1922–23, as a book in 1924, and reproduced in Léonce Rosenberg's Bulletin de l'Effort moderne, no. 13, March 1925, no. 14, April 1925. One of Gleizes's primary objectives was to answer the questions: How will the planar surface be animated, and by what logical method, independent of the artists fantaisie, can it be attained? The approach: Gleizes bases these laws both on truisms inherent throughout the history of art, and especially on his own experience since 1912, such as: The primary goal of art has never been exterior imitation (p. 31); Artworks come from emotion... the product of individual sensibility and taste (p. 42); The artist is always in a state of emotion, sentimental exaltation [ivresse] (p. 43); The painting in which the idea of abstract creation is realized is no longer an anecdote, but a concrete fact (p. 56); Creating a painted artwork is not the emission of an opinion (p. 59); The plastic dynamism will be born out of rhythmic relations between objects... establishing novel plastic liaisons between purely objective elements that compose the painting (p. 22). Continuing, Gleizes states that the 'reality' of a painting is not that of a mirror, but of the object... issue of imminent logic (p. 62). 'The subject-pretext tending toward numeration, inscribed following the nature of the plane, attains a tangent intersections between known images of the natural world and unknown images that reside within intuition' (p. 63). Defining the laws: Rhythm and space are for Gleizes the two vital conditions. Rhythm is a consequence of the continuity of certain phenomena, variable or invariable, following from mathematical relations. Space is a conception of the human psyche that follows from quantitative comparisons (pp. 35, 38, 51). This mechanism is the foundation for artistic expression. It is therefore both a philosophical and scientific synthesis. For Gleizes, Cubism was a means to arrive not only at a new mode of expression but above all a new way of thinking. This was, according to art historian , the foundation of both a new species of painting and an alternative relationship with the world; hence another principle of civilization. The problem set out by Gleizes was to replace anecdote as a starting point for the work of art, by the sole means of using the elements of the painting itself: line, form and color. Beginning with a central rectangle, taken as an example of elementary form, Gleizes