul
-of sculpture and he is but expressing it in kindred form.
-
-Gibran is an interpreter of “the heavens above and the earth below.”
-He recalls like a fleeting memory, the meaning of the great clouds
-which swept like a flock of storm gulls before the bewildered eyes of
-primitive man, but he has likewise sounded the pit of agony into which
-the soul descends during the crucifixion of its development. For Gibran
-is not alone interested in the story of man, he is interested in the
-history of life; he is not concerned merely with its portrayal, he
-shares its struggle. He is impelled by that force which lies beyond all
-things animate and inanimate—that force which produces, destroys and
-recreates with the same intensity, the same purpose and always to his
-eyes, with the same succession of beauty.
-
-Therein lies the reason why his work is of today with its unrest and
-grouping in spite of its intuitive simplicity in the use of symbolic
-material of the past. It is of today because we are seeking to infuse
-a new meaning into life whereby we can accept the bitter in order to
-gain the sweet; we are endeavouring to come to terms with the ancient
-symbols and although the concepts which Gibran portrays are as old as
-Cronos, they are also as modern as the interpretative spirit of our
-age. His art arises out of the past but its appeal is to the thinking
-minds of today and it foreshadows a trend in the creative work of the
-future.
-
-The tryptich of the crucifixion in this series of drawings shows at
-once how the symbol of the Christ between the two thieves can be used
-either to express the complete religious and mythological conception,
-as it would have been used by the Primitives in some large fresco,
-and how the same idea can be conveyed on a small sheet of paper by
-one who understands the inner meaning and is able to put it forth as
-a representation of the conflict of every self-conscious being. In
-this drawing a man rests upon the shoulders of two companions. There
-are no religious accessories either of halo or stigmata with which
-to associate or localize the conception and yet the story of the
-crucifixion is completely portrayed.
-
-It is in this absolute simplicity of idea and intuitive revelation
-coupled with an instinctive grasp of the beauty of form, that Gibran
-attains the consummation of his powers and commands a respect
-meritorious of the classic. For amidst the deluge which has overwhelmed
-our world of art, when Cubists collide with Vorticists and both are
-submerged by the onrushing of the Orphicists—when school and type
-arise and as swiftly decline in the quest of the new and the age
-is seeking a picture of its soul in barbaric imitation of genuine
-barbarism, it is of inestimable value to come upon an artist who is
-fulfilling himself in his work apart from any claptrap of modern
-devices. Gibran has not gone to strange lands to study the new but
-he has walked the silent path of the meditative creator and he has
-brought out of his own depths these eternal verities of the history
-of man’s inner life. He has recreated the symbolic incarnation of the
-All-Mother—he has divined the flying wish of humanity and he has laid
-bare and retold the story of the Passion.
-
-In the poetic revelation of these psychologic conceptions of humanity
-he exhibits a world of consummate beauty to the younger artists of
-America whose life he has chosen to share. He is expressing the vast,
-the infinite forms of the ever fluid past and is showing us how these
-imperishable memories can stimulate the art of the future.
-
-Only in the acceptance of this infinitely varied racial history
-as a living part of the present, will America prepare herself for
-the eventual renaissance of the arts and as a forerunner of this
-renaissance, Gibran will occupy a similar position to that of Giotto
-and Ghirlandaio in relation to the Italian Golden Age. The painters
-of the Renaissance showed the world that the human being could
-be portrayed as if he were divine. But to those who preceded the
-Renaissance the “as if” did not exist. To them—as to Gibran, human
-life is divine. The body reflects and represents the spirit, and art
-arises out of the interplay between the inner and the outer world.
-
-It is a fact that in painting as well as in poetry, we are standing
-today on the tiptoes of expectation, awaiting the fusion of a closer
-union between the old world and the new. We are no longer bounded by
-New England conceptions of the poetical on the one side and by the
-various quasi-tragic representations of the Last of the Mohicans as a
-basic expression of American art on the other. In the anticipation of
-the eventual renaissance of the world, we in America can lend ourselves
-to study those who are its precursors.
-
-For Gibran belongs to that group of artists whose message always
-heralds a period of transition and whose voice challenges the present
-to a recapitulation of its standards.
-
-There is a tradition so old that its origin is lost in the mists of
-antiquity where it is acclaimed as the symbol of our common ancestor
-Adam. Its sign signifies “Dum voluit spiritus Mundi.” Out of the
-illimitable past—illuminating the East, touching in turn Greece,
-Italy, Flanders, Germany, France and Spain,—so passed the great
-creative spirit in the world of art; what if this same illuminative
-spirit should be in turn approaching our shores, provided that we
-are receptive enough to understand and to assimilate its fundamental
-message.
-
-
-_THE GREATER SELF_
-
-[Illustration]
-
-
-_THE BLIND_
-
-[Illustration]
-
-
-_THE MOUNTAIN_
-
-[Illustration]
-
-
-_FLIGHT_
-
-[Illustration]
-
-
-_CENTAUR AND CHILD_
-
-[Illustration]
-
-
-_UPLIFTED_
-
-[Illustration]
-
-
-_THE ROCK_
-
-[Illustration]
-
-
-_THE WATERFALL_
-
-[Illustration]
-
-
-_THE BURDEN_
-
-[Illustration]
-
-
-_THE GREAT LONGING_
-
-[Illustration]
-
-
-_VEILED FACE_
-
-[Illustration]
-
-
-_CRUCIFIED_
-
-[Illustration]
-
-
-_COMPASSION_
-
-[Illustration]
-
-
-_THE TRIANGLE_
-
-[Illustration]
-
-
-_THE STRUGGLE_
-
-[Illustration]
-
-
-_THE GREAT ALONENESS_
-
-[Illustration]
-
-
-_WOMAN WITH GARMENT_
-
-[Illustration]
-
-
-_MOTHER AND CHILD_
-
-[Illustration]
-
-
-_THE INNERMOST_
-
-[Illustration]
-
-
-
-
-
-End of the Project Gutenberg EBook of Twenty Drawings, by Kahlil Gibran
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-
-The Project Gutenberg EBook of Twenty Drawings, by Kahlil Gibran
-
-This eBook is for the use of anyone anywhere in the United States and most
-other parts of the world at no cost and with almost no restrictions
-whatsoever.  You may copy it, give it away or re-use it under the terms of
-the Project Gutenberg License included with this eBook or online at
-www.gutenberg.org.  If you are not located in the United States, you'll have
-to check the laws of the country where you are located before using this ebook.
