New York

John Ferren

A. M. Sachs Gallery

John Ferren’s was a sympathetic show, and while I confess that for me part of its appeal is in the memories it evokes of bygone days, when this artist seemed more important than he does today, the exhibition is worthwhile in another respect, too. The work in it may be divided roughly into two classes, those paintings which are entirely rectilinear and the others. The latter are obviously emotive in their interest; without intending to make an irrelevant and unilluminating analogy, I thought that many of them were rather like Tantric art in their insistence on formal symmetry when the feeling behind them was anything but rigid. And of course Ferren’s color is even more emotive than his form. The reason I thought the show was worthwhile is simply that I realized its qualities of feeling are to be found in a great deal of coloristic work which, in appearance, is so rigorously disciplined and

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