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The landscapes are sometimes reminiscent of Utrillo, especially of his 'white period', but Pougny's line and colour are softer. Colour and tone contrasts are muted, lines are indistinct, often interrupted and changing thickness. Everything is as if in a blur, somewhat unfocussed, which gives the image uncertainty, incompleteness. This quality takes root later on. The chief colour is ochre with a predominance of yellow (about 20-40-80% on the CMY scale) with some small flecks of other colours (e.g. red, green). The colour is lively, fluttering, but it is already no more connected with light-and-shade. In the structure of the colour spots there is a gradual transition from wide (but heterogeneous and picturesquely developed) colourful planes to the predominance of fractionality, an abundance of alternating small (but generalised in the drawing) details. In some pieces it creates an impression of a certain flickering. Still lifes are less choppy than in the previous period, more regular, no longer skewed. The first harlequin appears (catalogue raisonné No. 419), his figure is constructed according to approximately the same rules. A white plate of fruit appears (catalogue raisonné No. 467), sometimes reminiscent of a palette, it will long excite the artist's imagination. Participation in exhibitions: one or two group exhibitions per year; solo exhibition at Galerie Jeanne Castel (1933). |