Imust admit that until I visited the exhibition “Suzy Frelinghuysen and George L.K. Morris, American Abstract Artists,” I had seen relatively little work by either of the husband and wife team who are the show’s protagonists.[1] Morris (1905-1975), I knew, was one of those affluent, sophisticated, well-traveled Americans—like his contemporary Lincoln Kirstein—who served as missionaries for Modernism at a time when most of their countrymen were wondering whether that newfangled European stuff really was art at all. I knew, too, that like Kirstein, Morris was an admirer of Gaston Lachaise and—again like Kirstein—had his portrait done by the expatriate French sculptor. (Even more impressive, Morris owned Lachaise’s monumental reclining nude La Montagne, still in the Massachusetts woods where the artist and...

 
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