I CANNOT in this introduction explain Epstein, and in his own conversation Epstein cannot and does not attempt to explain himself. The French painter Vlaminck summed up the situation admirably when he said:
"La bonne peinture c'est comme de la bonne cuisine, ha se goûte mais ça ne s'explique pas."
We can only hint. His work is there for all to see. It is extremely unlikely that this book will convert anyone to the view held by the writer of this introduction that Jacob Epstein, almost alone in the world to-day, holds the secret of true beauty, and that his work like all things truly beautiful will endure without relying in any way upon fashion for its appreciation.
It may well be that so positive a statement of belief at the very beginning of this study does my subject a disservice in the eyes of the reader not prepared to follow me to such lengths, or who may well already be in positive and violent disagreement with me. But I have reached my conclusion after very many years and a close study of all the work, and I am therefore unwilling to state it in a more