[...] Revolutionary art should be revolutionary. That surely is a simple statement from which we can begin the discussion. We can at once dismiss the feeble interpretation of such a statement as an injunction to paint pictures of red flags, hammers and sickles, factories and machines, or revolutionary subjects in general [...] But such a feeble interpretation does actually persist among Communists, and was in fact responsible for the failure of the first exhibition organised by the Artists' International.
We can best approach the question from the angle of an abstract art like architecture. [...] Architecture is a necessary art, and it is intimately bound up with the social reconstruction which must take place under a Communist régime. How do we, as Englishmen, conceive a Communist architecture? As a reversion to Tudor rusticity, or Georgian stateliness, or the bourgeois pomp of the neo-classical style? Surely none of these styles can for a moment be considered in relation to the city of the future. Must we not rather confidently look forward to a development of the new architecture of which Walter Gropius is the foremost exponent; of that architecture which, in his own words, 'bodies itself forth, not in stylistic imitation or ornamental frippery, but in those simple and sharply modelled designs in which every part merges naturally into the comprehensive volume of the whole'. Only in this manner, by following the path clearly indicated by Gropius in his work and writings, can we find 'a concrete expression of the life of our epoch'. [...]
Corresponding to the new architecture, to a large extent arising from the same fertile ground of the Bauhaus experiment founded and directed by Gropius, is the art generally known as 'abstract'. The name is admittedly a makeshift, and between an abstract artist like Mondrian or Ben Nicholson at one end of the scale, and an equally so-called 'abstract' artist like Miró or Henry Moore, there is only a remote connection. But for the moment these differences do not matter. Such names represent the modern school in painting and sculpture in its widest and most typical aspect, and these artists, I wish to claim, are the true revolutionary artists, whom every Communist should learn to respect and encourage.
Such an opinion will be met by a formidable opposition, precisely among Communists who are interested in art. Communist artists from Germany will tell you that they have 'been through all that'; that abstract art is dead, and that in any case it is incomprehensible to the proletariat and of no use to the revolutionary movement. Like the simple bourgeois of another generation, they ask for something they can understand, a 'realistic' art above all, something they can use as propaganda.
Actually, I believe that such artists are confessing their failure — as artists. The abstract movement in art is not dead, and not likely to be for many years to come. That it will gradually be transformed not only the dialectical conception of history,____________________