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For instance, it must have been at the end of 1912, or the beginning of 1913, that I first heard of Modigliani, Utrillo, Segonzac, Marie Laurencin, Luc-Albert Moreau and Kisling, though doubtless all were known earlier to wide-awake men on the spot.
As certainly I think it is true that all are of a later crop than Segonzac, Marie Laurencin, Luc-Albert Moreau, etc., while Monzain, Richard, Togores, Gromaire, Alix, Guindet, and Halicka are very young indeed.
A common demand is for the taxation of luxuries, such as servants, carriages, or dogs. The people of Segonzac propose a charge on rouge, "which destroys beauty," and strike at a fashionable folly of the day by suggesting a special payment by those "who allow themselves to wear two watches."
None of them can fairly be described as doctrinaire: by that time an artist with a pronounced taste for abstractions betook himself to Cubism almost as a matter of course. All owe much to Cézanne Utrillo least; Modigliani and Marie Laurencin owe a good deal to Picasso's blue period; while Luc-Albert Moreau owes something to Segonzac.
And though Duncan Grant holds his own handsomely with Marchand, Vlaminck, Lhote, de Segonzac, Bracque and Modigliani, I am not yet prepared to class him with Matisse, Picasso, Derain, and Bonnard. Having bravely recognized this disagreeable truth, let us take as much interest in contemporary British painting as we can.
To judge his art as a whole is difficult: partly because his early productions are not only unequal to, but positively unlike, what he achieved later; partly because many of the Utrillos with which Paris is overstocked were painted by someone else. Perhaps the most interesting, though neither the most startling nor seductive, of this batch is Segonzac.
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