to art, they will still find me waiting for them with a practical
suggestion. Any student proposing to educate himself as a critic should
be compelled to devote the first years of his course to the criticism
of non-representative art. Set down to criticize buildings, furniture,
textiles, and ceramics, he will find himself obliged to explore the
depths of his own æsthetic experience. To explain honestly and precisely
why he prefers this chair to that requires, he will find, a far more
intense effort of the intellect and imagination than any amount of fine
writing about portraits and landscape. It will force him to take account
of his purely æsthetic emotions and to discover what exactly provokes
them. He will be driven into that world of minute differences and subtle
reactions which is the world of art. And until he knows his way about
that world he would do well to express no opinion on the merits of
pictures and statues.



BONNARD [M]

[Footnote M: _Bonnard_. Par Léon Werth. Paris: Crès. 40 fr.]

In France, where even amateurs of painting enjoy a bit of rhetoric, for
two or three days after the death of Renoir one could not be long in
any of their haunts without being told either that "Renoir est mort et
Matisse est le plus grand peintre de France" or that "Renoir est mort et
Derain," etc. Also, so cosmopolitan is Paris, there were those who would
put in the query: "Et Picasso?" but, as no Frenchman much cares to be
reminded that the man who, since Cézanne, has had the greatest effect on
painting is a Spaniard, this interjection was generally ill-received.
On the other hand, those who queried: "Et Bonnard?" got a sympathetic