Part 6 (1/2)
[Footnote 11: It will be found instructive to study cases 10-14 of enaton The tyro will have no difficulty in ”spotting” the German and Rheinish productions Alas! the only possible lish
Certainly the fa in the place, unless it be the even ne Reliquary (1170)]
[Footnote 12: Patriots can take pleasure in the study of Saxon sculpture]
[Footnote 13: Several schools of painting and drawing flourished during these centuries in Italy and north of the Alps In S Clemente alone it is easy to discover the work of two distinct periods between 600 and 900 The extant exa of Western Europe_: CLR Fletcher]
[Footnote 15: Throughout the whole priuishable--one vital, derived from Constantinople, the other, dead and swollen, from imperial Rome Up to the thirteenth century the Byzantine influence is easily predoht be couished and illustrated In Pisa and its neighbourhood the author will find a surfeit of Romanised primitives]
[Footnote 16: Pietro is, of course, nearer to Giotto]
[Footnote 17: Owing to the English invention of ”Perpendicular,” the least unsatisfactory style of Gothic architecture, the English find it hard to realise the full horrors of late Gothic]
[Footnote 18: In speaking of officialdoalleries and departht side; we should all be delighted to see Sir Charles Holroyd or Mr
Maclagan, for instances, let loose ast the pri of those larger luainst the acquisition of works of art, the men who have been put in authority over directors and the rest of us]
[Footnote 19: The Mabuse, however, was a bargain that the s could hardly be expected to resist The ticket price is said to have been 120,000]
[Footnote 20: It was Mr Roger Fry whodiscovery]
[Footnote 21: It is pleasant to remember that by the painters, critics, and rich ares were treated as bad jokes Ingres was accused of distortion, ugliness, and even of incompetence! His as called ”mad” and ”puerile” He was derided as a pseudo-prireat tradition by trying to put back the clock four hundred years The same authorities discovered in 1824 that Constable's _Hay Wain_ was the outco been thrown at a canvas _Nous avons change tout ca_]
[Footnote 22: As Mr Walter Sickert reminds me, there was Sickert]
IV
THE MOVEMENT
I THE DEBT TO CeZANNE
II SIMPLIFICATION AND DESIGN
III THE PATHETIC FALLACY
[Illustration: CeZANNE _Photo, Druet_]
I
THE DEBT TO CeZANNE
That with the maturity of Cezanne a new movement caed to survive the ”nineties”; that thisof a new slope is a possibility worth discussing, but about which no decided opinion can yet be held In so far as one e, Cezanne inspires the contemporary move to take a place in any scheures that doe and are not to be fitted into any of the neat little pigeon-holes so thoughtfully prepared for us by evolutionists He passed through the greater part of life unnoticed, and ca out of it undiscovered No one see It is easy now to see how much e to him, and how little he owed to anyone; for us it is easy to see what Gaugin and Van Gogh borrowed--in 1890, the year in which the latter died, it was not so They were sharp eyes, indeed, that discerned before the dawn of the new century that Cezanne had founded aBut I think it would be safe to say that already it has produced as ood art as its predecessor Cezanne, of course, created far greater things than any Ih, Matisse, Rousseau, Picasso, de Vlaminck, Derain, Herbin, Marchand, Marquet, Bonnard, Duncan Grant, Maillol, Lewis, Kandinsky, Brancuzi, von Anrep, Roger Fry, Friesz, Goncharova, L'Hote, are Rolands for the Olivers of any other artistic period[23] They are not all great artists, but they all are artists If the Ieneral pictorial output from about one in five hundred thousand to one in a hundred thousand, the Post-Iroup of vital artists who immediately follow the Iain To-day, I daresay, it stands as high as one in ten thousand Indeed, it is this that has led soe; for nothing is more characteristic of a ”primitive” enuine art Another hopeful strahich the sanguine catch is the admirable power of developnition of a movement as a movement is its death As soon as the pontiffs discovered Impressionism, some twenty years after its patent ainst any sort of development and drove into revolt or artistic suicide every student with an ounce of vitality in hirow stale, it was caught up by such men as Matisse and Picasso; by them it was moulded into forms that suited their different te fresh shape to express the sensibility of a younger generation[24]