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| | Maurice Prendergast |
 | | Prendergast enthusiastically absorbed their basic doctrine that a painting, before representing anything, should be perceived as a flat surface covered with ordered patches of color. |
 | | Prendergast's color, clear, direct, and laid on very wet, coalesces in the bubble forms of open parasols red, Prussian blue, beige, white which echo the hues of the buildings, the Grand Canal, and the sky. |
 | | The sense of luminosity that Venice confirmed in Prendergast's work stayed with him in later years, as his compositions became more friezelike and abstract, with their rag doll people enacting scenes from modern pleasure spots which are at the same time rendered archetypal in all but the modern dress of the figures: beach, park, promenade. |
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