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Updated: May 4, 2025
I was not dismayed because a single Post-Impressionist thought that "beautiful" is a word that has no meaning; but because the reply came so pat upon his lips; he was repeating, parrot-like, a current view; he was adopting the fashionable attitude of scorn towards what is regarded as an ancient tyranny, long since indicted and exploded.
But as he had some private means, and no kith or kin but his niece, the indifference of the public to his work caused him little disturbance. He pleased his own taste, allowing himself a good-natured contempt for the work which supplanted him, coupled with an ever-generous hand for any post-Impressionist in difficulties.
I had thoughts once of printing a selection from the press-cuttings that reached us at the Grafton Galleries during the first Post-Impressionist exhibition.
Doubtless, with its increasing popularity, an annually increasing horde of nincompoops will employ the so-called "Post-Impressionist technique" for presenting insignificant patterns and recounting foolish anecdotes. Their pictures will be dubbed "Post-Impressionist," but only by gross injustice will they be excluded from Burlington House.
The important feature is the group of virile paintings by George Bellows, on wall C. These mark the most successful American attempt to grasp sanely the bigness and freedom of the post-Impressionist movements. One-man Rooms.
At this moment there are not above half a dozen good painters alive who do not derive, to some extent, from Cézanne, and belong, in some sense, to the Post-Impressionist movement; but tomorrow a great painter may arise who will create significant form by means superficially opposed to those of Cézanne.
In truth, it was an unfortunate necessity that obliged us to speak of "Post-Impressionist pictures," and now, I think, the moment is at hand when we shall be able to return to the older and more adequate nomenclature, and speak of good pictures and bad.
As I have said, essentially, a good Post-Impressionist picture resembles all other good works of art, and only differs from some, superficially, by a conscious and deliberate rejection of those technical and sentimental irrelevancies that have been imposed on painting by a bad tradition.
Of course, Lear is the spirit they express. A portrait by a post-Impressionist is sure to be "A Dong with a luminous nose." And don't you remember, "The owl and the pussycat went to sea in a beautiful pea-green boat"? Wouldn't a boat painted by a Post-Impressionist be pea-green? 'Perfectly. I see that. But why the pobble without its toes?
Like all sound revolutions, Post-Impressionism is nothing more than a return to first principles. Into a world where the painter was expected to be either a photographer or an acrobat burst the Post-Impressionist, claiming that, above all things, he should be an artist. Never mind, said he, about representation or accomplishment mind about creating significant form, mind about art.
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