Since Cezanne Part 4

Whenever these artists may have flourished it seems they flourish no more. The production of idols and fetiches continues, but the production of fine art is apparently at an end. The tradition is moribund, a misfortune one is tempted to attribute, along with most that have lately afflicted that unhappy continent, to the whites. To do so, however, would not be altogether just. Such evidence as we possess--and pretty slight it is--goes to show that even in the uninvaded parts of West Central Africa the arts are decadent: wherever the modern white man has been busy they are, of course, extinct. According to experts Negro art already in the eighteenth century was falling into a decline from some obscure, internal cause. Be that as it may, it was doomed in any case.

Before the bagman with his Brummagem goods an art of this sort was bound to go the way that in Europe our applied arts, the art of the potter, the weaver, the builder and the joiner, the arts that in some sort resembled it, have gone. No purely instinctive art can stand against the machine. And thus it comes about that, at the present moment, we have in Europe the extraordinary spectacle of a grand efflorescence of the highly self-conscious, self-critical, intellectual, individualistic art of painting amongst the ruins of the instinctive, uncritical, communal, and easily impressed arts of utility. Industrialism, which, with its vulgar finish and superabundant ornament, has destroyed not only popular art but popular taste, has merely isolated the self-conscious artist and the critical appreciator; and the nineteenth century (from Stephenson to Mr. Ford), which ruined the crafts, in painting (from Ingres to Pica.s.so) rivals the fifteenth.

Meanwhile, the scholarly activities of dealers and journalists notwithstanding, there is no such thing as n.i.g.g.e.r archaeology; for which let us be thankful. Here, at any rate, are no great names to scare us into dishonest admiration. Here is no question of dates and schools to give the lecturer his chance of spoiling our pleasure. Here is nothing to distract our attention from the one thing that matters--aesthetic significance. Here is n.i.g.g.e.r sculpture: you may like it or dislike it, but at any rate you have no inducement to judge it on anything but its merits.

ORDER AND AUTHORITY

I

M. Andre Lhote is not only a first-rate painter, he is a capable writer as well; so when, some weeks ago, he began to tell us what was wrong with modern art, and how to put it right, naturally we p.r.i.c.ked up our ears. We were not disappointed. M. Lhote had several good things to say, and he said them clearly; the thing, however, which he said most emphatically of all was that he, Andre Lhote, besides being a painter and a writer, is a Frenchman. He has a natural taste for order and a superst.i.tious belief in authority. That is why he recommends to the reverent study of the young of all nations, David--David the Schoolmaster! _Merci_, we have our own Professor Tonks.

Not that I would compare David, who was a first-rate pract.i.tioner and something of an artist, with the great Agrippa of the Slade. But from David even we have little or nothing to learn. For one thing, art cannot be taught; for another, if it could be, a dry doctrinaire is not the man to teach it. Very justly M. Lhote compares the Bouchers and Fragonards of the eighteenth century with the Impressionists: alike they were charming, a little drunk and disorderly. But when he a.s.serts that it was David who rescued painting from their agreeable frivolity he must be prepared for contradiction: some people will have it that it was rather the pupil Ingres. David, they will say, was little better than a politic pedagogue, who, observing that with the Revolution cla.s.sical virtues and cla.s.sical costumes had come into fashion, that Brutus, the tyrannicide, and Aristides, called "the just," were the heroes of the hour, suited his manners to his company and gave the public an art worthy of highly self-conscious liberals. The timely discoveries made at Herculaneum and Pompeii, they will argue, stood him in good stead. From these he learnt just how citizens and citizen-soldiers should be drawn; and he drew them: with the result that the next generation of Frenchmen were sighing:

Qui nous delivrera des Grecs et des Romains?

Whoever may have rescued European painting from the charming disorder of the age of reason, there can be no question as to who saved it from the riot of impressionism. That was the doing of the Post-Impressionists headed by Cezanne. Forms and colours must be so organized as to compose coherent and self-supporting wholes; that is the central conviction which has inspired the art of the last twenty years. Order: that has been the watchword; but order imposed from within. And order so imposed, order imposed by the artist's inmost sense of what a work of art should be, is something altogether different from the order obtained by submission to a theory of painting. One springs from a personal conviction; the other is enjoined by authority. Modern artists tend to feel strongly the necessity for the former, and, if they be Frenchmen, to believe intellectually in the propriety of the latter.

Look at a picture by Cezanne or by Pica.s.so. What could be more orderly?

