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None,” Einstein said. “Relativity is a purely scientific matter and has nothing to do with religion.”51 That was no doubt true. However, there was a more complex relationship between Einstein’s theories and the whole witch’s brew of ideas and emotions in the early twentieth century that bubbled up from the highly charged cauldron of modernism. In his novel Balthazar, Lawrence Durrell had his character declare, “The Relativity proposition was directly responsible for abstract painting, atonal music, and formless literature.” The relativity proposition, of course, was not directly responsible for any of this. Instead, its relationship with modernism was more mysteriously interactive. There are historical moments when an alignment of forces causes a shift in human outlook. It happened to art and philosophy and science at the beginning of the Renaissance, and again at the beginning of the Enlightenment. Now, in the early twentieth century, modernism was born by the breaking of the old strictures and verities. A spontaneous combustion occurred that included the works of Einstein, Picasso, Matisse, Stravinsky, Schoenberg, Joyce, Eliot, Proust, Diaghilev, Freud, Wittgenstein, and dozens of other path-breakers who seemed to break the bonds of classical thinking.52 In his book Einstein, Picasso: Space, Time, and the Beauty That Causes Havoc, the historian of science and philosophy Arthur I. Miller explored the common wellsprings that produced, for example, the 1905 special theory of relativity and Picasso’s 1907 modernist masterpiece Les Demoiselles d’Avignon.
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