-
-Title: Twenty Drawings
-
-Author: Kahlil Gibran
-
-Commentator: Alice Pearl Raphael
-
-Release Date: September 7, 2017 [EBook #55500]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK TWENTY DRAWINGS ***
-
-
-
-
-Produced by Paul Marshall, Mary Glenn Krause, MFR,
-University of California, University of North Carolina at
-Chapel Hill and the Online Distributed Proofreading Team
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-<hr class="chap" />
-<div class="figcenter covernote">
-    <img src="images/cover.jpg" alt="Book Cover." width="600" height="798" />
-</div>
-<p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
-
-<div class="figcenter">
-    <a name="INFINITE" id="INFINITE"></a>
-    <a href="images/frontispiece_hr.jpg">
-    <img src="images/frontispiece.jpg" width="300" height="362"
-         alt="Portarait of woman in profile." /></a>
-    <p class="f150"><b><i>TOWARDS THE INFINITE,&ensp;<small>Frontispiece</small></i></b></p>
-</div>
-
-<p><span class="pagenum"><a name="Page_2" id="Page_2">[Pg 2]</a></span></p>
-<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a><br />
-<a name="Page_4" id="Page_4">[Pg 4]</a></span></p>
-<hr class="chap" />
-<h1>TWENTY DRAWINGS</h1>
-
-<p class="f150"><b>BY KAHLIL GIBRAN</b></p>
-<p class="f90 space-below3">WITH AN INTRODUCTORY ESSAY BY ALICE RAPHAEL</p>
-
-<div class="figcenter">
-    <img src="images/illo_01.jpg" width="200" height="221"
-         alt="Solitary dog in forest setting." />
-</div>
-
-<p class="center space-above3">NEW YORK</p>
-<p class="f120">ALFRED · A · KNOPF</p>
-<p class="center space-below3">MCMXIX<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span></p>
-<p class="center">COPYRIGHT, 1919, BY</p>
-<p class="center space-below3"><span class="smcap">ALFRED A. KNOPF, Inc.</span></p>
-<p class="f90">PRINTED IN THE UNITED STATES OF AMERICA</p>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span></p>
-
-<h2>PLATES</h2>
-
-<ul class="index">
-<li class="isub10"><a href="#INFINITE">Towards the Infinite, <i>Frontispiece</i></a></li>
-<li class="isub10"><a href="#GREATER">The Greater Self</a></li>
-<li class="isub10"><a href="#BLIND">The Blind</a></li>
-<li class="isub10"><a href="#MOUNTAIN">The Mountain</a></li>
-<li class="isub10"><a href="#FLIGHT">Flight</a></li>
-<li class="isub10"><a href="#CENTAUR">Centaur and Child</a></li>
-<li class="isub10"><a href="#UPLIFTED">Uplifted</a></li>
-<li class="isub10"><a href="#ROCK">The Rock</a></li>
-<li class="isub10"><a href="#WATERFALL">The Waterfall</a></li>
-<li class="isub10"><a href="#BURDEN">The Burden</a></li>
-<li class="isub10"><a href="#LONGING">The Great Longing</a></li>
-<li class="isub10"><a href="#VEILED">Veiled Face</a></li>
-<li class="isub10"><a href="#CRUCIFIED">Crucified</a></li>
-<li class="isub10"><a href="#COMPASSION">Compassion</a></li>
-<li class="isub10"><a href="#TRIANGLE">The Triangle</a></li>
-<li class="isub10"><a href="#STRUGGLE">The Struggle</a></li>
-<li class="isub10"><a href="#ALONENESS">The Great Aloneness</a></li>
-<li class="isub10"><a href="#GARMENT">Woman With Garment</a></li>
-<li class="isub10"><a href="#MOTHER">Mother and Child</a></li>
-<li class="isub10"><a href="#INNERMOST">Innermost</a></li>
-</ul>
-
-<hr class="chap" />
-<p><span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a><br />
-<a name="Page_8" id="Page_8">[Pg 8]</a></span></p>
-
-<div class="chapter">
-<h2>ON THE ART OF KAHLIL GIBRAN</h2>
-</div>
-
-<p>“The lives of former generations are a lesson to posterity.” This
-quotation from the volume which is currently accepted as the
-masterpiece of ancient Arabic literature, The Thousand and One Nights,
-serves in a slightly paraphrased form as a fitting introduction to the
-work of the most authoritative artist and poet of modern Arabia—Kahlil Gibran.</p>
-
-<p>In the near East there are over a hundred million whose native language
-is Arabic and the poetry of Gibran has become so incorporated with the
-national traditions of these people that one is not quoting lightly
-in saying that “the works of the present generation are a lesson to
-posterity.” But Gibran the poet, who has been known to the Arabian
-world of letters as poet, critic and historian for twenty-four years,
-has already been introduced to the English reading public by his book
-“The Madman,” a collection of poems and parables, some translated by
-him for his own works in Arabic and others written directly in English
-with an admirable fluency and command of the Western tongue.</p>
-
-<p>It is Gibran the painter whose drawings are now being brought to the
-attention of his American audience and the following interpretation of
-his art will perhaps serve as a clue to the ever entrancing mystery of
-the harmonies and dissonances which exist between the East and the West.
