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Notes

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After moving to Paris in 1926, Marjorie Watson-Williams took the name Paule Vézelay to disguise her nationality. In the late 1920s, Vézelay’s work moved towards abstraction as well as adopting surrealist elements. Although two of the forms in 'Quatre Objets' are reminiscent of a vase and a bowl, Vézelay denied that her work at this time was representational. Her interest lay instead in creating a balance of form and colour within her paintings and constructions.