The exhibition’s (flawed) focus on
1. Does the red section mean "the exhibition was not focused on Picasso’s art after Guernica"?
2. Does the green section mean "the situation looked even worse because Guernica was already in New York and exhibitions did not show tendency to it"?
Context:
In his Arts Magazine review of MoMA’s 1957 Picasso retrospective Greenberg foregrounds the artist’s advanced age as an index of the breadth of his artistic production but also as an indicator of his decline. Greenberg sees this palpably demonstrated in the exhibition’s (flawed) focus on Picasso’s art after Guernica. The Picasso who could be accepted by New York art institutions was therefore the young, pre-PCF Picasso, and not the political Picasso of Guernica and after. This was all the more awkward given the imposing physical presence of that painting in New York—Picasso had arranged for MoMA to keep Guernica beginning in 1939, and it was not returned to Spain until 1981.
Top answer
1. No, the opposite. 2.
- 1.
- No, the opposite.
- 2.
- The painting was in New York.
- Therefore it was all the more awkward that New York art institutions could not accept (recognise, approve of) that phase of Picasso's career.
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1. No, the opposite.
2. The painting was in New York. Therefore it was all the more awkward that New York art institutions could not accept (recognise, approve of) that phase of Picasso's career.
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