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None of them can fairly be described as doctrinaire: by that time an artist with a pronounced taste for abstractions betook himself to Cubism almost as a matter of course. All owe much to Cézanne Utrillo least; Modigliani and Marie Laurencin owe a good deal to Picasso's blue period; while Luc-Albert Moreau owes something to Segonzac.
This is as true of Picasso as of Derain: only, Picasso's prodigious inventiveness may sometimes give the impression of a will to surprise, while his habit of turning everything to account certainly does lead him to cast an inquisitive eye on every new manifestation of vitality.
They are the elder brothers of the movement, a fact which the movement occasionally resents by treating them as though they were its elder sisters. Even to each other they owe nothing. Matisse, to be sure, swept for one moment out of his course by the overwhelming significance of Picasso's early abstract work, himself made a move in that direction.
I would like to lay stress on the words "power" and "French," because I do not wish to say, what may nevertheless be true, that Derain is the greatest painter in France, or seemingly to forget that Picasso's is the paramount influence in Europe.
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