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Tony Rizzo shows paint­ings limited in concept, tight in execu­tion, done in showcard colors, ultimately derived from Eugene Berman’s theatri­cal grab-bag of sets and props. Cornelius Cole shows sensitive gesture drawings that owe much to Daumier and Charles Dana Gibson. He is unpretentiously in­terested in people and what people do. His paintings are luminous and pleasant.

Joan Hugo

Francis Bacon, “Study for Portrait II,” 1956. Courtesy, Marlborough Gallery.
Francis Bacon, “Study for Portrait II,” 1956. Courtesy, Marlborough Gallery.
December 1962/January 1963
VOL. 1, NO. 7
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