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Rose Wylie, Theatre Painting (Black Spots), 2015, diptych, oil on canvas, overall 6' × 10' 6 3/4".

Rose Wylie

VW (VeneKlasen/Werner)

Rose Wylie, Theatre Painting (Black Spots), 2015, diptych, oil on canvas, overall 6' × 10' 6 3/4".

Rose Wylie’s exhibition “Dressed to Kill” opened a fortnight after Halloween and featured among its ten characteristically outsize, often multipanel paintings several whose iconography revolved around seasonal treats—chocolate gravestones, chocolate ghosts, etc. The rooms smelled strongly of fresh oil paint; most of the works were brand-new. One was led to assume, viewing and whiffing them, that Wylie—now eighty-one, though her idiosyncratic, sophisticated yet naive-looking work has only really found favor this last decade—had waited until the last possible moment before deciding what sensory experiences she’d deliriously transmute, then produced a lot of paintings at once, riding nervous energy. She interspersed the ghoulish canvases with others drawing variously on memories of her deep-green Kentish garden, a trip to the theater, and the Brian De Palma slasher

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