-<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span></p>
-
-<p>Kahlil Gibran was born in Mt. Lebanon and although he has deliberately
-chosen to identify himself with the new world and its surging problems,
-his affiliations with Syria form such a vital part of his life that
-in this instance it seems as if the links between the old world and
-the new were admirably forged and adequately tempered. Despite the
-fact that he feels himself to be essentially a Syrian and that he is
-acclaimed as the authoritative spokesman for the Arabic people in the
-allied arts, Gibran belongs to the world outside of nationalistic
-interests and his art is a product of a deep sympathy with the problems
-which constitute the moving current of life in all nations and
-throughout all ages. His poetry is a blend of ancient imagery coupled
-with the poignant irony of modern introspection, and his painting is
-also a product of the abundant phantasies of the Orient set forth with
-as scrupulous a perfection of technique as the West has ever produced.</p>
-
-<p>It is this blend of the poet and the painter which makes his work
-stand apart from the modern poetry of the East which we have come
-to know in the work of Tagore for instance, and which separates his
-painting from the traditional conception of Oriental art. For Gibran,
-in spite of his filial allegiance to Syria, is a citizen of the land
-of Cosmopolis—that ever moving realm, somewhat like the fabled island
-of Atlantis, which belongs to all times and to no particular place; so
-that Gibran, besides being the most widely read poet of modern Arabia,
-is also closely affiliated with Paris. There he worked with Rodin
-and he exhibited at the Salon a series of portraits, which included
-Debussy, Rostand, Sarah Bernhardt, and Rodin himself, who said: “I know
-of no one else in whom drawing and poetry are so linked together as to
-make him a new Blake.”
-<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span></p>
-
-<p>His sensitive appreciation of the interrelation of the arts enables him
-to be the spokesman for the genius of the Arabic people to whom the
-Western world owes a debt which it is only beginning now to appreciate,
-and no poet of former generations has done more to bring about a closer
-understanding between the East and the West than Kahlil Gibran.</p>
-
-<p>Tagore, for instance, belongs exclusively to India. Whether we read
-him or not—whether we incorporate his work with that of other modern
-schools, nevertheless this does not affect the value of Tagore to
-India. For he has not lived in the land of Cosmopolis nor does he lend
-his interests to the new era in western literature. But Gibran has
-chosen to co-operate with Western arts and letters and his faith in the
-development of our “static culture” is indeed a lesson to posterity.</p>
-
-<p>He has surrendered his position as a leader in the world of the near
-East in order to bring the traditions and genius of the Arabic people
-to the attention of the Western world. And although commentators have
-long since acknowledged our debt in literature to the Arabs, who
-introduced rhyme into Europe over a thousand years ago, and historians
-have admitted the impetus which was given to the sciences by Arabic
-philosophers, yet it remains the task of a modern to introduce us in
-painting to the vast poetical conceptions which constitute a part of
-the heritage of the Arabian race mind.</p>
-
-<p>Kahlil Gibran is one of the artists who are engaged in the struggle
-between the old and the new, or as in other times, the conflict was
-termed, the oscillation between the classic and the romantic tendencies
-<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
-in art. As a poet, he is a Romanticist, moving abreast the times and
-incorporating the keenly analytic spirit of our age into the ancient
-parable or the simple form of rhythmic prose. But in painting he is a
-Classicist and his work owes more to the findings of da Vinci than it
-does to any of our modern insurgents. Thus Gibran is also caught in
-the struggle which is the besetting problem of the world today, the
-reconstruction of an era which will adjust the imperishable legacy
-of the old world, the classic traditions, with the ever evolving,
-fluctuating tendencies in art which constitute the essence of true
-Romanticism.</p>
-
-<p>For the cataclysm which has overwhelmed our world and is causing us
-to reconstruct our geographical boundaries and political tenets, also
-demands us to reconstruct our moral valuations and our standards
-in the life of the soul, of which art is one of the most profound
-manifestations. And as we think back upon the destruction which has
-separated the world with which we were familiar from the world in which
-we move today, we become more and more aware of the cataclysm which has
-so completely shattered our philosophies, dogmas and artistic beliefs.</p>
-
-<p>A sombre burden has descended upon the shoulders of the coming
-generation, whose task it is to create a world as yet in embryo—and,
-if our arts are not to go down before such inspirations as the
-camouflage, and if science is not to be prostituted to such creations
-as the tank,—if a nobler expression of energy is yet to redeem man
-from the pit into which his destructive power has plunged him, then in
-the period of reconstruction he must insensibly turn to new and more
-vital forms of self-expression. Religion in the traditional meaning can
-<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
-no longer lift him out of the rut of his suffering and only in another
-form of expression which will portray the realities of the soul
-devoutly, either in terms of art, science or social creeds, will he be
-able to effect a transition between the death agony of the old world
-and the travail of the new.</p>
-
-<p>But even in this dark traverse through which we are passing in an
-effort to win a newer life as our own, we are aware of certain
-germinating influences which already foreshadow the art of the future,
-so that the productions of an artist can never be evaluated in terms
-of self-expression alone but must be measured by their relation to the
-organic processes of which they are an integral part.</p>
-
-<p>To the interpretive mind, for instance, the destruction of Carthage
-cannot be judged as a pyrotechnical display of military prowess, for
-that which is significant was the impetus of change which that act
-gave to civilization. With the importation of the cult of Cybele, the
-great Mother, Rome was placed in direct communication with the East
-and a contact between the modern and the ancient world was firmly
-established. Eventually, the religion and the art of the East not
-only acquired a foothold, but became an integral part of later Roman
-culture, so that Rome was conquered by that which centuries before
-it had set out to subdue. The Romans set out to conquer a rival and
-brought back the religion and thereby much of their rival’s system of
-power. In this way a process which on the surface was nationalistic
-became fundamentally a part of the organic evolution of civilization,
-which redirected the cultural processes of a nation and eventually of
-what was, then, the modern world.
