Los Angeles

“New British Painters”

Feigen/Palmer Gallery

Many years have passed since Washington Irving could refer to “the indiscriminating bigotry with which some of our countrymen admire and imitate everything English, merely because it is English” and Emerson feel the need to attack the timidity of the American who had “listened too long to the courtly muses of Europe.” Although American Anglophilia is not entirely a dead issue in certain literary circles, its counterpart, the satellitic single-mindedness with which young English artists now look to the United States as the arbiter elegantiarum, is the current scene. The remarkable impact of the 1956 Tate exhibition, “Modern Art in the United States,” the Pollock retrospective at the Whitechapel Gallery in 1958, and, most important of all, the 1959 Tate showing of “The New American Painting” is ancient history in Anglo-American relations. Or so it seems. Pop, optics, and “post-painterly

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