Posted inArt

Beware the Tragic Sublime

My first exposure to Eugène Leroy’s (1910–2000) work goes back to 1973: a small group in just as small a storefront in an eighteenth-century Flemish baroque-style building close to the historical center of Lille, a city on the French/Belgian border. I only went to see the show — mostly Flemish regional artists all of the same generation — at the insistence of some of my beaux-arts student friends. We stood in silence in front of a medium size painting by Leroy, trying to make sense of the profligacy of paint in front of us when we could barely afford the few tubes of oil paint we needed for our studies.