New York

Claude Monet

Richard L. Feigen And Co

The Monet show is hard to judge, partly because of the installation, which is extremely bad. Not many paintings of the last hundred and fifty or so years would appear to advantage in such narrow quarters, and Monet’s after the 1870s are not among them. The hanging, conspicuously without chronology, was also bewildering. The paintings had, in addition, to fight a décor of marble and metal that subdued all but two or three, which were painted in a kind of art nouveau style that is of course very closely related to the Pop art déco of the gallery. The selection is also bad—where the paintings are good, they are very well known; where they are less familiar they are often bad. This is not the time for an overall survey of Monet anyway—by now the old view of his work, as part of a coherent movement called Impressionism, of which the aim was to render sensations, has been almost wholly discredited,

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