International studio . mesto lose themselves again :others are late in comingto themselves. An artistchanges : it may be said thathe is not always the .sameartist, an influence more[KjwL-rful than himself maymomentarily absorb him andfor the time seem to destroyin him something that was hisvery own. Or, losing interestin life, his condition will bereflected in his art bydiminished intensity. Thecharacteristic of the greatestart of the world is its intensity. art was never sofully chfirged as in 1857, whenhe produced the series No. 237.—NovKMiiEH 1916 water-colours which we ha
International studio . mesto lose themselves again :others are late in comingto themselves. An artistchanges : it may be said thathe is not always the .sameartist, an influence more[KjwL-rful than himself maymomentarily absorb him andfor the time seem to destroyin him something that was hisvery own. Or, losing interestin life, his condition will bereflected in his art bydiminished intensity. Thecharacteristic of the greatestart of the world is its intensity. art was never sofully chfirged as in 1857, whenhe produced the series No. 237.—NovKMiiEH 1916 water-colours which we have under review. Thesewater-colours show a pattern in each case richin that sheer music of design that is associatedin our minds with primitive art—a music thatPost-Impressionism appears to think it can revivemerely from its own consciousness that such musiccan be created. I was permitted to see the Rae water-colours onthe ver)- day that they arrived at the Tate Gallery,good fortune having brought me to the Keepers. .\ \; K HV i>. ( uj:.,/ji ,•/ /tiitiii Ail) The Tnie Rossetti Office on that day, and I remember remarking on apurity of pattern in them at which the Post-Impres-sionists seem to aim. I was naturally interestedtherefore to find this very point taken up byMr. Roger Fry in the pages of The BurlingtonMagazine. I am unable to accept from thatcritic his oppressive theory of the limitations of I cannot believe thatthe enduring element in artis often the one of whichthe artist is himself mostconscious. Nor can Ibelieve that a work of artbecomes more a work ofart as it stands clear of allthe cluster of associations?which the objects it repre-sents may summon to ourmind. The advocates ofwhat they term significantform insist that we shouldvalue a picture for what itis in itself and not for whatwe can bring to it, everyperson bringing somethingdifferent to it. But as amatter of fact does not con-sciousness itself functionas a process by wh
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