San Francisco

Raymond A. Whyte

Galerie de Tours

This odious rubbish which purports to be “academic” in terms, here, of the “fin de siécle” studio “trompe-l’oeil,” and there, of the architectural motifs and perspectives of the Tuscan Manier­isti, can hardly be taken seriously enough to merit discussion. In addition to the copy-easel themes already men­tioned, there is a quasi-Flemish Interior, a quasi-Barbizon Pastorale, and some quasi-Pre-Raphaelite Damoiselles. If one wishes to affect this sort of Boston dowager Traditionalist pedantry, one should at least have the ability to draw well, which Mr. Whyte does not. One glance at a few calendar nudes, perched on Florentine pedestals or posed against Parrish Print idyllic landscapes, and the “academic” ruse falls, literally, flat: neither the anatomy (mailing-tube arms which are hardly ‘manneristic’ but mere­ly inept), the drawing, nor the painting would pass novitiate criteria for an Atelier of any of the traditions to which these nauseating confections pay dub­ious tribute.

Palmer D. French