Cubism is nothing but the extreme manifestation of this pa.s.sion for order, for the complete organization of forms and colours. The artist has subordinated his predilections and prejudices, his peculiar way of seeing and feeling, his whims, his fancies and his eccentricities, to a dominant sense of design. Yet the picture is personal. In the first place a picture must be an organic whole, but that whole may be made up of anything that happens to possess the artist's mind. Now, look at a picture by Baudry or Poynter and you will see the last word in painting by precept. The virtuous apprentice has stuck to the rules. He has done all that his teacher bade him do. And he has done nothing else. David ought to be pleased. Pray, M. Lhote, give him top marks.

Post-Impressionism, which reaffirmed the artist's latent sense of order and reawoke a pa.s.sion to create objects complete in themselves, left the painter in full possession of his individuality. Now individualism is the breath of every artist's life, and a thing of which no Frenchman, in his heart, can quite approve. So, if an artist happens also to be a Frenchman--and the combination is admirably common--what is he to do?

Why, look one way and row the other; which is what M. Lhote does. He paints delightfully personal and impenitent pictures, and preaches artistic Caesarism and David, "the saviour of society." All the week he is a French artist, traditional as all real artists must be, but never denying, when it comes to practice, that tradition is merely an indispensable means to self-expression; and on Sundays, I dare say, he goes, like Cezanne, to lean on M. le Cure, who leans on Rome, while his _concierge_ receives the pure gospel of Syndicalism, which, also, is based on absolute truths, immutable, and above criticism.

It is notorious that you may with impunity call a placable Frenchman "butor," "scelerat," "coquin fieffe," "sale chameau," "depute" even, or "senateur"; but two things you may not do: you may not call him "espece d'individu," and you may not say "vous n'etes pas logique." It is as unpardonable to call a Frenchman "illogique" as to shout after the Venetian who has almost capsized your gondola "mal educato" M. Lhote is "logique" all right: but "logical" in France has a peculiar meaning. It means that you accept the consequences of your generalizations without bothering about any little discrepancies that may occur between those consequences and the facts ascertained by experience; it does not mean that your high _a priori_ generalizations are themselves to be tested by the nasty, searching instrument of reason. Thus it comes about that the second master to whom M. Lhote would put this wild and wilful age of ours to school is that mysterious trinity of painters which goes by the name of "Le Nain."

I can quite understand M. Lhote's liking for the brothers Le Nain, because I share it. Their simple, honest vision and frank statement are peculiarly sympathetic to the generation that swears by Cezanne. Here are men of good faith who feel things directly, and say not a word more than they feel. With a little ingenuity and disingenuousness one might make a _douanier_ of them. They are scrupulous, sincere, and born painters. But they are not orderly. They are not organizers of form and colour. No: they are not. On the contrary, these good fellows had the most elementary notions of composition. They seem hardly to have guessed that what one sees is but a transitory and incoherent fragment out of which it is the business of art to draw permanence and unity. They set down what they saw, and it is a bit of good luck if what they saw turns out to have somewhat the air of a whole. Yet M. Lhote, preaching his crusade against disorder, picks out the Le Nain and sets them up as an example. What is the meaning of this?

M. Lhote himself supplies the answer. It is not order so much as authority that he is after; and authority is good wherever found and by whomsoever exercised. "Look," says he, "at Le Nain's peasants. The painter represents them to us in the most ordinary att.i.tude. It is the poetry of everyday duties accepted without revolt. Le Nain's personages are engaged in being independent as little as possible." No Bolshevism here: and what a lesson for us all! Let painters submit themselves lowly and reverently to David, and seventeenth-century peasants to their feudal superiors. Not that I have the least reason for supposing M.

Lhote to be in politics an aristocrat: probably he is a better democrat than I am. It is the [Greek: _kratos_], the rule, he cares for. Do as you are told by Louis XIV, or Lenin, or David: only be sure that it is as you are told. M. Lhote, of course, does nothing of the sort. He respects the tradition, he takes tips from Watteau or Ingres or Cezanne, but orders he takes from no man. He is an artist, you see.

In many ways this respect for authority has served French art well.

It is the source of that traditionalism, that tradition of high seriousness, craftsmanship, and good taste, which, even in the darkest days of early Victorianism, saved French painting from falling into the pit of stale vulgarity out of which English has hardly yet crawled.

