Note G — CLIVE BELL

Footnote G: (return) Twelve years ago I made a list of young or youngish painters—the men of thirty or thereabouts—from whom it seemed to me reasonable to expect great things. It included such names as Derain, Picasso, Vlaminck, Marchand, Friesz, Maillol, Duncan Grant: one need not be laudator temporis acti to feel that the men of the new generation are on a smaller scale. This merely confirms my often expressed notion that the decade 1875-85 produced a prodigious quantity of greatly gifted babies. On the other hand, if by comparison with the salon d'automne of 1911 that of '2l seems unexciting, we must not fail to do justice to the extraordinarily high level of painting that has now been attained. And this confirms another of my pet theories—that we live in an age comparable (so far as painting goes) with the quattro cento. The works of even the smallest artists of that age enchant us now, because in that age any man of any talent could make a picture; but doubtless at the time critics and amateurs sighed for the first thrilling years of the movement—for the discoveries of Masaccio and Donatello—and were quite ready to welcome the novelties of the high renaissance when they came. The world moves faster nowadays; already we look regretfully back to the days when Matisse and Picasso were launching the movement, and another high renaissance may be nearer than we suppose.