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CONTEMPORARY ART 215
far more intelligently by French than by
native artists. Here they were treated as
isolated geniuses ; there they were absorbed
into the tradition of painting.
A student of contemporary art who found
himself in the company of painters and
amateurs in any great central city abroad
Paris, Stockholm, Copenhagen, Moscow,
Munich, Vienna, Geneva, Milan, or Barcelona
would be able to discuss, and doubtless
would discuss, the contemporary movement.
That movement, as every one outside England
seems to know, radiates from France. He
would discuss, therefore, the respective merits
of Matisse, Picasso, Marquet, Marchand, Friesz,
Derain, Bonnard, de Vlaminck, Maillol,
Laprade, Segonzac, Delaunay, etc. etc. ; and
not only discuss and criticize their works, but
the direction in which each was moving, the
influence of one on another, and the influence
of Cezanne, Gauguin, Van Gogh, or the
douanier Rousseau on all. Such a company
would know something about the development
of the movement in other countries it would
;
have something to say about Kandinsky and
the Munich painters, about Goncharova and
Larionoff, about the Barcelona school, and
even about the Italian futurists. In a word,
it would be able to talk about contemporary
European painting. Only in an English studio