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PRINT March 1971

Unconventional Realists, Part II: Sculpture

“THUS IN PLACE OF A SELF-RESPECTING art worthy of its ancient lineage, the Paris of yesterday—that is, the Paris of immediately before the war (W.W. 1)—offered her visitors the puerile effronteries of these harlequins, delighting through their very ineptitude a public avid of new sensations. Unbridled realism and cleverness had run their course, and the jaded critics found refreshment in pretense of naiveté and willful bungling.

“One protests that these things are merely the front of the annual exhibitions, that there is always a great body of good work, less obtrusive because decent. The serious masters toil on unmoved, and the epidemic would speedily have run its course. This is doubtless true, but the fact remains that there has been for some time a weakness in French sculpture (n.b., we would say French academic sculpture) far more real and more deplorable than any sporadic attack of

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