In her essay for the Cezanne exhibition catalogue, Ellen Gallagher discusses Cezanne’s painting Scipio, a depiction of a Black man with his back to the viewer. The Red Armchair also demonstrates Picasso’s innovative use of Ripolin, an industrial house paint that he first employed as early as 1912 for its brilliant colors and for its ability to provide an almost brushless finish. In The Red Armchair, Picasso quotes the elder artist’s painting Madame Cezanne in a Red Armchair but shows Marie-Therese Walter in place of Hortense Fiquet. Picasso embraced Cezanne’s pioneering vision in his development of Cubism in 1907–1914 and continued to push boundaries in ways that alluded to Cezanne’s precedents. The Spanish artist, who once declared Cezanne “the father of us all,” went so far as to buy a piece of the land that had become Cezanne’s most famous motif, Mont Sainte-Victoire. Museum of Fine Arts, Boston, Bequest of Robert Treat Paine, 2nd Courtesy, Museum of Fine Arts, Boston.Ĭezanne’s continuing influence on 20th-century painting is apparent in the work of Pablo Picasso, whose own career overlapped only briefly with the pioneering artist.
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