The Truth About Lorin Jones

PAOLO CARDUCCI,

owner and director of the Apollo Gallery, New York, Lorin Jones’s former dealer

Yes, in nineteen-fifty-four. She had two little oils in our Christmas group show that year, as you say.

Both of them sold quite soon. Of course, as an unknown, her prices were minuscule. But I think it did give her considerable encouragement.

Through Garrett, yes. Though naturally, if I hadn’t seen something interesting in her work, that would have made not the slightest difference.

Well, it’s hard to say. These intuitions are so very private and intangible. But I was correct, you see, wasn’t I?

Two watercolors and a large oil in nineteen-fifty-seven? I imagine that’s right. But I’ll ask Jacky Herbert, my assistant, to check our files and give you all the details.

Yes, I think you could say that both the one-woman shows were successful.

I don’t believe everything was sold, no. But on balance we did rather well. But again, you can get the data from Jacky.

That’s a rather difficult question. Perhaps it’s best to say that I didn’t feel she was ready for another exposure yet.

No, it wasn’t exactly a matter of her not having enough paintings on hand.

Very well, to be frank with you, yes. As Garrett says, there was a definite falling-off in the quality of her work. And a gallery like this has a reputation to maintain, you must realize.

It’s hard to answer that. I think what I saw was a certain confusion, a lack of control, a series of experiments that didn’t seem to be going anywhere.

Of course, it might have been temporary, but unfortunately —

Naturally, you have a right to your opinion. But I believe it’s generally agreed that those late paintings —

How do I explain it? Well, I’m afraid it’s something one occasionally sees in an artist’s work. There is a brilliant debut, but no staying power. Take, for example ...

Yes, to tell the truth, I do think that it happens more often with the women.

No. As a matter of fact, in my honest opinion, there’s never been a woman artist of the very first rank.

Certainly, Cassatt did some rather fine things. But even her best work is a bit derivative, isn’t it? And when you compare her to her contemporaries, her masters: Manet, Renoir. Well, now, really —

O’Keeffe? Yes, she’s very popular just now. And of course she was a remarkable personality. But just between us, Miss Alter, isn’t there something a little forced there, a little slick? Those smooth flat surfaces, those creamy pastels; rather like the American advertising art of the thirties, I’ve always thought.

No, I was very glad to show Lorin’s work. She had a definite talent, and her paintings were accessible. A dealer can’t always fill his gallery with masterpieces, you know.

Well of course there are many anomalies in nature. I wouldn’t want to predict that there never will be one. But essentially I think it goes against the grain. It is the same in music and the theater. Women have been magnificent performers, oh yes. Singers, concert artists, dancers, actresses; because it is natural for the woman to display herself. But as composers, or dramatists — well, you know as well as I do —

In literature, yes, to some extent. But then a novel or a poem is a kind of performance, is it not? And even so, the highest level of achievement is very rare. You see, it goes against the grain. A real woman, like my wife, she doesn’t have the impulse to create works of art; she is a work of art.

Yes, I have heard that argument.

Please, don’t mistake me. I said nothing about critics; women have excelled at criticism for centuries, unfortunately.

If you want to believe that, of course it is your privilege.

I really can’t answer that question, I’m afraid.

I have no idea; and I do not sit here to listen to insults of my profession.

All right, Miss Alter, you are sorry; very well. But excuse me, I don’t give you any more time now. I’m expecting a client.

I suppose you could try calling my secretary next week. She may be able to set up another appointment.