ls.

It is in primitive art generally that we see more clearly the direct
emotional significance of line and form. Art appears to have developed
from its most abstract position, to which bit by bit have been added the
truths and graces of natural appearance, until as much of this
naturalistic truth has been added as the abstract significance at the
base of the expression could stand without loss of power. At this point,
as has already been explained, a school is at the height of its
development. The work after this usually shows an increased concern with
naturalistic truth, which is always very popular, to the gradual
exclusion of the backbone of abstract line and form significance that
dominated the earlier work. And when these primitive conditions are lost
touch with, a decadence sets in. At least, this is roughly the theory to
which a study of the two great art developments of the past, in Greece
and Italy, would seem to point. And this theory is the excuse for all
the attempts at primitivism of which we have lately seen so much.

Art having lost touch with its primitive base owing to the over-doses of
naturalism it has had, we must, these new apostles say, find a new
primitive base on which to build the new structure of art. The theory
has its attractions, but there is this difference between the primitive
archaic Greek or early Italian and the modern primitive; the early men
reverently clothed the abstract idea they started with in the most
natural and beautiful form within their knowledge, ever seeking to
discover new truths and graces from nature to enrich their work; while
the modern artist, with the art treasures of all periods of the world
before him, can never be in the position of these simple-minded men. It
is therefore unlikely that the future development of art will be on
lines similar to that of the past. The same conditions of simple
ignorance are never likely to occur again. Means of communication and
prolific reproduction make it very unlikely that the art of the world
will again be lost for a season, as was Greek art in the Middle Ages.
Interesting intellectually as is the theory that the impressionist point
of view (the accepting of the flat retina picture as a pattern of colour
sensations) offers a new field from which to select material for a new
basis of artistic expression, so far the evidence of results has not
shown anything likely seriously to threaten the established principles
of tradition