Word: derains
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...sources in the visible world. In Blue Mountain, which he began the following winter, he assigned the mountain an unearthly shade of indigo and turned the flanking trees into almost free-floating pools of pigment. With one eye on the crackling Fauvist pictures that Henri Matisse and André Derain had exhibited in Paris a few years earlier, he was on the way to letting form and color alone become the subject of his work...
...stand back and squint, you might think you were looking at paintings by, say, Utrillo or Vlaminck - delicate streetscapes suffused with morning light and dusky melancholy. Indeed, those artists, along with Picasso, Braque, Matisse and Derain, were among Atget's contemporary admirers. The Surrealists adopted him as one of their own, enchanted by his gaudy fairgrounds and prostitutes, his near-abstract depictions of stonework and staircases, and the way he sometimes reflected his own image in store windows. Later photographic greats - Edward Weston, Walker Evans, Ansel Adams - admired his ability to combine straightforward documentation with almost painterly finesse...
...effect of fairy dust across the canvas. Not a huge fan of the Pointillists, Senn nevertheless acquired a glistening Beach of the Vignasse by Henri-Edmond Cross. He largely neglected the Fauves, except for a few Paris scenes by Albert Marquet and one lively painting by André Derain, Bougival, that Senn's father-in-law called the "most daft and most ugly" thing the younger man had ever bought. As for Henri Matisse, there are only two of his pieces in the show. One is an early work, Still Life with Pitcher; the other, Street in the Midi...
...teens he quit school to study drawing full time, and in the years that followed he would study painting in Florence and sculpture in the marble quarries of Carrara. By 1906 he was ready for Paris. It was by then the cockpit of modernity, the Paris of Picasso, Matisse, Derain and Vlaminck. Some of the first canvases in this show are portraits of women painted in Modigliani's earliest style, a gaunt Expressionism bearing all the signs of Edvard Munch and Picasso's by then discarded Blue Period, undertaken with broken brushwork learned from the canvases of Cezanne...
...Cubism, so open, so impregnable, are what followed. Very soon, with the ferocity and radical distortions of a single canvas, Les Demoiselles d'Avignon, Picasso would turn every other artist into cannon fodder and take from Matisse the leadership role within the avant-garde. Georges Braque and Andre Derain, onetime Fauvists, defected to Picasso's camp. In time Picasso would even usurp Matisse's position in the affections--and worse, in the collection--of Matisse's once devoted patron Gertrude Stein...