According to Michael Tucker, the breakdown of consciousness in modern art, a breakdown that carries the modern artist backwards to an all-embracing participation with the world, leads to a return to archaic qualities of participation mystique that involves constructive, creative elements of a new vision of reality. This may be observed in Pablo Picasso, who wanted with the help of primitive vision to cleanse painting of the stale and paralyzing conventions that he viewed as a sham compared to the profound truth of art. For the Spaniard, painting at its origins was capable of an expressive force so powerful that even the great classic masters were unable to match it, much less strengthen it. The new art he defended was an art of creation, not imitation. It should follow its own generative principles. I examine the three major periods of Cubism (Cézannian, analytic and synthetic) from this perspective as a process of creativity in which Picasso struggled to find the true real and in the process opened up the possibility for new creations including his own persona.

中文翻译：

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毕加索立体主义中的艺术对象的体现

根据迈克尔·塔克（Michael Tucker）的说法，现代艺术中的意识崩溃，这种崩溃将现代艺术家带回了对世界的无所不包的参与，导致回归到参与神秘的古老品质，其中涉及新的建设性、创造性元素现实的愿景。这可以在巴勃罗毕加索身上观察到，他希望借助原始视觉来清除陈旧和麻木的惯例，与艺术的深刻真理相比，他认为这些惯例是虚假的。对西班牙人来说，绘画在其起源的表现力是如此强大，即使是伟大的经典大师也无法与之匹敌，更不用说加强它了。他所捍卫的新艺术是一种创造的艺术，而不是模仿的艺术。它应该遵循自己的生成原则。