John Richardson

The enormous excitement that greeted the Rembrandt self-portrait from Kenwood House, recently on loan to the Metropolitan Museum of Art, has left me feeling a little sheepish, because my reaction was so much less enthusiastic than that of many people I know. In this extraordinarily famous painting, the artist stands before us in the clear light of day, his palette in his left hand, his face rumpled and pale, his small dark eyes uneasy. There is no presumption of personal attractiveness, only the blunt assertion of a man’s presence.

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Generations

Picasso: Mosqueteros--Gagosian Gallery Younger Than Jesus--New Museum The Pictures Generation, 1974-1984--Metropolitan Museum of Art Compass in Hand--Museum of Modern Art The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea. People did not just come and look.

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Generations

PICASSO: MOSQUETEROS GAGOSIAN GALLERY   YOUNGER THAN JESUS NEW MUSEUM   THE PICTURES GENERATION, 1974-1984 METROPOLITAN MUSEUM OF ART   COMPASS IN HAND MUSEUM OF MODERN ART   The exhibition of Picasso's late work at the Gagosian Gallery this spring was a phenomenon. Day after day, Gagosian's huge space on West 21st Street attracted a remarkably heterogeneous public, a mix of artists, art students, Brooklyn hipsters, well-heeled professionals, and European and Asian tourists, gathered together in a way I do not recall seeing before, certainly not in Chelsea.

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