-<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span></p>
-
-<p>Thus the term modern loses its coin value when we see how lightly
-it can be shifted from era to era, denoting certain types of ideas
-rather than periods of time. For the life of the inner world is
-without boundaries other than personal limitations, without national
-or particularistic interests other than those we voluntarily adopt.
-We shift our emotional contents upon a word like “Spartacide” and it
-becomes a modern equivalent; it is at once cut adrift from its original
-connotation and it becomes vitally related to our own interests and
-feelings. In short the word, the symbol flashes the past to life and
-passes on to meaning into the present in order to stimulate the mind to
-seek out new intellectual pastures.</p>
-
-<p>For the soul is occupied with but a few problems and these are
-singularly few. Life in its elemental functioning is but a
-transformation of the processes of Birth, Love and Death. The hunger of
-the appetites and the hunger of possession; the desire for adventure
-and the fear of the unknown; to love and to be loved; out of these
-essential simplicities, man has erected the vast complexities of life
-and to these essential simplicities the artist must return who seeks
-a new means of expression amidst the clutter of religions, arts and moralities.</p>
-
-<p>Those who have witnessed the disintegration of a world can no longer
-find satisfaction in objective painting. What has the art of Messonier
-to say to a man who has lived in a trench? What has the art of Watteau
-to offer to men who have experienced shrapnel or the submarine? We
-know that Veronese worked amidst the voluptuous realities which he
-depicted; we know that Watteau phantasied the shepherd and shepherdess
-exquisitely, but to us this type of painting is merely interesting
-because of its historic value. Intrinsically, it has no message to offer us.
-<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span></p>
-
-<p>It is at this point in art that symbolism reveals itself as the
-interrelating principle between the life of the soul and objective
-life; that is to say that just as the symbol of the word is the
-interchanging coin between ancient and modern concepts, so in art, the
-symbolic meaning is the interchanging medium between the modern and the
-antique. Yet before we apply the word “symbolic” to an artist we must
-first come to a clear conception of its value, for it is a word which
-one approaches with hesitancy as its meaning has become so clouded by
-misusage that our mind flashes instantly to that group who were thus
-classified and then to the satirical lyric of the man “walking down
-Piccadilly with a lily in his mediaeval hand.”</p>
-
-<p>We can get no clearer picture of symbolism in Art than by recalling
-that period and school which gave every appearance of it and yet never
-possessed its essence. The pre-Raphaelites for instance, attempted
-to recreate in their mode and manner, that which was for ever past
-just as certain modernists attempt a crude simplicity which was only
-characteristic of primitive humanity. The true symbolist is concerned
-with the life of the inner world. To his eyes the changing cultures of
-man are merely transformations upon which he focusses his attention.
-Whereas, to the ideationist—the objective artist—each epoch, each
-strata in the history of man is a separate and distinct reality and
-he occupies himself depicting the surfaces and planes of the outer
-expression of life. He is in constant relation to the present; he has
-no personal affiliation with the vast spiritual life of the past and
-possesses no embryonic conception of the future.
-<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span></p>
-
-<p>But to the true symbolist life is a perpetual recreation and he moves
-in a world freed from traditions and confines. He need not attempt to
-escape from the limitations of the present by seeking the mannerisms of
-an enigmatical past. He is in direct contact with that past and hence
-the future is an ever fluid and ever luminous atmosphere; he is at one
-with fundamentals.</p>
-
-<p>If we examine the work of the early Primitives we see at once how
-deeply imbued they were with the essence of symbolism. In fact, they
-cared so deeply for the spirit of the idea that the manner of its
-presentation caused them little concern. They covered the walls of
-Assisi because they wished to tell the story of Jesus that others
-might know and profit by it. To them, Jesus was a reality, not a story
-about which to make a painting, and consequently it was a matter of
-indifference to Ghirlandaio whether the women attending the Virgin
-wore the dresses of his own age or those of antiquity. They <i>were</i>
-the women attending the Virgin and that which has given the Santa Maria
-Novella its lustre, is the power of a feeling, visioned, experienced,
-grasped—and then put forth again.</p>
-
-<p>However, in the minds of the pre-Raphaelites, the vision was most
-assiduously cultivated. Their very pre-occupation proves them to have
-been objective artists diverted from their proper functioning. They
-did not seek the vision of England, which would have been their true
-expression, the sentimental Victorian England of their day, but they
-<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
-turned their eyes towards the Italy of the past and became blinded
-by the dust of the centuries which lay upon it. The result was
-narrative art, a beautiful and ingenious affectation of the source
-of inspiration, but the symbols of love and sorrow, of joy and pain
-became involved in confused mysticism. For the pre-Raphaelites sought
-not their own spirit but that of another, not the meaning within but
-that lying as far away as possible—in fact the more remote it was,
-the more they sought it. They reproduced instead of creating, and
-they have given us beautiful stories, beautiful pictures, beautiful
-ideas—everything except that which can never be reproduced, and that
-is the spirit of their own age.</p>
-
-<p>In the separation of the symbolist from the ideationist, the art of the
-East is most concisely divided from the art of the West. To the East
-the lotus is a flower, but also a symbol of divinity; to the West it is
-a flower developing into the acanthus design and completing the circle,
-it becomes a decoration, and so again only a flower. Again the earth,
-the sun, the sea, that which is above, and that which lies beneath, are
-to the Western mind, materials of study to be touched, represented,
-understood and grasped. But to the East, it suffices that these things
-are and will be eternally, and that behind these realities which we
-visualize and know, lie other and again other forces and experiences, other
-suns, other seas, melting mysteriously into one another as the leaves of the lotus.
