By John Rewald
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This portraitis unfinished, and while this precludes an analysis of the artist's final aims, it offers an excellent he did so with a very firm brush that "drew" with precision the different elements of the picture: the eggshaped head with its strict hairdo, the diagonal wall behind the sitter, the plants in the background, and even the seams of the dress. Simultaneously, Cezanne shows himself preoccupied with various textures, an interest that is much less manifest in his finished paintings, where texture often is little more than an accident, since his brush seldom differentiates between a face and an apple, or between a flower and a mountain.
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Her body thus became a medium for the representation of curious and momentary phenomena that partly dissolved forms and offered to the observer the gay and capricious spectacle of dancing light. With a tender, almost caressing, brush, Renoir proceeded, through warm shadows and cool spots of light (quite the opposite of what is usually done), to shape forms softly and detach them from the vibrant and colorful background. "Artis never chaste," Picasso once told Malraux. Might it not have been better to use a positive rather than negative expression, saying: Art is always voluptuous?