Cubists and Post-Impressionism

by Arthur Jerome Eddy

Of the painting he says in a letter:

The designation “Cannons,” selected by me for my own use, is not to be conceived as indicating the “contents” of the picture.

These contents are indeed what the spectator lives, or feels while under the effect of the form and color combinations of the picture. This picture is nearly in the shape of a cross. The centre—somewhat below the middle—is formed by a large, irregular blue plane. (The blue color in itself counteracts the impression caused by the cannons!) Below this centre there is a muddy-gray, ragged second centre almost equal in importance to the first one. The four corners extending the oblique cross into the corners of the picture are heavier than the two centres, especially heavier than the first, and they vary from each other in characteristics, in lines, contours, and colors.

Thus the picture becomes lighter, or looser in the centre, and heavier, or tighter towards the corners.

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: