first phase theory has been much to the fore. But it has been theory, you must remember, working on a generation of direct and intensely personal artists. In so curious an alliance you will expect to find as much stress as harmony; also, you must remember, its headquarters were at Paris where flourishes the strongest and most vital tradition of painting extant. In this great tradition some of the more personal artists, struggling against the intolerable exactions of doctrine, have found powerful support; indeed, only with its aid have they succeeded at last in securing their positions as masters who, though not disdaining to pay homage for what they hold from the new theories, are as independent as feudal princes. But the more I consider the period the more this strange and restless alliance of doctrine with temperament appears to be of its essence; wherefore, I shall not hesitate to make of it a light wherewith to take a hasty look about me. Here are two labels ready to hand—"temperamental" and "doctrinaire." I am under no illusion as to the inadequacy and fallibility of both; neither shall I imagine that, once applied, they are bound to stick. On the contrary, you will see, in a later chapter, how, having dubbed Matisse "temperamental" and Picasso "theorist," I come, on examination, to find in the art of Matisse so much science and in that of Picasso such extraordinary sensibility that in the end I am much inclined to pull off the labels and change them about. But though, for purposes of criticism coarse and sometimes treacherous, this pair of opposites—which are really quite compatible—may prove two useful hacks. As such I accept them; and by them borne along I now propose to make a short tour of inspection, one object of which will be to indicate broadly the lie of the land, another to call attention to a number of interesting artists whose names happen not to have come my way in any other part of this book.
I said, and I suppose no one will deny it, that Paris was the centre of the movement: from Paris, therefore, I set out. There the movement originated, there it thrives and develops, and there it can best be seen and understood. Ever since the end of the seventeenth century France has taken the lead in the visual arts, and ever since the early part of the nineteenth Paris has been the artistic capital of Europe. Thither painters of all foreign nations have looked; there many have worked, and many more have made a point of showing their works. Anyone, therefore, who makes a habit of visiting Paris, seeing the big exhibitions, and frequenting dealers and studios, can get a pretty complete idea of what is going on in Europe. There he will find Picasso—the animatorA of the movement—and some of the best of his compatriots, Juan Gris and Marie Blanchard for instance, to say nothing of such fashionable figures as MM. Zuloaga et Sert. There he will find better Dutchmen than Van Dongen, and an active colony of Scandinavians the most interesting of whom is probably Per Krohg. The career of Krohg, by the way, is worth considering for a moment and watching for the future. Finely gifted in many ways, he started work under three crippling disabilities—a literary imagination, natural facility, and inherited science. The results were at first precisely what might have been expected. Now, however, he is getting the upper hand of his unlucky equipment; and his genuine talent and personal taste, beginning to assert themselves, have made it impossible for criticism any longer to treat him merely as an amiable member of a respectable group. What is true of Spain and Scandinavia is even truer of Poland and what remains of Russia. Goncharova and Larionoff—the former a typically temperamental artist, the latter an extravagantly doctrinaire one—Soudeikine, Grigorieff, Zadkine live permanently in Paris; while Kisling, whom I take to be the best of the Poles, has become so completely identified with the country in which he lives, and for which he fought, that he is often taken by English critics for a Frenchman. Survage (with his eccentric but sure sense of colour), Soutine (with his delicious paint), and Marcoussis (a cubist of great merit) each, in his own way, working in Paris, adds to the artistic reputation of his native country. In the rue La Boëtie you can see the work of painters and sculptors from every country in Europe almost, and from a good many in Africa. The Italian Futurists have often made exhibitions there. While the work of Severini—their most creditable representative—is always to be found chez Léonce Rosenberg, hard by in the rue de la Baume.
Footnote A: (return) For this word, which I think very happily suggests Picasso's role in contemporary painting, I am indebted to my friend M. André Salmon.
However, most of the Futurists have retired to their own country, where we will leave them. On the other hand, the most gifted Italian painter who has appeared this century, Modigliani, was bred on the Boulevard Montparnasse. In the movement he occupies an intermediate position, being neither of the pioneers nor yet of the post-war generation. He was not much heard of before the war,B and he died less than a year after peace was signed. In my mind, therefore, his name is associated with the war—then, at any rate, was the hour of his glory; he dominated the cosmopolitan groups of his quarter at a time when most of the French painters, masters and disciples, were in the trenches. Modigliani owed something to Cézanne and a great deal to Picasso: he was no doctrinaire: towards the end he became the slave of a formula of his own devising—but that is another matter. Modigliani had an intense but narrow sensibility, his music is all on one string: he had a characteristically Italian gift for drawing beautifully with ease: and I think he had not much else. I feel sure that those who would place him amongst the masters of the movement—Matisse, Picasso, Derain, Bonnard, and Friesz—mistake; for, with all his charm and originality, he was too thoughtless and superficial to achieve greatly. He invented something which he went on repeating; and he could always fascinate simply by his way of handling a brush or a pencil. His pictures, delightful and surprising at first sight, are apt to grow stale and, in the end, some of them, unbearably thin. A minor artist, surely.
Footnote B: (return) He was at work, however, by 1906—perhaps earlier.
Though Paris is unquestionably the centre of the movement, no one who sees only what comes thither and to London—and that is all I see—can have much idea of what is going on in Germany and America. Germany has not yet recommenced sending her art in quantities that make judgement possible, while it is pretty clear that the American art which reaches Europe is by no means the best that America can do. From both come magazines with photographs which excite our curiosity, but on such evidence it would be mere impertinence to form an opinion. Of contemporary art in Germany and America I shall say nothing. And what shall I say of the home-grown article? Having taken Paris for my point of view, I am excused from saying much. Not much of English art is seen from Paris. We have but one living painter whose work is at all well known to the serious amateurs of that city, and he is Sickert.C The name, however, of Augustus John is often pronounced, ill—for they will call him Augustin—and that of Steer is occasionally murmured. Through the salon d'automne Roger Fry is becoming known; and there is a good deal of curiosity about the work of Duncan Grant, and some about that of Mark Gertler and Vanessa Bell. Now, of these, Sickert and Steer are essentially, and in no bad sense, provincial masters. They are belated impressionists of considerable merit working in a thoroughly fresh and personal way on the problems of a bygone age. In the remoter parts of Europe as late as the beginning of the seventeenth century were to be found genuine and interesting artists working in the Gothic tradition: the existence of Sickert and Steer made us realize how far from the centre is London still. On the Continent such conservatism would almost certainly be the outcome of stupidity or prejudice; but both Sickert and Steer have still something of their own to say about the world seen through an impressionist temperament. The prodigious reputation enjoyed by Augustus John is another sign of our isolation. His splendid talent when, as a young man, he took it near enough the central warmth to make it expand (besides the influence of Puvis, remember, it underwent that of Picasso) began to bear flowers of delicious promise. Had he kept it there John might never have tasted the sweets of insular renown: he would have had his place in the history of painting, however. The French know enough of Vorticism to know that it is a provincial and utterly insignificant contrivance which has borrowed what it could from Cubism and Futurism and added nothing to either. They like to fancy that the English tradition is that of Gainsborough
