He painted these things as he painted human brings, because he
was endowed with the gift of divining the inner life in
everything. His colour and form are alike suitable to the
spiritual harmony. A man, a tree, an apple, all were used by
Cezanne in the creation of something that is called a "picture,"
and which is a piece of true inward and artistic harmony. The
same intention actuates the work of one of the greatest of the
young Frenchmen, Henri Matisse. He paints "pictures," and in
these "pictures" endeavours to reproduce the divine.[Footnote:
Cf. his article in KUNST UND KUNSTLER, 1909, No. 8.] To attain
this end he requires as a starting point nothing but the object
to be painted (human being or whatever it may be), and then the
methods that belong to painting alone, colour and form.

By personal inclination, because he is French and because he is
specially gifted as a colourist, Matisse is apt to lay too much
stress on the colour. Like Debussy, he cannot always refrain from
conventional beauty; Impressionism is in his blood. One sees
pictures of Matisse which are full of great inward vitality,
produced by the stress of the inner need, and also pictures which
possess only outer charm, because they were painted on an outer
impulse. (How often one is reminded of Manet in this.) His work
seems to be typical French painting, with its dainty sense of
melody, raised from time to time to the summit of a great hill
above the clouds.

But in the work of another great artist in Paris, the Spaniard
Pablo Picasso, there is never any suspicion of this conventional
beauty. Tossed hither and thither by the need for self-
expression, Picasso hurries from one manner to another. At times