ABSTRACT
The first thing to be noted is the close collaboration between artist and public. The artist does not seek violently to break his relations with the public or to destroy its visual and mental habits in order to substitute his own personal conceptions; he has no wish to be original at all costs, despising everything that is not his own work. The modern artist, considering himself to be a superior being, takes pride in this rupture with the public which he even maintains as necessary. Only too often there exists between the two a complete absence of spiritual and visual comprehension, of which contemporary exhibitions furnish abundant instances. There was nothing of this kind in Greece: the artist could not, nor did he desire to abandon the language of art common to all, which all might read, in order to substitute for it an unknown idiom.
