new-york

Robert Greene

Robert Miller Gallery

Diana Vreeland and the postwar glory-days of Bazaar and Vogue are to Robert Greene roughly what the court and the commedia dell’arte have become since Watteau—a paradis perdu. Greene’s fêtes galantes are usually full of nimble, affectionate portraits of fashion icons, fellow artists, and friends. In these melancholic romances, a white standard poodle always plays the part of Scapino, while a shifting cast of characters makes cameo appearances, and sets of faintly incestuous twins or even triplets of both sexes stroll about, narcissistically, in supporting roles. Gamine protagonists who suggest Audrey Hepburn or Brigitte Bardot, sometimes modeled on the artists’ aunt and mother, enhance this air of ingenuous decadence. Greene’s louche and winsome little theater owes something to Federico Fellini, as well as to Billy Wilder, whose films, such as the Hepburn duo—Sabrina, 1954, and Love in

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