new-york

The New York Painter

Marlborough-Gerson

So little data linking the various generations of American artists exists that an exhibition like The New York Painter, which documents such connections, is indeed welcome. Representing a capsule survey of American art, the exhibition, a benefit for the N.Y.U. art collection, assembles an entirely respectable if not exactly overwhelming group of works. The main point of the show is to establish relationships between teachers and students. For this purpose a useful chronological chart is made available, which provides us with a few interesting historical footnotes, such as, for example, that Reginald Marsh, John Graham, Barnett Newman and Adolph Gottlieb were all students of John Sloan.

The picture of American art education that emerges from such a survey has to be partial, however, because, outside of Henri, Chase, Sloan and Hofmann, the most influential American art teachers were not

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