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Cahn, Carlsund, Clausen, Filla, Henry




39.   Marcelle Cahn: Still Life, 1925

Third phase of Cubism.  The importance of the surface is recognised and the idea of volume is dissolved.  The contrast with the descriptive approach is affirmed through a hint of modelling.  The surface is confined to the movement of translation.








40.   Otto Carlsund: Mural Painting, 1925

Third phase of Cubism.  The same observations as for ill.39.  The painter is striving towards a plastic organisation which will correspond to the nature of the surface.  Depth is re-asserted itself through the emphasis on modelling and this has the effect of weakening the realisation of the rhythm.













41.   Franciska Clausen: Composition, 1925

Third phase of Cubism.  The same observations as for the previous illustration.  Movements of translation are accomplished through the surface.








42.   Emil Filla: Still Life, 1925

Third phase of Cubism.  The importance of the surface is recognised.  The idea of description is still present, but only as a schematic representation of external appearances which have been subjected to a process of analysis.  In this way, the plastic nature of the surface becomes visible.  The two necessary preconditions of mobile form - translation and rotation - are used intuitively.






43.   Florence Henry: Composition, 1926

Third phase of Cubism.  Here the organisation of the surface is asserted more clearly than it is in ill. 42.  A rhythm appears, which corresponds to the movements of the surface in translation.





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