{"id":99909,"date":"2016-06-29T15:13:54","date_gmt":"2016-06-29T19:13:54","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=99909"},"modified":"2016-06-30T11:46:05","modified_gmt":"2016-06-30T15:46:05","slug":"intimisms","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/06\/29\/intimisms\/","title":{"rendered":"Intimisms"},"content":{"rendered":"<p><em>\u201c<a href=\"http:\/\/www.jamescohan.com\/exhibitions\/2016-06-23_intimisms\" target=\"_blank\">Intimisms<\/a>,\u201d a new group exhibition at James Cohan Gallery, looks at\u00a0the legacy of the Intimists, a group of late nineteenth- and early twentieth-century artists\u2014Jean-\u00c9douard Vuillard and Pierre Bonnard among them\u2014remembered for the rich closeness and empathy of their\u00a0portraiture. The French writer and critic Camille Mauclair defined intimism as \u201cpsychologic poetry in painting \u2026 a revelation of the soul through the things painted, the magnetic suggestion of what lies behind them through the description of the outer appearance, the <\/em>intimate meaning<em>\u00a0of the spectacles of life \u2026 the daily tragedy and mystery of ordinary existence, and the latent poetry in things.\u201d The artists in this exhibition aim to further that tradition.<\/em><\/p>\n<div id=\"attachment_99923\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830.jpg\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99923\" class=\"wp-image-99923\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830.jpg\" alt=\"\" width=\"600\" height=\"453\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830-300x227.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830-768x580.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/park_gahee_nighttalk_2016_jcg86830-1024x773.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99923\" class=\"wp-caption-text\">Gahee Park, <i>Night Talk<\/i>, 2016, oil on canvas, 85&#8243; x 65&#8243;.<\/p><\/div>\n<p><!--more--><\/p>\n<p>&nbsp;<\/p>\n<p><div id=\"attachment_99910\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0.jpg\" rel=\"attachment wp-att-99910\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99910\" class=\"wp-image-99910\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0.jpg\" alt=\"\" width=\"600\" height=\"450\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0-300x225.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0-768x576.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/mcallister_blazing_oceans_murmur_of_a_cloud_2015_jcg8570_0-1024x768.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99910\" class=\"wp-caption-text\">John McAllister, <i>blazing oceans murmur of a cloud<\/i>, 2015, oil on canvas over panel, 72&#8243; x 168&#8243;.<\/p><\/div> <div id=\"attachment_99911\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0.jpg\" rel=\"attachment wp-att-99911\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99911\" class=\"wp-image-99911\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0.jpg\" alt=\"\" width=\"600\" height=\"399\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0-300x199.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0-768x511.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/freud___small_figure0-1024x681.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99911\" class=\"wp-caption-text\">Lucian Freud, <i>Small Figure<\/i>, 1983\u201384, oil on canvas, 8 7\/8&#8243; x 13&#8243;.<\/p><\/div> <div id=\"attachment_99912\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170.jpg\" rel=\"attachment wp-att-99912\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99912\" class=\"wp-image-99912\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170.jpg\" alt=\"\" width=\"600\" height=\"790\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170-228x300.jpg 228w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170-768x1011.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/eilshemius_untitled_nude_at_bath_c19170-778x1024.jpg 778w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99912\" class=\"wp-caption-text\">Louis Eilshemius, <i>Untitled (Nude at Bath)<\/i>, c. 1917, oil on paperboard mounted to Masonite, 25 1\/4&#8243; x 19 1\/8&#8243;.<\/p><\/div> <div id=\"attachment_99913\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360.jpg\" rel=\"attachment wp-att-99913\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99913\" class=\"wp-image-99913\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360.jpg\" alt=\"\" width=\"600\" height=\"822\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360-219x300.jpg 219w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360-768x1052.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/neel_john_lucca_1960s_jcg86360-748x1024.jpg 748w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99913\" class=\"wp-caption-text\">Alice Neel, <i>John Lucca<\/i>, 1960s, oil on canvas, 44&#8243; x 32&#8243;.<\/p><\/div> <div id=\"attachment_99914\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560.jpg\" rel=\"attachment wp-att-99914\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99914\" class=\"wp-image-99914\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560.jpg\" alt=\"\" width=\"600\" height=\"1073\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560-168x300.jpg 168w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560-768x1374.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/brown_joan_twenty_to_nine_1972_jcg86560-572x1024.jpg 572w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99914\" class=\"wp-caption-text\">Joan Brown, <i>Twenty to Nine<\/i>, 1972, oil enamel on Masonite, 90&#8243; x 48&#8243;.<\/p><\/div> <div id=\"attachment_99915\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20.png\" rel=\"attachment wp-att-99915\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99915\" class=\"wp-image-99915\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20.png\" alt=\"\" width=\"600\" height=\"237\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20.png 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20-300x119.png 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20-768x304.png 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/image_20-1024x405.png 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99915\" class=\"wp-caption-text\">Sylvia Sleigh, <i>Max with Angels<\/i>, 1999, oil on canvas, 52&#8243; x 20&#8243;.