““I was also, slowly, to learn that there were painters whom you grew out of (like the Pre-Raphaelites); painters you grew into (Chardin); painters towards whom you had a lifelong, sighing indifference (Greuze); painters you suddenly became aware of after years of unnoticing (Liotard, Hammershoi, Cassatt, Vallotton); painters assuredly great but to whom your response was always a bit negligent (Rubens); and painters who would, whatever age you were, remain persistently, indomitably great (Piero, Rembrandt, Degas). And then – perhaps the slowest advance of all – I permitted myself to believe, or rather see, that not all Modernism was entirely wonderful. That some parts of it were better than others; that maybe Picasso could be vainglorious, Miró and Klee could be twee, Léger could be repetitive, and so on. I eventually came to realise that Modernism had strengths and weaknesses and a built-in obsolescence, just like all other art movements. Which, as it happens, made it more rather than less interesting.””
