This human tendency to distinguish two suns owes its particular importance in this case to the fact that the psychological movements described are not ones that have been diverted, nor their urges attenuated, by secondary elements. But this also indicates that it would be ridiculous a priori to try to determine the precise equivalents of such movements in an activity as complex as painting. It is nevertheless possible to say that academic painting more or less corresponded to an elevation—without excess—of the spirit. In contemporary painting, however, the search for that which most ruptures the highest elevation, and for a blinding brilliance, has a share in the elaboration or decomposition of forms, though strictly speaking this is only noticeable in the paintings of Picasso.
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