PRINT Summer 1969




In his article on de Kooning (April), Darby Bannard tries very hard not to write like a painter. He seems to be influenced by a current style of art criticism which translates the visual into an indirect language based on logical and sociological ideas. A year ago he objected to the phrase “lemon yellow” for a color in a painting, preferring “light yellow green” as more accurate. The first phrase implied a particular sensation, the second that color is an intellectual idea. The second is a critic’s term; and to be as indirect and accurate as Bannard wants, it requires also that one be told the chemical names of the pigments and the manufacturer, for anyone (relying on his senses) knows that Winsor Newton’s cadmium green pale is different from Block’s.

He uses the word “quality” as a category of, excellence, as a teacher might, who has to give marks. An artist who wants to remain inside

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