Winter 1968 • Vol. XXX No. 1 Nonfiction |

In Defense of Dufy

Whether the pleasure he has gained for himself be shared or not, whether his work be in concord or contradiction with the tastes of the times, whether it be ahead or behindhand, the artist is neither able to do anything about it nor concerned to try.—Raoul Dufy Of the great French artists who have died within the last twenty years, Raoul Dufy (1877-1953) is most in need of re-evaluation. Some critics who have written about him recently, in connection with the large show that opened at a Madison Avenue gallery in November 1965 and then went to the Honululu Academy of Arts and the Phoenix Art Museum, have tried to be kind to him and his work, to excuse his "lapses," to apologize for his "shortcomings," to salvage him as an amiable, if minor, figure. Others have rudely dismissed him as a confectioner who, at one stage, decided to rest back on a repetitious formula by capitalizing on a successful mannerism, thus selling himself out for an easy triumph. Finally, there are those cr

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