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Into Doctrinaires Theorists if you like the word better and Fauves the first generation of Cézanne's descendants could, I feel sure, be divided; whether such a division would serve any useful purpose is another matter.
And just as political allies are apt to become fully alive to the divergence of their aims and ambitions only after they have secured their position by victory, so it was not until the new movement had been recognized by all educated people as representative and dominant that the Fauves felt inclined to give vent to their inevitable dislike of Doctrinaires.
Louisa Mebbin's pretty week-end cottage, christened by her "Les Fauves," and gay in summertime with its garden borders of tiger-lilies, is the wonder and admiration of her friends. "It is a marvel how Louisa manages to do it," is the general verdict. Mrs. Packletide indulges in no more big-game shooting. "The incidental expenses are so heavy," she confides to inquiring friends.
The division between Fauves and Theorists, I was saying, in the beginning was not sharp; nevertheless, because it was real, already in the first generation of Cézanne's descendants the seeds of two schools were sown.
Both Renoir and Degas lived well on into the period of which I am writing; but though both were admired, the former immensely, neither up to the present has had much direct influence on contemporary painting. From 1908 I choose that year to avoid all risk of ante-dating there existed side by side, and apparently in alliance, with the Fauves a school of theoretical painters.
Plenty of Fauves did their whack of theorizing, while some of the theorists are amongst the most sensitive and personal of the age.
About the best known of Matisse's companions for they were in no sense his disciples were, I should say, Friesz, Vlaminck, Laprade, Chabaud, Marquet, Manguin, Puy, Delaunay, Rouault, Girieud, Flandrin. I think I am justified in describing all these, with the exception, perhaps, of Girieud and Flandrin, as Fauves; assuredly I have heard them all so described.
The artist who produces little may, if he has ability, be an interesting artist, but he will never be a great one. In this time of anarchy in art, when all he had to do to conciliate the hostile critics was to array himself with the fauves, Massenet set an example of impeccable writing.
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