new-york

Richard Lindner

Spencer A. Samuels

The watercolors by Richard Lindner are not up to this artist’s best level, but they mark another step in the recovery of his work. Until about the mid-’50s, Lindner had achieved some remarkable things, which fused the deep space necessary to basically figurative erotic images with a flatness and schematism of design that translated in fascinating manner the fixated quality of that eroticism and the rigidity of the conscience that repressed it. They were also beginning to combine the eroticism, which until then had been highly personal, with images of a more public nature, into which the artist tried to project or into which he tried to infuse his private experiences. But after the mid-’50s Lindner seemed unable to find a repertory of subjects that could provide a suitable vehicle for these problems, with the result that his work retained only the look of what it had been before, and even

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