French revolutions in painting are fruitful, English barren--let the Pre-Raphaelite movement be my witness. The harvest sown by Turner and Constable was garnered abroad. Revolutions depart from tradition. Yes, but they depart as a tree departs from the earth. They grow out of it; and in England there is no soil. On the other hand, it is French conventionality--for that is what this taste for discipline comes to--which holds down French painting, as a whole, below Italian. There are journeys a Frenchman dare not take because, before he reached their end, he would be confronted by one of those bogeys before which the stoutest French heart quails--"C'est inadmissible," "C'est convenu," "La patrie en danger." One day he may be called upon to break bounds, to renounce the national tradition, deny the preeminence of his country, question the sufficiency of Poussin and the perfection of Racine, or conceive it possible that some person or thing should be more n.o.ble, reverend, and touching than his mother. On that day the Frenchman will turn back. "C'est inadmissible."

France, the greatest country on earth, is singularly poor in the greatest characters--great ones she has galore. Her standard of civilization, of intellectual and spiritual activity, is higher than that of any other nation; yet an absence of vast, outstanding figures is one of the most obvious facts in her history. Her literature is to English what her painting is to Italian. Her genius is enterprising without being particularly bold or original, and though it has brought so much to perfection it has discovered comparatively little. a.s.suredly France is the intellectual capital of the world, since, compared with hers, all other post-Renaissance civilizations have an air distinctly provincial. Yet, face to face with the rest of the world, France is provincial herself. Here is a puzzle: a solution of which, if it is to be attempted at all, must be attempted in another chapter.

II

For the last sixty years and more one of the rare pleasures of political philosophers has been to expatiate on "le droit administratif," on the extraordinary powers enjoyed by Government in France, whatever that government may be; and another pleasure, which few have denied themselves, is that of drawing the not very obscure inference that France is democratic rather than liberal, and that the French genius has no patience with extreme individualism. If its effects were confined wholly to politics, to criticize this national characteristic would be no part of my business; but as it has profoundly influenced French art as well as French life and thought, the reader, I trust, will not be unbearably vexed by an essay which has little immediately to do with the subject on which I am paid to write. "What is the cause of French conventionality?" "What are its consequences?" These are questions to which the student of French art cannot well be indifferent; and these are the questions that I shall attempt to answer.

The cause, I suspect, is to be found in the defect of a virtue. If it takes two to make a quarrel it takes as many to make a bargain; and if even the best Frenchmen are willing to make terms with society, that must be because society has something to offer them worth accepting. All conventions are limitations on thought, feeling, and action; and, as such, are the enemies of originality and character--hateful, therefore, to men richly endowed with either. French conventions, however, have a specious air of liberality, and France offers to him who will be bound by them partnership in the most perfect of modern civilizations--a civilization, be it noted, of which her conventions are themselves an expression. The bribe is tempting. Also, the pill itself is pleasantly coated. Feel thus, think thus, act thus, says the French tradition, not for moral, still less for utilitarian, reasons, but for aesthetic. Stick to the rules, not because they are right or profitable, but because they are seemly--nay, beautiful. We are not telling you to be respectable, we are inviting you not to be a lout. We are offering you, free of charge, a trade mark that carries credit all the world over. "How French he (or she) is!" Many a foreigner would pay handsomely to have as much said of him.

Any English boy born with fine sensibility, a peculiar feeling for art, or an absolutely first-rate intelligence finds himself, from the outset, at loggerheads with the world in which he is to live. For him there can be no question of accepting those conventions which express what is meanest in an unsympathetic society. To begin with, he will not go to church or chapel on Sundays: it might be different were it a question of going to Ma.s.s. The hearty conventions of family life which make impossible almost relations at all intimate or subtle arouse in him nothing but a longing for escape. He will be reared, probably, in an atmosphere where all thought that leads to no practical end is despised, or gets, at most, a perfunctory compliment when some great man who in the teeth of opposition has won to a European reputation is duly rewarded with a t.i.tle or an obituary column in _The Times_. As for artists, they, unless they happen to have achieved commercial success or canonization in some public gallery, are pretty sure to be family jokes.

Thus, all his finer feelings will be constantly outraged; and he will live, a truculent, shame-faced misfit, with _John Bull_ under his nose and _Punch_ round the corner, till, at some public school, a course of compulsory games and the Arnold tradition either breaks his spirit or makes him a rebel for life.

