I am under no illusion as to the inadequacy and fallibility of both;
neither shall I imagine that, once applied, they are bound to stick.
On the contrary, you will see, in a later chapter, how, having dubbed
Matisse "temperamental" and Picasso "theorist," I come, on examination,
to find in the art of Matisse so much science and in that of Picasso
such extraordinary sensibility that in the end I am much inclined to
pull off the labels and change them about. But though, for purposes
of criticism coarse and sometimes treacherous, this pair of
opposites--which are really quite compatible--may prove two useful
hacks. As such I accept them; and by them borne along I now propose to
make a short tour of inspection, one object of which will be to indicate
broadly the lie of the land, another to call attention to a number of
interesting artists whose names happen not to have come my way in any
other part of this book.

I said, and I suppose no one will deny it, that Paris was the centre
of the movement: from Paris, therefore, I set out. There the movement
originated, there it thrives and develops, and there it can best be seen
and understood. Ever since the end of the seventeenth century France has
taken the lead in the visual arts, and ever since the early part of
the nineteenth Paris has been the artistic capital of Europe. Thither
painters of all foreign nations have looked; there many have worked, and
many more have made a point of showing their works. Anyone, therefore,
who makes a habit of visiting Paris, seeing the big exhibitions, and
frequenting dealers and studios, can get a pretty complete idea of what
is going on in Europe. There he will find Picasso--the animator [A] of
the movement--and some of the best of his compatriots, Juan Gris and
Marie Blanchard for instance, to say nothing of such fashionable figures
as MM. Zuloaga _et_ Sert. There he will find better Dutchmen than Van
Dongen, and an active colony of Scandinavians the most interesting of