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The interval of imposition is our imaginary interval of creation. The primitives created a complete cosmos for themselves, an entire principle.
I was deeply touched, and Margaritone, of Arezzo became from that day my dearest primitive. I picture to myself the Penguin primitives in conformity with the works of that master. It will not therefore be thought superfluous if in this place I consider his works with some attention, if not in detail, at least under their more general and, if I dare say so, most representative aspect.
As he lived precisely five years, all he did was done at that little age, and it comprised this: "He got by heart almost the entire vocabulary of Latin and French primitives and words, could make congruous syntax, turn English into Latin, and vice versa, construe and prove what he read, and did the government and use of relatives, verbs, substantives, ellipses, and many figures and tropes, and made a considerable progress in Comenius's 'Janua, and had a strong passion for Greek."
Post-Impressionism is nothing but the reassertion of the first commandment of art Thou shalt create form. By this assertion it shakes hands across the ages with the Byzantine primitives and with every vital movement that has struggled into existence since the arts began. Post-Impressionism is not a matter of technique.
They are the gateway for our modern esthetic development, the prophets of the new time. They are most of all, the primitives of the way they have begun, they have voiced most of all the imperative need of essential personalism, of direct expression out of direct experience, with an eye to nothing but quality and proportion as conceived by them.
It is not until what is still official painting and sculpture and architecture gets itself accepted as a substitute for art, that we can say for certain that the long slope that began with the Byzantine primitives is ended. But when we have reached this point we know that we can sink no lower.
Even to us there is something mesmeric and overwhelming in the sense of this animal's glory of strength and fury and sexual power. No wonder the primitives worshiped him, or that they devised rituals which should convey his power and vitality by mere contact, or that in sacramental feasts they ate his flesh and drank his blood as a magic symbol and means of salvation. Four Stages, p. 34.
His strategy was perfect, his sleight of hand as delicate as long, lithe fingers and nimble brains could make it. He had discarded for ever those clumsy instruments whose use had barred the progress of the Primitives.
Work that errs on the side of gradations, like that of Greuze, however popular its appeal, is much poorer stuff than work that errs on the side of flatness in tone, like Giotto and the Italian primitives, or Puvis de Chavannes among the moderns. There is a balance of tone set up also between light and dark, between black and white in the scale of tone.
Rousseau was inferior to the great Primitives because he lacked their taste, or, to put the matter more forcibly, because he was less of an artist. An artist's conception should be like a perfectly cooked pudding cooked all through and in every part. His problem is to create an expressive form that shall fit exactly an artistic conception. His subject may be what he pleases.
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