• Peter Selz’s The Work of Jean Dubuffet

    “The Work of Jean Dubuffet,“ by Peter Selz. Museum of Modern Art, N.Y., 1962. Illus., 187 pp.

    The exhibition is taken down; the paintings are returned to their owners, or to the artist’s studio. What remains is history, and more and more that history has come to be embodied in “the catalog.” Nowadays, the catalog is often a full-length book, written by some notable critic or curator. The exhibition brings forth the book; the book purports to be the history of the exhibition. If the books represent the paintings to have been something which they were not, how can they, stacked in corners or hanging

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  • British Art Since 1900

    British Art Since 1900, by Sir John Rothenstein. Phaidon, 1962.

    The picture of British painting and sculpture is, happily, not nearly so dreary as this book would lead one to believe; one must only keep in mind that almost the entire flock of painters and sculptors who have given vitality to English art in the last decade are completely ignored both in Sir John’s rather stuffy preface and in the deadening series of half-tone photographs following. (One would think that national pride, if nothing else, would encourage the publisher to be more lavish in color plates for the first illustrated survey

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