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There were some pictures so bad as to be humorous; a dancer by the Holland-Parisian, Kees van Dongen, had the merit at least of sincerity. Erbslöh has joined the extremists, Kirchner, Guimi, Kanoldt, Kandinsky, Utrello a good street effect; Werefkin and several Frenchmen were in evidence. The modelling was both grotesque and indecent.
But will, I ask myself, posterity sit before the masterpieces of Matisse, Picasso, and Van Dongen, and experience that nostalgia of the ideal of which I wrote at the beginning of these desultory notes? Why not? There may be other ideals in those remote times, ideals that may be found incarnate in some new-fangled tremendous Gehenna. But nature will always remain modern.
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 better Dutchmen than Van Dongen, and an active colony of Scandinavians the most interesting of whom is probably Per Krohg.