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The aim of this article is to verify the intense relationship that has been maintained between the cinematographic medium and the artistic Avant-gardes, especially with painting. In order to do so, we analyse how the latter –after its historical interest in representing the movement– looks at the cinema, being influenced by it, which we can demonstrate through the examples that will follow. But the most interesting thing is perhaps to show how, after the mentioned relation, a certaindoaj:daf4be6930934a24943ee5b27d5abf69 fatcat:aeqys3powzfhbibfali4v7d7hi