Objective-Subjective, Inner-Outer
p. 34 Because the elements of style and personlailty make up what is called the periodic characteristics of any work of art, the “development” of artistic forms must depend on their separation from the element of pure artistry, which knows neither period nor nationality. But as style and personality create in every epoch certina definite forms, which, for all their superficial differences, are really closely related, thes forms can be spoken of as one side of art– the SUBJECTIVE> Every artist chooses, from the forms which reflect his own time, those which are sympathetic to him, and expresses himself through them. So the subjective leement is the definite and external expression of the inner, objective element.
The inevitable desire for outward expression of the OBJECTIVE elevment is the impulse here defined as the “inner need.” The forms it borrows change from day to day, and, as it continually advances, what is today a phrase of inner harmony becomes tomorrow one of outer harmony. It is clear, therefore, that the inner spirit of art only uses the outer form of any parituclar period as a stepping-stone to furhter expression.
In short, the working of the inner need and development of art is an ever-advancing expression of the eternal and objective in the terms of the periodic and subjective.
Le Manoir Alexandra 