New York

Claude Yvel and Henri Cadiou

New York Cultural Center

The Museum of Modern Art’s modest exhibition “Collage and the Photo Image” seems to have been mounted as a pleasant way to pass the summer, but it forms a surprisingly effective confutation of a dead serious, reactively polemical exhibition at the New York Cultural Center, “Reality and Trompe-L’oeil,” “by French New Real Painters.” The French New Real Painters are but four in number, and of the four Claude Yvel gets the most space and makes the catalogue statement. Those paintings in the show that are not a direct ripoff of Harnett, Peto, and 19th-century American trompe-l’oeil painting in general—and most of the paintings are of that variety, coyly updated—amount to Parisian back street versions of Richard Estes. In his catalogue statement Yvel writes that once Gauguin said “Painting must never lapse into anecdote or trompe-l’oeil,” all art became abstract on that advice; all art, that

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