-<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span></p>
-
-<p>It is at this dividing line of East and West, of the symbolist and
-the ideationist, that the work of Kahlil Gibran presents itself as an
-arresting type in our conception of painting. He has accepted both the
-traditions of form and the inner meaning of the idea, and he exhibits
-both a new type of work and another method of approach to fundamental truths.</p>
-
-<p>The qualities of the East and the West are blended in him with a
-singular felicity of expression, so that while he is the symbolist
-in the true sense of the word, he is not affixed to traditional
-expression, as he would be if he were creating in the manner of
-the East, and though he narrates a story as definitely as any
-pre-Raphaelite, it is without any fan-fare of historical circumstances
-or any of the accompaniment of symbolic accessories. In his art there
-is no conflict whether the idea shall prevail over the emotion, or
-whether emotion shall sway the thought, because both are so equally
-established that we are not conscious of one or the other as dominant.
-They co-exist in harmony and the result is an expression of sheer
-beauty in which thought and feeling are equally blended. In this fusion
-of two opposing tendencies the art of Gibran transcends the conflicts
-of schools and is beyond the fixed conceptions of the classic or
-romantic traditions.</p>
-
-<p>An illuminating beauty informs his work; to him the idea becomes
-beautiful if it is true; the emotion becomes truth if it is real. He
-possesses a singular power of dividing what is essential from what is
-extraneous in the presentation of beauty and truth. And he keeps to
-a simplicity of manner in the portrayal of an idea which is closely
-akin to the spirit of the Primitives, albeit the art of the centuries
-has gone into the moulding of his powers; but in his statements he is
-simple, almost instinctively simple. In fact, he may be described as an
-<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
-intuitive artist—as that type of artist whose feeling is like the
-divining rod which leads down to shafts of golden values and who does
-not obfuscate his mind with intellectual conceptions of what or how he
-should create. And having followed his instinctive flair for truth, he
-now applies his conscious powers to perfect his finding and to create
-his embryonic expressions into paintings of beauty and value.</p>
-
-<p>He needs only a small sheet of paper to give us the meaning of the
-“Erdgeist”; we see a body of a woman who rises out of the vast form of
-the All-Mother, carrying in her arms man and woman. Only the head of
-the unfolding mother with its mysterious smile is drawn in what we are
-accustomed to think of as drawing. There is the story, interpret it
-as you will; Erda—Amida—Ceres—Mary—the choice is a matter of time
-and temperament. The meaning is the same and Gibran is dealing with
-fundamentals.</p>
-
-<p>But in the portrayal of the idea he is scrupulously faithful to the
-perfection of his technique. Thus beauty is the final arbiter upon
-the destiny of his production. He creates with intuitive feeling then
-shapes his work into unity with the power of thought, but both these
-impulses are guided and guarded by a profound love and appreciation
-of the beautiful which enables him to portray that which he has to
-say as simply and as sincerely as it is possible for him to do so. It
-is this quality of instinctive simplicity which makes his painting so
-clearly akin to the art of the sculpture, for the sculptor, unless in
-relief, cannot deal with anything other than the essential idea and the
-beauty of form. In sculpture there are no accessories of background,
-no gradations of colour values to attract the eye and deflect the mind
-<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
-from thought. Very few painters have been able to express the
-essentials of life in painting. Da Vinci attempted it but he was lured
-away from the quest by his love of subtleties, and pupils like Luini or
-Sodoma expressed the subtleties but failed to grasp the inner meaning
-which held Da Vinci to his perpetual quest.</p>
-
-<p>The art of Gibran is symbolic in the deepest meaning of the word
-because its roots spring from those basic truths which are fundamental
-for all ages and all experiences. He senses the meaning of the earth
-and her productions; of man, the final and the consummate flower, and
-throughout his work he expresses the interrelating unity of man with
-nature. He shows us Man evolving out of the beast in a struggle with
-another centaur; he portrays the recumbent Mother crouched against a
-centaur who holds the child in his arms—the child who is already one
-step beyond, a conception closely parallel to that of Nietzsche. In yet
-another picture he shows us Man driving or being driven by a horse,
-divinely frenzied.</p>
-
-<p>His centaurs and horses have a charm beyond their natures so that
-they are never wholly animal in character. They have a grace which is
-reminiscent of the Chinese statuettes of horses, with their square
-nostrils and delicate hoofs, hoofs that paw the air rather than the
-ground and stamp upon the mind the finest qualities of a horse, its
-fleetness, swiftness and strength. So that in regarding these centaurs
-we sense the beast that is yet man and again that man which is and
-must be animal; we become conscious of that evolution upwards which is
-in itself a miracle, although there is a barrier which will for ever
-prevent man from clutching the stars.
-<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span></p>
-
-<p>The picture of the flying figure suggests the sweeping onrush of the
-winged victory, man’s supreme aspiration; it is symbol of the divine
-force which impels man for ever onward to higher levels of evolution.
-The study of the human body in flight has been a source of inspiration
-to almost every artist; in the Palazzo Ducale at Venice for instance,
-Tintoretto has introduced a multitude of flying figures into his great
-ceiling painting of “Venice as the Queen of the Adriatic.” But in
-all these studies there are certain distortions of the human body.
