In this exhibition, Christopher Le Brun, the president of the Royal Academy of Arts in London, offers twelve new compositions, all painted in the past two yearssome, such as Vocative, Score, and Symphony, all 2016, alluding explicitly to music, and others, such as Strand (thus the light rains, thus pours), 2016, and Goldengrove, 2015–16, to nature. (The show was presented in conjunction with an exhibition at the Gallery at Windsor, Vero Beach, Florida.) The title of White, Blue, White, 2016, simply names the colorsoften richly tonal, sensitively nuanced, and atmosphericthat appear in the painting, and that of The Poet Architect, 2016, suggests that the painting is a poetic structure. All of Le Brun’s paintings are “pure,” in Clement Greenberg’s classical sensethat is, they put a “higher premium on sheer visibility” than “on the tactile and its associations,
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