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AN AD FOR FELIX

I’VE BEEN TOLD THAT FELIX’S paintings look like ’50s toilet-paper ads, so let’s say that Felix is one of the Delsey School. When propagandizing a painter’s work the simplest expedient is to preempt possible criticism by inverting it into a positive quality. If a work will be attacked as too much like postwar commercial art, simply state that postwar commercial art was great, embodied all future myth, and then trace recent painting from it: David Bowes, Samantha McEwen, Felix, and the rest of the Delsey School. Because something resembles another thing doesn’t make it that thing.

But in truth, weren’t the illustrations of Jon Whitcomb and Edwin Georgi in Ladies’ Horne Journal or McCall’s the stuff of myth? I’ll never forget, even through the exquisite mists of my childhood, a billboard for milk by Georgi (in my earliest youth the names of illustrators in the popular press were as familiar

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