The interesting point here is that the other "dimensions" identified by the scientists working at this time could, at least in theory, be clearly defined. They were part of a recognizable structure that had logic and form. The "fourth dimension" that Apollinaire discusses in art is more complex:
Apollinaire relates this new dimension to Picasso's developing style of giving added dimensions to the normal two-dimensional representation of three dimensions through the technique of showing a single object, face or body from different angles on the same canvas. Thus the "all directions at any given moment" is expressed on the canvas by a face shown with one eye looking towards the viewer and another staring sideways. Here Apollinaire describes a technique that can be broken down into its constituent parts and thus defined through words.
Apollinaire also provides some aphoristic definitions of art and artists that often sound more impressive on a superficial level than they actually reveal. For example, one quoted often with other literature:
Here is a vital point, that illustrates that words can provide a profoundly revealing commentary on art. Art does not, as had been previously suggested, hold up a mirror to nature, but rather it creates something "sublime" out of the "monotony" that exists within nature alone. According to Apollinaire, Picasso is one of the pioneers of this artistic vision, through the intensity and specificity of his vision.
Picasso's vision of art in general, and of the artist in particular, went through as many metamorphoses within his lifetime as his actual painting did. In his famous comments to Simone Tery in 1945, Picasso stated:
Art is not made to decorate apartments, it is an
offensive and defensive instrument of war against
According to Picasso, at least at this point in his career, art is designed not for its aesthetic beauty or even its more banal decorative value, but rather as an object of violence. The idea of art as destructive rather than