New York

Giorgio Cavallon

Gruenebaum and Patricia Learmonth galleries

Giorgio Cavallon was represented this spring by three large shows. Early paintings, from the ’50s, were exhibited at Learmonth. A much better group of new paintings were shown at Gruenebaum. (There was a retrospective at the Brooklyn Museum, too, but I did not see it.)

The main feature of Cavallon’s paintings is their presentation of a certain, but ambiguous, kind of light. Hilton Kramer, in an unusually poetic mood, calls this emanation “a delicate white radiance, romantic and other-worldly.” Almost all the more interesting paintings have an underlayer suggestive of grid-like structures, blocked out in strong, full color. Over that, to obscure the. “rigidity” of the quasi-grid, he paints fuzzier, random rectangles of white, yellow, or pastel color. Occasionally, there is a shot of forest green or bright orange. The surface layer often seems to be Rothkoesque, until one realizes that Rothko

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