plastic tradition by that puerile gospel of literary pretentiousness called Pre-Raphaelism. Towards these mournful quags and quicksands, with their dead-sea flora of anecdote and allegory, the best part of the little talent we produce seems irresistibly to be drawn: by these at last it is sucked down. That, at any rate, is the way that most of those English artists who ten or a dozen years ago gave such good promise have gone. Let us hope better of the new generation—recent exhibitions afford some excuse—a generation which, if reactionarily inclined, can always take Steer for a model, or, if disposed to keep abreast of the times and share in the heritage of Cézanne as well as that of Constable, can draw courage from the fact that there is, after all, one English painter—Duncan Grant—who takes honourable rank beside the best of his contemporaries.
Footnote C: (return) The Irish painter O'Conor, and the Canadian Morrice, are both known and respected in Paris; but because they have lived their lives there and known none but French influences they are rarely thought of as British. In a less degree the same might be said of that admirable painter George Barne.
It is fifteen years since Cézanne died, and only now is it becoming possible to criticize him. That shows how overwhelming his influence was. The fact that at last his admirers and disciples, no longer under any spell or distorting sense of loyalty, recognize that there are in painting plenty of things worth doing which he never did is all to the good. It is now possible to criticize him seriously; and when all his insufficiencies have been fairly shown he remains one of the very greatest painters that ever lived. The serious criticism of Cézanne is a landmark in the history of the movement, and still something of a novelty; for, naturally, I reckon the vulgar vituperation with which his work was greeted, and the faint praise with which it was subsequently damned, as no criticism at all. The hacks and pedagogues and middle-class metaphysicians who abused him, and only when it dawned on them that they were making themselves silly, in the eyes of their own flock even, took to patronizing, are forgot. They babble in the Burlington Fine Arts Club—where nobody marks them—and have their reward in professorships and the direction of public galleries. The criticism that matters, of which we are beginning to hear something, comes mostly from painters, his ardent admirers, who realize that Cézanne attempted things which he failed to achieve and deliberately shunned others worth achieving. Also, they realize that there is always a danger of one good custom corrupting the world.
Cézanne is the full-stop between impressionism and the contemporary movement. Of course there is really no such thing as a full-stop in art any more than there is in nature. Movement grows out of movement, and every artist is attached to the past by a thousand binders springing from a thousand places in the great stem of tradition. But it is true that there is hardly one modern artist of importance to whom Cézanne is not father or grandfather, and that no other influence is comparable with his. To be sure there is Seurat, of whom we shall hear more in the next ten years. Although he died as long ago as 1891 his importance has not yet been fully realized, his discoveries have not been fully exploited, not yet has his extraordinary genius received adequate recognition. Seurat may be the Giorgione of the movement. Working in isolation and dying young, he is known to us only by a few pictures which reveal unmistakeable and mysterious genius; but I should not be surprised if from the next generation he were to receive honours equal almost to those paid Cézanne.
The brave douanier was hardly master enough to have great and enduring influence; nevertheless, the sincerity of his vision and directness of his method reinforced and even added to one part of the lesson taught by Cézanne: also, it was he who—by his pictures, not by doctrine of course—sent the pick of the young generation to look at the primitives. Such as it was, his influence was a genuinely plastic one, which is more, I think, than can be said for that of Gauguin or of Van Gogh. The former seemed wildly exciting for a moment, partly because he flattened out his forms, designed in two dimensions, and painted without chiaroscuro in pure colours, but even more because he had very much the air of a rebel. "Il nous faut les barbares," said André Gide; "il nous faut les barbares," said we all. Well, here was someone who had gone to live with them, and sent home thrilling, and often very beautiful, pictures which could, if one chose, be taken as challenges to European civilization. To a considerable extent the influence of Gauguin was literary, and therefore in the long run negligible. It is a mistake on that account to suppose—as many seem inclined to do—that Gauguin was not a fine painter.
Van Gogh was a fine painter, too; but his influence, like that of Gauguin, has proved nugatory—a fact which detracts nothing from the merit of his work. He was fitted by his admirers into current social and political tendencies, and coupled with Charles-Louis Philippe as an apostle of sentimental anarchy. Sentimental portraits of washerwomen and artisans were compared with Marie Donadieu and Bubu de Montparnasse; and by indiscreet enthusiasm the artist was degraded to the level of a preacher. Nor was this degradation inexcusable: Van Gogh was a preacher, and too often his delicious and sensitive works of art are smeared over, to their detriment, with tendencious propaganda. At his best, however, he is a very great impressionist—a neo-impressionist, or expressionist if you like—but I should say an impressionist much influenced and much to the good, as was Gauguin, by acquaintance with Cézanne in his last and most instructive phase. Indeed, it is clear that Gauguin and Van Gogh would not have come near achieving what they did achieve—achieved, mind you, as genuine painters—had they not been amongst the first to realize and make use of that bewildering revelation which is the art of Cézanne.
Of that art I am not here to speak; I am concerned only with its influence. Taking the thing at its roughest and simplest, one may say that the influence of Cézanne during the last seventeen years has manifested itself most obviously in two characteristics—Directness and what is called Distortion. Cézanne was direct because he set himself a task which admitted of no adscititious flourishes—the creation of form which should be entirely self-supporting and intrinsically significant, la possession de la forme as his descendants call it now. To this great end all means were good: all that was not a means to this end was superfluous. To achieve it he was prepared to play the oddest tricks with natural forms—to distort. All great artists have distorted; Cézanne was peculiar only in doing so more consciously and thoroughly than most. What is important in his art is, of course, the beauty of his conceptions and his power in pursuit: indifference to verisimilitude is but the outward and visible sign of this inward and spiritual grace. For some, however, though not for most of his followers his distortion had an importance of its own.
To the young painters of 1904, or thereabouts, Cézanne came as the liberator: he it was who had freed painting from a mass of conventions which, useful once, had grown old and stiff and were now no more than so many impediments to expression. To most of them his chief importance—as an influence, of course—was that he had removed all unnecessary barriers between what they felt and its realization in form. It was his directness that was thrilling. But to an important minority the distortions and simplifications—the reduction of natural forms to spheres, cylinders, cones, etc.—which Cézanne had used as means were held to be in themselves of consequence because capable of fruitful development. From them it was found possible to deduce a theory of art—a complete æsthetic even. Put on a fresh track by Cézanne's practice, a group of gifted and thoughtful painters began to speculate on the nature of form and its appeal to the æsthetic sense, and not to speculate only, but to materialize their speculations. The greatest of them, Picasso, invented Cubism. If I call these artists who forged themselves a theory of form and used it as a means of expression Doctrinaires it is because to me that name bears no disparaging implication and seems to indicate well enough what I take to be their one common characteristic: if I call those who, without giving outward sign (they may well have had their private speculations and systems) of an abstract theory, appeared to use distortion when, where, and as their immediate sensibility dictated, Fauves, that is because the word has passed into three languages, is admirably colourless—for all its signifying a colour—and implies the existence of a group without specifying a peculiarity. Into Doctrinaires—Theorists if you like the word better—and Fauves the first generation of Cézanne's descendants could, I feel sure, be divided; whether such a division would serve any useful