In violent opposition to most of what surrounds him, any greatly gifted, and tough, English youth is likely to become more and more aware of himself and his own isolation. While his French compeer is having rough corners gently obliterated by contact with a well-oiled whetstone, and is growing daily more conscious of solidarity with his partners in a peculiar and gracious civilization, the English lad grows steadily more individualistic. Daily he becomes more eccentric, more adventurous, and more of a "character." Very easily will he snap all conventional cables and, learning to rely entirely on himself, trust only to his own sense of what is good and true and beautiful. This personal sense is all that he has to follow; and in following it he will meet with no conventional obstacle that he need hesitate for one moment to demolish. English civilization is so smug and hypocritical, so grossly philistine, and at bottom so brutal, that every first-rate Englishman necessarily becomes an outlaw. He grows by kicking; and his personality flourishes, unhampered by sympathetic, clinging conventions, nor much--and this is important, too--by the inquisitorial tyranny of Government. For, at any rate until the beginning of the war, an Englishman who dared to defy the conventions had less than a Frenchman to fear from the laws.

I have already suggested that the consequences of this difference between French and English civilization may be studied in the history of their literature and thought. For the abject poverty of English visual art I have attempted to give reasons elsewhere: here I have not s.p.a.ce to say more than that it is rarely good for an artist to be a protestant, and that a protestant is just what the English att.i.tude to painting generally forces a genuine artist to be. But consider the literature of the French Renaissance: Rabelais is the one vast figure. Ronsard and his friends are charming, elegant, and erudite; but not of the stupendous.

What is even more to the point, already with the _pleiade_ we have a school--a school with its laws and conventions, its "thus far and no further." Nothing is more notorious than the gorgeous individualism and personality of those flamboyant monsters whom we call the Elizabethans, unless it be the absence of that quality in the great French writers of the next age. Had Pascal been as bold as Newton he might have been as big. No one will deny that Descartes was a finer intelligence than Hobbes, or that his meticulous respect for French susceptibilities gave an altogether improbable turn to his speculations. In the eighteenth century it was the English who did the discovering and the French who, on these discoveries being declared _admissibles_, brought them to perfection. Even in the nineteenth, the Revolution notwithstanding, French genius, except in painting, a.s.serted itself less vividly and variously than the Russian or English, and less emphatically than the German.

In recording the consequences of this French taste for authority we have had to register profit and loss. It is true that the picture presented by French history offers comparatively few colossal achievements or stupendous characters. With the latter, indeed, it is particularly ill-supplied. Whereas most of the great and many of the secondary English writers, thinkers, and artists have been great "characters," the slightly monotonous good sense and refinement of French literary and artistic life is broken only by a few such ma.s.sive or surprising figures as those of Rabelais, La Fontaine, Poussin, Rousseau, Flaubert, Cezanne--a formidable list but a short one, to which, however, a few names could be added. On the other hand, what France has lost in colour she has gained in fertility; and in a universal Honours List for intellectual and artistic prowess the number of French names would be out of all proportion to the size and wealth of the country.

Furthermore, it is this traditional basis that has kept French culture up to a certain level of excellence. France has never been without standards. Therefore it has been to France that the rest of Europe has always looked for some measure of fine thinking, delicate feeling, and general amenity. Without her conventionality it may be doubted whether France could have remained so long the centre of civilization.

One commonly deplored consequence of French conventionality is that it makes Frenchmen incapable of well understanding or appreciating anything foreign, or of judging acutely between foreigners and themselves. But is even this a serious misfortune? French critics can discriminate between French productions with unsurpa.s.sable delicacy and precision. As for the spring of French inspiration, it is so copious that the creative genius of that favoured race seems to need nothing more from outside than an occasional new point of departure, to the grasping of which its imperfect knowledge and unprehensile taste are adequate. Indeed, the rare endeavours of Frenchmen seriously to cultivate alien methods and points of view more often than not end in disaster. Shortly before the war a school of particularly intelligent and open-minded writers discovered, what we in England are only too familiar with, the aesthetic possibilities of charity and the beauty of being good. Dostoevsky began it. First, they ran after _him_; then, setting themselves, as well as they could, to study Wordsworth and Walt Whitman, in translations, they soon plunged miserably into a mora.s.s of sentimentality. A gifted novelist and a charming poet, Charles-Louis Philippe and Vildrac, were amongst the first to fall in. A Wordsworth can moralize, a Sterne can pipe his eye, with impunity; but late eighteenth and early twentieth-century literature prove how dangerous it is for a French author to trespa.s.s in pursuit of motives beyond the limits of his tradition.

