Derain is the chief of the new French school—a school destined manifestly to be less cosmopolitan than its predecessor.
The man who influenced Derain, and to some extent Picasso, is not likely to have been less.
These are, in fact, the protests of Derain's genius against his talent, and whether they are good or not I cannot say.
Derain's problem is different, and perhaps more exacting still.
Even the fun of Derain is not the essentially modern fun of Massine.
Derain is neither flippant nor exasperated; he is humorous, and tragic sometimes.
Sooner or later the critic who wishes to be taken seriously must say his word about Derain.
Derain is now the greatest power amongst young French painters.