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"NUDE DESCENDING A STAIRCASE"

FROM MARCEL DUCHAMP-VILLON'S CELEBRATED CUBIST PAINTING
Described on page 863.

evolution to an art where they are sought
for consciously. A deep student of the
old masters, like all the great French
painters of the nineteenth century, Cé-
zanne went further than any of his fel-
lows, his mind being the profoundest of
them all, in penetrating to the motives of
the great gods of the museums. So, while
a man of his time, he goes far beyond it
in recognizing the supremacy over realism
of the esthetic and expressive phases of the
work of art. As he grew older, he cen-
tered his attention more and more on these
matters, and was quite willing to let real-
ism confine itself to a general, elemental
statement of the form and color of his
subject. The vast majority of the public
saw at first only what it thought to be the

sacrifices of Cézanne's work. Now that he is better understood, and even the laymen are more occupied with his qualities than with his so-called defects, the rancor of those who oppose all change in the forms of art is transferred to the successors of Cézanne, who break still further with the superstition that a picture must look "just like nature." Only one who has carefully watched the crowds at such a manifestation as the International Exhibition of last spring can know what a vast number of people are ready to overcome this obstacle or have done so already.

For those who know him best, Cézanne is the greatest master of modern times, and one whom only the greatest of the old painters have equaled. He realizes the

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