The reason why Frenchmen are incompetent to judge or appreciate what is not French is that they apply to all things the French measure. They have no universal standards, and, what is worse, they take for such their own conventions. To read a French critic on Shakespeare or Ibsen or Dostoevsky or Goethe is generally a humiliating experience for one who loves France. As often as not you will find that he is depending on a translation. It seems never to strike him that there is something ludicrous in appraising nicely the qualities of a work written in a language one cannot understand. Rather it seems to him ludicrous that books should be written in any language but his own; and, until they are translated, for him they do not exist. Many years ago, at Cambridge, I remember having a sharpish altercation with Rupert Brooke, who had taken it upon himself to denigrate the art of Racine. Before long it came out that he had read the plays only in a translation; for at that time--he was in his second year, I think--he had little or no French. Everyone laughed, and the argument collapsed. Set the scene in Paris, imagine a detractor of Shakespeare or Goethe being convicted of similar ignorance, and ask yourself whether one Frenchman of the party would have felt that by such an admission the critic was put out of court.

It cannot be denied, I fear, that the conventional habits of the French mind lead easily to ignorance and self-satisfaction. To be frank, the complacent aberrations of French taste, with its pa.s.sion for Poe and its pathetic confidence in Kipling and Chesterton, have become a standing joke abroad. There is no great reason why the French should know anything of foreign thought and literature; but there is every reason why, knowing nothing, they should refrain from comment. And how many Frenchmen do know anything? When I reflect that hardly one can quote a line of English without committing or, at any rate, permitting the grossest and most nonsensical blunders, I am inclined to suspect that the answer is, very few. And I suppose it is this combination of ignorance with an incapacity for handling criteria of universal validity which gives to the nation that is a.s.suredly the centre of civilization its paradoxical air of provinciality. A Frenchman discoursing on foreign peoples or on mankind in general--a favourite topic--suggests to me sometimes the fantastic vision of a dog-fancier criticizing a steer.

Grant his premises--that whatever he admires in the one must be essential to the other--and nothing could be more just and luminous than his remarks. Undeniably the creature is a bit thick in the girth and, what is worse, bull-necked. Only, as the points of an ox are different from those of a poodle, the criticism is something beside the mark: and there is not much more virtue in the objection to Shakespeare's later tragedies that they are not written in rhymed verse. Blank verse, however, is not in the great tradition; and the French critic, with one eye fixed submissively on authority, doubts whether he would be justified in admiring it unreservedly. Such are the inevitable consequences of conventionality: and French conventionality is, in its turn, the inevitable consequence of a civilization so gracious and attractive that even the most lawless of its children cannot bear to appear disloyal.

MARQUET [P]

[Footnote P: _Marquet_. Par George Besson.]

The best picture by Marquet I ever saw was in the Grafton Gallery exhibition of 1912. It represented a naked woman sitting in a rocking-chair. Since then I have seen scores of things by him, admirable, as a rule, and invariably brilliant, but never one that was quite first-rate. And here comes M. George Besson, with an essay and an alb.u.m of photographs, to show us a few works which, surpa.s.sing anything of which we had supposed him capable, emerge triumphantly from that stream of clever variations on a theme which Marquet has made only too much his own.

Anyone who compares these nudes with what Matisse was doing a dozen or fifteen years ago will not fail to discover a common factor: neither will he be surprised to learn that at one time these two artists were treated almost as equals. Both achieved a strange and disquieting intensity by bold simplifications and distortion, by concentration on the vital movements and characteristics of the human body, and by an absolute indifference to its literary and sentimental interest. "Lorsque je dessine j'ai devant un homme les memes preoccupations que devant un bec de gaz." That is well said: what is more, the saying has been put successfully into practice. Such pictures as numbers 19, 25, and 27 are ent.i.tled to a place beside those of no matter what contemporary.

Needless to say, the integrity of Marquet's vision has considerably distressed those who have no taste for art; and from one of them, Marquet's friend Charles-Louis Philippe, it drew a bit of art criticism that ought not to be lost. "Le ciel me preserve," exclaims the author of _Marie Donadieu_, "d'aimer d'un amour total un art dont l'ironie parfois atteint a la cruaute! Et quand, tous les usages admis qui veulent qu'on ne presente un homme que sous ses bons cotes, quand l'amitie meme que j'eprouve pour M. Marquet m'eussent engage, a me taire, un devoir plus imperieux me sollicitait, et j'aurais eu le sentiment de me rabaisser moi-meme en y manquant."

Not even an art critic can be expected to lower himself in his own eyes by turning a deaf ear to the solicitations of imperious duty.

So Monsieur Philippe very honourably concludes his observations by expressing the opinion that "il n'a pas droit a toute l'admiration des hommes puisqu'il a ete sans pitie."

