A rather nondescript listing, in the February Gallery Guide for “Marsden Hartley”—that fascinatingly complex American painter—prompted a trip to Babcock Galleries on 57th Street. But stepping out of the elevator, I found myself waylaid in the entryway gallery by a group show culled from Babcock’s inventory. A painting of a young boy by Edwin Dickinson Read More
A rather nondescript listing, in the February Gallery Guide for “Marsden Hartley”—that fascinatingly complex American painter—prompted a trip to Babcock Galleries on 57th Street. But stepping out of the elevator, I found myself waylaid in the entryway gallery by a group show culled from Babcock’s inventory. A painting of a young boy by Edwin Dickinson Read More
What on earth prompted the painter Burgoyne Diller (1906-1965), whose work is the subject of an exhibition at the Michael Rosenfeld Gallery, to take up sculpture? Diller, an American follower of Mondrian, was incapable of treating an aesthetic decision lightly; the move to make sculpture came, no doubt, after prolonged consideration. Maybe an explanation can Read More
Less Is More: Diller Thrived
On Limitations of Painting
What on earth prompted the painter Burgoyne Diller (1906-1965), whose work is the subject of an exhibition at the Michael Rosenfeld Gallery, to take up sculpture? Diller, an American follower of Mondrian, was incapable of treating an aesthetic decision lightly; the move to make sculpture Read More