-These forms are either too aspirant or too convulsive so that one is
-unpleasantly reminded of the muscular sensations of cramped arms and
-benumbed legs.</p>
-
-<p>In the Sistine Chapel however, the great patriarchal paintings of
-the Jehovah creating the world, dividing the waters of the earth or
-sweeping through space to touch the finger of the recumbent Adam, are
-all so balanced and so benignly reposeful that they convey not only a
-sense of flight through space but the impression of the very weight of
-space which is able to sustain these moving bodies.</p>
-
-<p>Gibran’s studies of movement are akin to those of Michelangelo because
-he has arrived at a unity of thought and representation. Not only is he
-the master of the symbolic idea which he expresses but he has attained
-the technical grasp upon his material. Hence we are not disconcerted by
-false conceptions of the human body or erroneous perspectives.</p>
-
-<p>His paintings are mostly wash drawings and only here and there does his
-pencil co-operate with his brush to suggest and complete the theme. The
-level of his painting is very delicate—plane suggesting another plane
-in the most subtle gradation so that at first there seems to be but
-<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
-little colour and then comes a swift realization that it is all
-colour—only imperceptibly diffused. In one or two of the studies
-like the sombre picture of the man with the cap, more vivid reds and
-blues are introduced and a certain greenish blue, wholly of the East,
-reappears constantly in his studies of definite types. But in his more
-profound interpretative work, the gradation of colour is delicate in
-the extreme. He uses colour to reveal his form unlike many painters
-who lose their sense of form in the pursuit of colour; that is another
-reason why his paintings are so suggestive of the art of the sculptor.</p>
-
-<p>This impression is conveyed most powerfully in the study of a woman’s
-head, the frontispiece to this volume, a painting which is the most
-complete exposition of the art of Gibran. The head is thrown back and
-seems to rest upon a white background that is yet not exactly white;
-it is the colour of the sea at an infinite distance when colour is no
-longer colour but merely light. The head, lying upon this luminous
-ground is so delicately delineated that the throat veins almost
-quiver and the pale lips are about to move. And as we look upon the
-fine profile, the sensitive, highly arched nose and the tender,
-compassionate mouth, it seems as if this woman’s head had arisen out of
-those deeper waters which we call the sea of memory, as if indeed
-<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span></p>
-
-<p class="center space-below1">“Our souls have sight of that immortal sea from whence we came.”</p>
-
-<p>There is little drawing as we are accustomed to think of drawing, but
-the painting is modelled in colour and is akin to the interpretation of
-a sculptor who usually seeks the greater freedom which larger material
-begets. That something flowing which alone makes the earth other than a
-piece of stone is revealed in almost all his work. It is the very soul
-of sculpture and he is but expressing it in kindred form.</p>
-
-<p>Gibran is an interpreter of “the heavens above and the earth below.”
-He recalls like a fleeting memory, the meaning of the great clouds
-which swept like a flock of storm gulls before the bewildered eyes of
-primitive man, but he has likewise sounded the pit of agony into which
-the soul descends during the crucifixion of its development. For Gibran
-is not alone interested in the story of man, he is interested in the
-history of life; he is not concerned merely with its portrayal, he
-shares its struggle. He is impelled by that force which lies beyond all
-things animate and inanimate—that force which produces, destroys and
-recreates with the same intensity, the same purpose and always to his
-eyes, with the same succession of beauty.</p>
-
-<p>Therein lies the reason why his work is of today with its unrest and
-grouping in spite of its intuitive simplicity in the use of symbolic
-material of the past. It is of today because we are seeking to infuse
-a new meaning into life whereby we can accept the bitter in order to
-gain the sweet; we are endeavouring to come to terms with the ancient
-symbols and although the concepts which Gibran portrays are as old as
-Cronos, they are also as modern as the interpretative spirit of our
-age. His art arises out of the past but its appeal is to the thinking
-minds of today and it foreshadows a trend in the creative work of the future.
-<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span></p>
-
-<p>The tryptich of the crucifixion in this series of drawings shows at
-once how the symbol of the Christ between the two thieves can be used
-either to express the complete religious and mythological conception,
-as it would have been used by the Primitives in some large fresco,
-and how the same idea can be conveyed on a small sheet of paper by
-one who understands the inner meaning and is able to put it forth as
-a representation of the conflict of every self-conscious being. In
-this drawing a man rests upon the shoulders of two companions. There
-are no religious accessories either of halo or stigmata with which
-to associate or localize the conception and yet the story of the
-crucifixion is completely portrayed.</p>
-
-<p>It is in this absolute simplicity of idea and intuitive revelation
-coupled with an instinctive grasp of the beauty of form, that Gibran
-attains the consummation of his powers and commands a respect
-meritorious of the classic. For amidst the deluge which has overwhelmed
-our world of art, when Cubists collide with Vorticists and both are
-submerged by the onrushing of the Orphicists—when school and type
-arise and as swiftly decline in the quest of the new and the age
-is seeking a picture of its soul in barbaric imitation of genuine
-barbarism, it is of inestimable value to come upon an artist who is
-fulfilling himself in his work apart from any claptrap of modern
-devices. Gibran has not gone to strange lands to study the new but
-he has walked the silent path of the meditative creator and he has
-brought out of his own depths these eternal verities of the history
-of man’s inner life. He has recreated the symbolic incarnation of the
-All-Mother—he has divined the flying wish of humanity and he has laid
-bare and retold the story of the Passion.
