Martin Barré’s work refutes the American view that painting is something that could be used up — as if it came in a pail rather than a well.
Opening in the shadow of the Paris attacks, the exhibition Collected by Thea Westreich Wagner and Ethan Wagner represents — as Adam Weinberg, the director of the Whitney Museum of American Art, said in his remarks at the press preview — “a celebration of what matters in life.”
Some abstract painters are harder to fathom than others. In fact a few of them seem quite hopelessly indecipherable. A case in point is French painter Martin Barré (1924-1996), who has been receiving increasing and well-deserved attention in New York these past ten years.