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CHAPTER FIVE
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The artifice extends to the composition: everything
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8g HENRI MATISSE (r869-1954) Portrait with a Green Stripe, 1905. Oil on canvas, 1534" x 12%"
( 40 x ]1.5). Statens Museum for Kunst, Copenhagen (]. Rump Collection)
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at his best offers us the same quality, and the storm. .tossed
trees and clouds in the Paysage d'Orage (Ill. 93) repre'
sent a personality similarly buffeted. Vlaminck's problem
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HENRI
DOUANIER'
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AMADEO MODIGLIANI(I884-
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wife, 1916. Oil on canvas, 31%")
21"(8o X535) Courtesy of theA,
Institute of Chicago (The Hele
Birch Bartlett Memorial Foundation
1920) Portrait of Lipchitz and
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CHAPTER
Cub,
Of all the revisions of pictorial language proposed in the
century, cubism has been the most radical. It led
immediately to the conception ofthe painting as primarily
an object, which in tum made possible both a totally
abstract art and an extension of painting, first into collage
and relief and then into sculpture. The distinction
between the arts of painting and sculpture breaks down
in the mid,2oth century as a result ofthe cubist revolution.
Cubism was essentially an intellectualization by two
young painters, Picasso and Braque, of certain practices
that they had noticed in the painting of Cezanne.
Cezanne's approach to landscape and still,life was a],
ways empirical, in a sense un. . sel.conscious; and he died
without ever feeling that he had found a solution to the
problems of pictorial representation that faced him. With
all the aggressive assurance of youth, Picasso and Braque
simplified the problem and propounded a solution
that at least satisfied them. But the solution only raised
new questions, which led to fresh innovations.
The moment of crisis came in r906, the year of
Cezanne's death. A small group of his paintings were
shown in the Autumn Salon, in preparation for the
memorial exhibition to be organized a year later; they
had a profound effect on Picasso. Other important
influences were coming to bear on Picasso's painting at
this time, particularly that of archaic and primitive sculp,
rure, and the consequence was that angry masterpiece that
he painted in the winter of 1906-07, Les Demoiselles
a'Avignon (Ill. 1 og).
Picasso's work before 1906 does not prepare us for the
explosion of Les Demoiselles. Born in Malaga in r88r,
the son of an arc teacher, Picasso was gifi:ed with extra . .
ordinary natural talents. He quickly learnt from the Old
~asters in the Prado, from the art magazines that
Circulated in Barcelona where he spent his youth, and
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