It takes an exhibition. Despite being in his studio every day, Lennart Anderson, who died in 2015 left a relatively modest oeuvre. An artist of legendary tonal subtlety, he obsessively reworked his classical idylls, contemporary street-scenes, portraits and still lifes over many years. In his last decade, Anderson was the victim of macular degeneration, persevering nonetheless with up-close paintings dependent upon peripheral vision: like, in their late years, his artist touchstones Titian and Degas, he was legally blind. Now, with sponsorship from the American Macular Degeneration Foundation, among others, the New York Studio School has mounted a traveling exhibition of his work that draws together over two dozen heavy hitters from his sparse output that reveals the vastness of his quiet painterly ambition.
The panel of three painters (Rickert is co-curator with Graham Nickson of the Studio School exhibition, on view through November 28) is moderated by David Cohen and takes place amidst the Resnick-Passloff’s own newly-opened exhibition “Jane Freilicher and Thomas Nozkowski: True Fictions”. The Anderson exhibition’s sumptuous catalogue ($45) will be available with contributions by Martica Sawin, Susan Jane Walp, and Paul Resika, and an interview with the artist by Jennifer Samet.
The panel is sold out, but standby tickets ($15) will be released at 4.15pm. 87b Eldridge Street, between Grand and Hester.
Lennart Anderson, Nude, 1961-1964. Oil on canvas, 58-1/2 x 50 inches. Brooklyn Museum, John B. Woodward Memorial Fund
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