128
synthetic, a simplification, a pre–
mise attempted rather than es–
tablished, an abstraction, an arti–
fact instead of a fact.
This nude, therefore, represents
a frontier in painting-after the
experience of her being (and Mo–
digliani's), European passion turns
and rends itself.
The ensuing chaos, and the at–
tempts to regain confidence, have
been going on for almost a half–
century. We live intimately with
a conscious knowledge of quick–
change, relative values, uncertain–
ty, absolute conclusions that last
a season, the upheaval mentality of
industrialism. We find that in–
stead of becoming inured, our pas–
sions survive and seek new means.
When we look at a painting by
Modigliani, for example, we are
reminded that some things have
not been as profoundly affected as
first appeared-human character
remains, and the human body, and
we are face to face again with the
challenges of beauty as well as of
horror.
The fact that Modigliani
IS
"in
fashion"
is
incidental. Fashions
come and go. Fashion is a gen–
eralization. Art, like the artist, is
attracted to the particular. In this
painting by Modigliani, a new
restraint contests with a new sen–
suality, and both win. The result
is a new loveliness.
Leslie Katz
STATEMENT OF THE OWNERSHIP, MANAGEMENT, AND CIRCULATION REQUIRED
BY THE ACT OF CONGRESS OF AUGUST 24, 1912, AS AMENDED BY THE ACTS
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Of Partisan Review publisbed Bi-monthly at New York, N. Y. for October I, 1951.
1.
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