By Varnedoe, Kirk; Twombly, Cy; Clemente, Francesco; Serra, Richard; Marden, Brice

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Considering (he wrote) that the «role of the painter is to delimit and project what appears in himself, » his intention was to use shapes, figures, and materials in any way he chose, to ignore their customary relationships in order to arrange them in accordance with his own needs as these emerged from the subconscious or the dream. He carried on this search lucidly and persistently, however, contriving to upset and dislocate surface appearances in order to reconstruct the fragments into a strange universe which he skillfully adorned with a bantering smile and bathed in an immanent poetic grace, making use of it to mock and in a sense to ridicule all civilization.

The gradual conquest of Paris, followed by the misfoHunes of an exile during the Second The welcome given him by he was undoubtedly anticipating. internal quarrels raging among after the departure of Picabia the French capital was quite difiFerent from the one He arrived in the midst of the last bickerings and the former Dadaists, and Tzara's who was becoming the leader writing, and who now assumed World War who were in a state of disagreement refusal to cooperate with the efforts of Breton, movement oriented more toward the problems of the sole direction of Litterature, from which the plastic arts were practically banished.

Henceforth the latter « attends as a spectator, indifferent or enthusiastic, at the birth of the work, and observes the phases of its development. While he readilv admits that other methods similar to frottage grattage (scraping), eclahoussage (spattering), coulage (pouring), funiage (smoking), decalcomania, and so on were later utilized by certain artists and by himself in his painting, he refused to condone the attitude («a disturbing resignation ») of those who « are satisfied to produce splotches while foregoing their privilege of playing freely with them, thus abandoning to the spectator the role of interpreting them.

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