-<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span></p>
-
-<p>In the poetic revelation of these psychologic conceptions of humanity
-he exhibits a world of consummate beauty to the younger artists of
-America whose life he has chosen to share. He is expressing the vast,
-the infinite forms of the ever fluid past and is showing us how these
-imperishable memories can stimulate the art of the future.</p>
-
-<p>Only in the acceptance of this infinitely varied racial history
-as a living part of the present, will America prepare herself for
-the eventual renaissance of the arts and as a forerunner of this
-renaissance, Gibran will occupy a similar position to that of Giotto
-and Ghirlandaio in relation to the Italian Golden Age. The painters
-of the Renaissance showed the world that the human being could
-be portrayed as if he were divine. But to those who preceded the
-Renaissance the “as if” did not exist. To them—as to Gibran, human
-life is divine. The body reflects and represents the spirit, and art
-arises out of the interplay between the inner and the outer world.</p>
-
-<p>It is a fact that in painting as well as in poetry, we are standing
-today on the tiptoes of expectation, awaiting the fusion of a closer
-union between the old world and the new. We are no longer bounded by
-New England conceptions of the poetical on the one side and by the
-various quasi-tragic representations of the Last of the Mohicans as a
-basic expression of American art on the other. In the anticipation of
-the eventual renaissance of the world, we in America can lend ourselves
-to study those who are its precursors.</p>
-
-<p>For Gibran belongs to that group of artists whose message always
-heralds a period of transition and whose voice challenges the present
-to a recapitulation of its standards.
-<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span></p>
-
-<p>There is a tradition so old that its origin is lost in the mists of
-antiquity where it is acclaimed as the symbol of our common ancestor
-Adam. Its sign signifies “Dum voluit spiritus Mundi.” Out of the
-illimitable past—illuminating the East, touching in turn Greece,
-Italy, Flanders, Germany, France and Spain,—so passed the great
-creative spirit in the world of art; what if this same illuminative
-spirit should be in turn approaching our shores, provided that we
-are receptive enough to understand and to assimilate its fundamental message.
-<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a><br />
-<a name="Page_27" id="Page_27">[Pg 27]</a></span></p>
-<hr class="chap"/>
-<p><span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span></p>
-
-<div class="chapter"><div class="figcenter">
-    <a name="GREATER" id="GREATER"></a>
-    <p class="f150 space-below1"><b><i>THE GREATER SELF</i></b></p>
-    <a href="images/greater_self_hr.jpg">
-    <img src="images/greater_self.jpg" width="250" height="311"
-         alt="A large human figure and a small human figure embracing." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a><br />
-<a name="Page_30" id="Page_30">[Pg 30]</a><br />
-<a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="BLIND" id="BLIND"></a>
-    <p class="f150 space-below1"><b><i>THE BLIND</i></b></p>
-    <a href="images/the_blind_hr.jpg">
-    <img src="images/the_blind.jpg" width="250" height="319"
-         alt="Portrait of woman with closed eyes." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a><br />
-<a name="Page_34" id="Page_34">[Pg 34]</a><br /><a name="Page_35" id="Page_35">[Pg 35]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="MOUNTAIN" id="MOUNTAIN"></a>
-    <p class="f150 space-below1"><b><i>THE MOUNTAIN</i></b></p>
-    <a href="images/the_mountain_hr.jpg">
-    <img src="images/the_mountain.jpg" width="300" height="242"
-         alt="Humans of various sizes lying together in a mountain-like arrangement." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a><br />
-<a name="Page_38" id="Page_38">[Pg 38]</a><br /><a name="Page_39" id="Page_39">[Pg 39]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="FLIGHT" id="FLIGHT"></a>
-    <p class="f150 space-below1"><b><i>FLIGHT</i></b></p>
-    <a href="images/flight_hr.jpg">
-    <img src="images/flight.jpg" width="300" height="241"
-         alt="Human figure apparently in flight." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a><br />
-<a name="Page_42" id="Page_42">[Pg 42]</a><br /><a name="Page_43" id="Page_43">[Pg 43]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="CENTAUR" id="CENTAUR"></a>
-    <p class="f150 space-below1"><b><i>CENTAUR AND CHILD</i></b></p>
-    <a href="images/centaur_hr.jpg">
-    <img src="images/centaur.jpg" width="300" height="224"
-         alt="A galloping centaur holding a child in its arms." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a><br />
-<a name="Page_46" id="Page_46">[Pg 46]</a><br /><a name="Page_47" id="Page_47">[Pg 47]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="UPLIFTED" id="UPLIFTED"></a>
-    <p class="f150 space-below1"><b><i>UPLIFTED</i></b></p>
-    <a href="images/uplifted_hr.jpg">
-    <img src="images/uplifted.jpg" width="250" height="323"
-         alt="A large human figure lifting up a smaller human figure." /></a>
-</div></div>
-<hr class="r15" />
-<p><span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a><br />
-<a name="Page_50" id="Page_50">[Pg 50]</a><br /><a name="Page_51" id="Page_51">[Pg 51]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="ROCK" id="ROCK"></a>
-    <p class="f150 space-below1"><b><i>THE ROCK</i></b></p>
-    <a href="images/the_rock_hr.jpg">
-    <img src="images/the_rock.jpg" width="250" height="325"
-         alt="Intertwined human figures in an upside-down configuration." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a><br />
-<a name="Page_54" id="Page_54">[Pg 54]</a><br /><a name="Page_55" id="Page_55">[Pg 55]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="WATERFALL" id="WATERFALL"></a>
-    <p class="f150 space-below1"><b><i>THE WATERFALL</i></b></p>
-    <a href="images/the_waterfall_hr.jpg">
-    <img src="images/the_waterfall.jpg" width="250" height="363"
-         alt="Human figures connected in an undulating flow." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a><br />
-<a name="Page_58" id="Page_58">[Pg 58]</a><br /><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_60" id="Page_60">[Pg 60]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="BURDEN" id="BURDEN"></a>
