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This makes the Portuguese form appear somewhat withdrawn to the background. The form does not appear clear to the viewer while standing at a further distance from the painting. It requires light to bring out the contours that dominate the painting. The color is applied sparingly which means that it is subdued. (J. Paul Getty Museum, 2011, pg. 1) reason for this one might think was to highlight the form of the painting. The brown color that is dominant throughout the painting is mainly to draw the viewer to the form but the dissecting of form to interact with space does not at the end make the viewer arrive at a specific form. It leaves room for the viewer to form different forms from looking at it because the form keeps shifting.
The reason for this could be the unusual use of light and shadow that was employed by the painter. George says that he had discovered the meaning of horizontal and vertical which he clearly used in this painting. He claims that color would have brought a certain kind of sensation that would have interfered with his use of space. Once a picture stops being real, one can touch it. This is what motivated the painter to crave for space. He wanted to touch the picture and express it in form of space. Therefore we could come to a conclusion that the quest for space is what gave the conception of analytical cubism. The desire to touch still life.
The painter was interested in separating himself from the real picture as possible. He took more time and drew several pictures at once. It took him years but that is what he wanted. He says that apples would die long before he could finish a painting. The outcome is not important but the path followed by the painter at arriving at the end result (“Historical Painting Techniques, Materials, and Studio Practice.” Preprints, 1995, pg.34). That way the viewer appreciates the journey, each stroke of the brash, the delicate manner in which the
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