The emergence of a really fresh and distinctive voice in the realm of art criticism is a rarer phenomenon than is commonly supposed—rarer, certainly, than the emergence of a striking new talent in art. For this reason, as well as for others, the publication of Sanford Schwartz’s The Art Presence must be regarded as something of an event.[1] For this collection of essays on nineteenth- and twentieth-century painting, sculpture, and photography is the real thing—criticism that can be trusted to illumine rather than to obscure the objects of its attention. It displays a remarkable independence, too, both in the quality of its perceptions and in the very choice of its subjects. And it is written in a prose style that, while not without certain flaws, is lively, lucid, friendly, and completely faithful to the experience that animates it. Few recent books of art...

 

A Message from the Editors

Our past successes are owed to our greatest ambassadors: our readers. Our future rests on your support, as The New Criterion Editor Roger Kimball explains. Will you help us continue to bring our incisive review of the arts and culture to the next generation of readers?

Popular Right Now