many unpremeditated effects of Cézanne's life and work was to set
artists thinking, and even arguing. His practice challenged so sharply
all current notions of what painting should be that a new generation,
taking him for master, found itself often, much to its dismay, obliged
to ask and answer such questions as "What am I doing?" "Why am I doing
it?" Now such questions lead inevitably to an immense query--"What is
Art?" The painters began talking, and from words sprang deeds. Thus it
comes about that in the sixteen or seventeen years which have elapsed
since the influence of Cézanne became paramount theory has played a part
which no critic or historian can overlook. It is because to-day that
part appears to be dwindling, because the influence of theory is growing
less, that the moment is perhaps not inopportune for a little book such
as this is meant to be. It comes, if I am right, just when the movement
is passing out of its first into the second phase.

During this 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."