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A glamorization of modern art as revolutionary runs the risks, first, of neglecting what modern art may share with the past and, second, of promoting the myth of alienation from the past as an explanation of modernist fragmentation and destabilized order.
--John Elderfield, "Seeing Bonnard," 1998
When Julius Meier-Graefe reviewed Pierre Bonnard's 1933 installation at the Galerie Bernheim-Jeune, he remarked, "I should never have guessed that this singer of radiant hymns, this idyllic painter and sole transmitter of the lyricism of Renoir, could produce quite this type of work." He concluded:
One could wish that some ambitious friend of the ...