It has been forty years since Bradley Walker Tomlin (1899–1953) last had a retrospective. The stated rationale of this exhibition is to bring home to the Hudson Valley the Syracuse-born artist who lived in New York and chose to have a place in Woodstock. But a deeper reason is to attend to an artist who, now as then, is overlooked. In the years right after his early death, Tomlin was admired by collectors and museums of high and advanced taste. Since then, the distinctive paintings of his final years these patrons and institutions so admired have not been given the respect they deserve. But, curiously, the absence of huge market values and an established body of criticism lends the works an independence and a freshness. They are open for the looking. I experienced this show not as an invitation to consider an unfairly diminished reputation, or the work made by an artist who was
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