New York

Philip Pearlstein

Frumkin Gallery

Philip Pearlstein continues to paint large life paintings—and, now, some landscapes too—that rely on cropping, a shallow space, and the precedence of drawing over color. Reflected light intrudes only as a last resort, to make possible a complicated transition that’s got to take place in a restricted space. In—for example—Two Female Models with Drawing Table, 1973, color plays an important role only twice. In the seated figure, reflected light is used to bracket the transition from the side of her torso that’s cast into shadow by her right arm to the visible part of her left calf, which is close to the front of the picture and suspended over the stool. This is a complicated movement—around a form and in and out of the painting—and it forces Pearlstein to resort to more than line and value. As does the problem of the other figure’s integration with the space behind her. Pressed against the

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