Word: picasso
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Dates: during 1920-1929
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George Braques, who with Picasso was an exponent of Cubism before 1914, is represented by a "Still Life". Here the predominating tones are black, green and red. The composition, geometric in character, reveals the profitable influence of Cubistic training without being dominated by this school. The artist achieves here a powerful effect by the use of strong outlines which emphasize the objects...
...France did not stop with the post-impressionists, the present day tendencies are represented by the work of Matisse, Picasso, Gromaire, Villon, and Braque. The exhibition is the largest of its kind shown in America up to the present time, and an interested public now has an opportunity to trace the complicated development of the nineteenth century. In this period new creative forces were stirring--new ideals arose which sought expression in new forms. The age was weary of revivals, always a sign of creative weakness. It had had enough of academic rules and formulae long since outworn...
...coming exhibit. Among the painters whose works will undoubtedly be represented in their selection are Laurencin, Chirico, Dufy, and Miro. Sculptors such as Despiau and Maillol will also find themselves among those whose works are to be chosen. The absence from the exhibition of paintings by Matisse, Derain, Picasso, and Bracque is explained by the fact that their work will be included in the display of the Fogg Museum, inasmuch as these artists fall on the border line between the nineteenth and twentieth centuries. The Directors hope to have by the end of the week a complete list...
...Modern artists praised: A. L. Barye, Brancusi, Cezanne, Courbet, Degas, Delacroix, Derain, Eakins, Frueh, Gauguin, Van Gogh, Winslow Homer, Manet, Monet, Picasso, Pissarro, Poiret, de Chavannes, Renoir...
...sardonic humor of the piece was queer but clear. He displayed also a serene Breton landscape, a lovely canvas which could cause no retching among the most conservative. Forain's aphrodisiac The Charleston showed two vibrant white dancers, several paunchy satyr-spectators, was a triumph of contemporary comment. Picasso's The Mother, a suggestion of haggard peasantry, was as successful in another field. There were gusty, sulphurous landscapes by de Vlaminck, fanciful figures in delicately modulated colors by Eugene Zak. The net effect was one of diversified, eclectic appeal. There was much to please, in many manners...