New York

Max Weber: The Years 1906–1916

Bernard Danenberg Galleries

Max Weber’s early work—the show of it at the Danenberg Galleries preceded that of Archipenko—is even more eclectic; and partly for this reason it is hard to evaluate. Taken singly, most of the paintings in it are adequately good, some of them perhaps quite good; but their wild variations in style are of course characteristic of an artist who has not found himself; and even when artists of this kind do good work there are valid reasons for not taking it very seriously. In the end, the principal reasons for taking it seriously are reasons of cultural history and sociology—the problems of being an artist in America, the situation of the modernist movement in America, and so on—rather than reasons of artistic interest strictly speaking.

Weber began as an American Fauve, and during the period covered by this show (it extends to 1916) he never did give up a kind of Fauvist interpretation of early

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