The cry of this soft and silly sentimentalist has been neatly put by M. Besson to the purpose of ill.u.s.trating, and perhaps a little exaggerating, the merits of a painter who is, a.s.suredly, neither one nor the other. Too clever by half, that rather is the fault with which Marquet must be taxed. The artist who has given us a dozen first-rate things--superb nudes, "felt" as solid, three-dimensional forms, and realized as such--is always being forestalled by an astonishing caricaturist who can knock you off something brilliant, rapid, and telling while you wait for the boat. Always this brisk and agile person is stepping forward in front of the artist and jotting down his neat symbols in the s.p.a.ce reserved for significant form. The landscapes and boats and street-scenes of Marquet, with their joyously emphatic statement, their lively contrasts, and their power of giving you the pith of the matter in a few strokes, are about as valuable as the best things of Forain. They are statements of fact, not expressions of emotion. Marquet, the inimitable captor of life as it hurries by, is not much better than a caricaturist; and as he becomes more and more proficient in his craft he bothers less and less about that to which it should be a means. The art of Marquet tends ever to become the repet.i.tion of a formula.

Lately, in London, we have been looking at the works of p.i.s.sarro, and I could wish that Marquet would look at them, too. Like him, p.i.s.sarro was a painter of streets and landscapes who returned again and again to the same motif. In the course of a long life he must, I should think, have painted the Quai Voltaire, the Quai des Grands Augustins, and the Quai St. Michel almost as often as Marquet has knocked them off. And if p.i.s.sarro never invented a shorthand wherewith to make notes of what was going on beneath his window, that was because p.i.s.sarro, for all his impressionist theory, was less concerned with the transitory aspect of things than with their aesthetic significance. He, too, approached everything, men and women, trees, rivers, and houses, in the same spirit: he approached them in the spirit of a painter. Never for the ugliest harlot, the sorriest thief, or the most woebegone gas-jet did he feel that whimpering, simpering, sentiment that Tolstoy frankly admired and Philippe felt the want of. But always he seems to have seen his motif with the finely disinterested pa.s.sion of an artist. Now, the pa.s.sion of an artist is not to be jotted down: it has to be deliberately trans.m.u.ted into form.

If Marquet were as familiar with naked women as he is with the hats, coats, and petticoats he sees from his window, doubtless by this time he would have elaborated a set of symbols wherewith to record his sense of them. Happily he is not: so, before the model, he finds himself obliged to demand of the artist that is in him some plastic equivalent for his intense and agitated vision. Thus goaded and disarmed he can produce a masterpiece. And, therefore, were it for me to give advice, what I should say to Marquet would be--throw away your sketch-book and panel-box, and settle down in a studio, with a top light, a model or two, and a six-foot canvas. Only, as this must be just what M. Lhote has been telling him, naturally he would tell me to mind my own business.

His apologist, M. Besson, at any rate, has no patience with those who would set artists in the way they should go. In this essay he gives them a piece of his mind, and he does it so well and so gaily that it is a pleasure to be scolded. First, he has a few words with "une dame, que Gerome fit heritiere de ses uniformes et qui devint la muse d'un geometre-arpenteur de certaine recente peinture." (Whom can he mean?)

Je connais l'atelier de Marquet, Madame, en marge de l'Atelier ou l'on esthetise, ou l'on fabrique les manifestes et les novateurs de genie. Marquet garde son role de peintre. Il n'est guere pour lui de souci plus serieux que le souci de sa liberte. Il veut etre libre pour peindre, libre meme pour oublier la peinture, libre encore, libre davantage pour n'etre ni questionne ni consulte, pour ne devenir ni un expert, ni un educateur de sots.

Et voila pourquoi, vous n'avez jamais fait de conference en son atelier.

And again:

Pour n'avoir jamais a.s.servi son art a la construction d'un systeme, pour avoir senti la vanite des theories, pour n'avoir pas fait tout les pelerinages d'ou l'on revient avec des regles, l'art d'Albert Marquet donne une impression de peinture heureuse.

Of course M. Besson is right. Few in this world cut a more ludicrous figure than art-masters; few things are more deplorable than propaganda.

Yet M. Besson should be careful: one thing there is more ridiculous still, and that is counter-propaganda. Protestantism in art is the devil; but the devil is not such a fool as to protest against protestantism. He leaves that to the young bloods of the Rotonde and the Cafe Royal. By all means let M. Besson claim liberty for his artist, but, in doing so, let him beware of denying it to another, even though what that other demands be "liberty of prophesying" or the right to preach the gospel according to David.