-    <p class="f150 space-below1"><b><i>THE BURDEN</i></b></p>
-    <a href="images/the_burden_hr.jpg">
-    <img src="images/the_burden.jpg" width="250" height="314"
-         alt="Woman carrying a small child on her shoulders." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a><br />
-<a name="Page_62" id="Page_62">[Pg 62]</a><br /><a name="Page_63" id="Page_63">[Pg 63]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="LONGING" id="LONGING"></a>
-    <p class="f150 space-below1"><b><i>THE GREAT LONGING</i></b></p>
-    <a href="images/longing_hr.jpg">
-    <img src="images/longing.jpg" width="250" height="322"
-         alt="A rearing centaur expressing great anguish." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a><br />
-<a name="Page_66" id="Page_66">[Pg 66]</a><br /><a name="Page_67" id="Page_67">[Pg 67]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="VEILED" id="VEILED"></a>
-    <p class="f150 space-below1"><b><i>VEILED FACE</i></b></p>
-    <a href="images/vieled_face_hr.jpg">
-    <img src="images/vieled_face.jpg" width="250" height="318"
-         alt="Portrait of a woman wearing a veil." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a><br />
-<a name="Page_70" id="Page_70">[Pg 70]</a><br /><a name="Page_71" id="Page_71">[Pg 71]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="CRUCIFIED" id="CRUCIFIED"></a>
-    <p class="f150 space-below1"><b><i>CRUCIFIED</i></b></p>
-    <a href="images/crucified_hr.jpg">
-    <img src="images/crucified.jpg" width="300" height="368"
-         alt="Two figures holding a third figure between them in crucified position." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a><br />
-<a name="Page_74" id="Page_74">[Pg 74]</a><br /><a name="Page_75" id="Page_75">[Pg 75]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="COMPASSION" id="COMPASSION"></a>
-    <p class="f150 space-below1"><b><i>COMPASSION</i></b></p>
-    <a href="images/compassion_hr.jpg">
-    <img src="images/compassion.jpg" width="300" height="233"
-         alt="Mass of humans, apparently dead, being mourned by a centaur." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a><br />
-<a name="Page_78" id="Page_78">[Pg 78]</a><br /><a name="Page_79" id="Page_79">[Pg 79]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="TRIANGLE" id="TRIANGLE"></a>
-    <p class="f150 space-below1"><b><i>THE TRIANGLE</i></b></p>
-    <a href="images/the_triangle_hr.jpg">
-    <img src="images/the_triangle.jpg" width="250" height="319"
-         alt="Three human figures embracing in a triangular formation." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a><br />
-<a name="Page_82" id="Page_82">[Pg 82]</a><br /><a name="Page_83" id="Page_83">[Pg 83]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="STRUGGLE" id="STRUGGLE"></a>
-    <p class="f150 space-below1"><b><i>THE STRUGGLE</i></b></p>
-    <a href="images/the_struggle_hr.jpg">
-    <img src="images/the_struggle.jpg" width="250" height="350"
-         alt="Man and woman embracing with a crucified figure behind them." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a><br />
-<a name="Page_86" id="Page_86">[Pg 86]</a><br /><a name="Page_87" id="Page_87">[Pg 87]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_88" id="Page_88">[Pg 88]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="ALONENESS" id="ALONENESS"></a>
-    <p class="f150 space-below1"><b><i>THE GREAT ALONENESS</i></b></p>
-    <a href="images/aloneness_hr.jpg">
-    <img src="images/aloneness.jpg" width="300" height="229"
-         alt="Woman sleeping, dreaming of companionship." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a><br />
-<a name="Page_90" id="Page_90">[Pg 90]</a><br /><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="GARMENT" id="GARMENT"></a>
-    <p class="f150 space-below1"><b><i>WOMAN WITH GARMENT</i></b></p>
-    <a href="images/woman_garment_hr.jpg">
-    <img src="images/woman_garment.jpg" width="250" height="310"
-         alt="Full portrait of woman putting on a cloak." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a><br />
-<a name="Page_94" id="Page_94">[Pg 94]</a><br /><a name="Page_95" id="Page_95">[Pg 95]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span></p>
-<div class="chapter"><div class="figcenter">
-    <a name="MOTHER" id="MOTHER"></a>
-    <p class="f150 space-below1"><b><i>MOTHER AND CHILD</i></b></p>
-    <a href="images/mother_child_hr.jpg">
-    <img src="images/mother_child.jpg" width="250" height="313"
-         alt="Woman holding small child to her breast." /></a>
-</div></div>
-<hr class="r15" />
-
-<p><span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a><br />
-<a name="Page_98" id="Page_98">[Pg 98]</a><br /><a name="Page_99" id="Page_99">[Pg 99]</a></span></p>
-
-<p><span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span></p>
-<div class="chapter space-below1"><div class="figcenter">
-    <a name="INNERMOST" id="INNERMOST"></a>
-    <p class="f150 space-below1"><b><i>THE INNERMOST</i></b></p>
-    <a href="images/innermost_hr.jpg">
-    <img src="images/innermost.jpg" width="250" height="317"
-         alt="Male figures in fetal position." /></a>
-</div></div>
-<hr class="chap space-below1" />
-
-<div class="transnote bbox">
-<p class="f120 space-above1">Transcriber's Notes:</p>
-<hr class="r5" />
-<p class="indent">The cover image was created by the transcriber, and is in the public domain.</p>
-<p class="indent">Uncertain or antiquated spellings or ancient words were not corrected.</p>
-<p class="indent">The illustrations have been moved so that they do not break up
-                  paragraphs and so that they are next to the text they illustrate.</p>
-<p class="indent">Errors in punctuation and inconsistent hyphenation were not corrected
-                  unless otherwise noted.</p>
-<p class="indent">Typographical errors have been silently corrected but other variations
-    in spelling and punctuation remain unaltered.</p>
-<p class="indent">Where double quotes have been repeated at the beginnings of
-    consecutive stanzas, they have been omitted for clarity.</p>
-<p class="indent">The images in the document are linked to high resolution images. Click
-     on the image to enlarge.</p>
-</div>
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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