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James Bishop, Untitled (Bank), 1974, oil on canvas, 76 3/4 × 76 3/4".

James Bishop

Annemarie Verna Galerie

James Bishop, Untitled (Bank), 1974, oil on canvas, 76 3/4 × 76 3/4".

When John Ashbery died last year, the New York press reacted as if an epoch had come to a close. The poet is gone, but some witnesses of his generation are still with us. James Bishop is now ninety years old, and still working in the countryside outside Paris. Back in the 1960s, Ashbery succinctly nailed Bishop’s work when he described it as “Post-Painterly Quattrocentro”—“Quattrocentro” because of Bishop’s fierce loyalty to oil paint and to the paradoxical possibilities of the painting as window, and “Post-Painterly” because of his immediate struggle with the work of Robert Motherwell, Ellsworth Kelly, and Ad Reinhardt, painters who formed the backdrop of his maturation as an artist. Holland Cotter has called Bishop “best known for being underknown,” and despite Cotter’s admiration, as well as considered articles by Carter Ratcliff, Molly Warnock, and others, this remains

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