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During the mid teens, Duncan Phillips was not a wholehearted admirer of Bellows, though he respected his depictions of "stark, significant reality." At first, he disliked Bellows's portraits, in which the artist highlighted the face and hands, and thus reduced the illusion of volume. However, by the mid 1920s Phillips came to appreciate the artist's "seeing the sitter in full light" and even went so far as to state that "George Bellows…is an American Manet in his best portraits, and Emma in Black (sic.) is certainly one of these.”
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