<\/p><\/div> <div id=\"attachment_99916\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210.jpg\" rel=\"attachment wp-att-99916\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99916\" class=\"wp-image-99916\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210.jpg\" alt=\"\" width=\"600\" height=\"601\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210-300x300.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210-768x769.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_line_rose_2016_jcg87210-1022x1024.jpg 1022w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99916\" class=\"wp-caption-text\">Ridley Howard, <i>Line Rose<\/i>, 2016, oil on linen, 6&#8243; x 6&#8243;.<\/p><\/div> <div id=\"attachment_99917\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0.jpg\" rel=\"attachment wp-att-99917\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99917\" class=\"wp-image-99917\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0.jpg\" alt=\"\" width=\"600\" height=\"603\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0-298x300.jpg 298w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0-768x772.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_midnight_2016_jcg8720_large0-1018x1024.jpg 1018w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99917\" class=\"wp-caption-text\">Ridley Howard, <i>Midnight<\/i>, 2016, oil on linen, 6&#8243; x 6&#8243;.<\/p><\/div> <div id=\"attachment_99918\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190.jpg\" rel=\"attachment wp-att-99918\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99918\" class=\"wp-image-99918\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190.jpg\" alt=\"\" width=\"600\" height=\"600\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190-150x150.jpg 150w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190-300x300.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190-768x768.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/howard_ridley_peach_sunrise_2016_jcg87190-1024x1024.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99918\" class=\"wp-caption-text\">Ridley Howard, <i>Peach Sunrise<\/i>, 2016, oil on linen, 9&#8243; x 12&#8243;.<\/p><\/div> <div id=\"attachment_99919\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0.jpg\" rel=\"attachment wp-att-99919\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99919\" class=\"wp-image-99919\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0.jpg\" alt=\"\" width=\"600\" height=\"799\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0-225x300.jpg 225w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0-768x1023.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/taylor_fawn_rogers_2015_jcg8259_large_crop0-769x1024.jpg 769w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99919\" class=\"wp-caption-text\">Henry Taylor, <i>Fawn Rogers<\/i>, 2015, acrylic on canvas, 42&#8243; x 35 1\/2&#8243;.<\/p><\/div> <div id=\"attachment_99921\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0.jpg\" rel=\"attachment wp-att-99921\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99921\" class=\"wp-image-99921\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0.jpg\" alt=\"\" width=\"600\" height=\"728\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0-247x300.jpg 247w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0-768x931.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/glantz_blind_ace_2016_jcg8714_crop0-844x1024.jpg 844w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99921\" class=\"wp-caption-text\">Anna Glantz, <i>Blind Ace<\/i>, 2016, oil on canvas, 56&#8243; x 46&#8243;.<\/p><\/div> <div id=\"attachment_99922\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124.jpg\" rel=\"attachment wp-att-99922\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99922\" class=\"wp-image-99922\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124.jpg\" alt=\"\" width=\"600\" height=\"484\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124-300x242.jpg 300w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124-768x620.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/nisenbaum_moias_nyc_womens_cabinet_2016_jcg87124-1024x826.jpg 1024w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99922\" class=\"wp-caption-text\">Aliza Nisenbaum, <i>MOIA\u2019s NYC Womens Cabinet<\/i>, 2016, oil on linen, 68&#8243; x 85&#8243;.<\/p><\/div> <div id=\"attachment_99925\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410.jpg\" rel=\"attachment wp-att-99925\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99925\" class=\"wp-image-99925\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410.jpg\" alt=\"\" width=\"600\" height=\"809\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410-223x300.jpg 223w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410-768x1035.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/treib_m_a__reading_2015_jcg87410-760x1024.jpg 760w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99925\" class=\"wp-caption-text\">Patricia Treib, <i>M.A. Reading<\/i>, 2015, watercolor and gouache on paper, 12 1\/2&#8243; x 9 1\/2&#8243;.<\/p><\/div> <div id=\"attachment_99926\" style=\"width: 610px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900.jpg\" rel=\"attachment wp-att-99926\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-99926\" class=\"wp-image-99926\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900.jpg\" alt=\"\" width=\"600\" height=\"1058\" srcset=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900.jpg 1900w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900-170x300.jpg 170w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900-768x1354.jpg 768w, https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2016\/06\/packer_jennifer_april_2016_jcg86900-581x1024.jpg 581w\" sizes=\"auto, (min-width: 62.5em) 67vw, 100vw\" \/><\/a><p id=\"caption-attachment-99926\" class=\"wp-caption-text\">Jennifer Packer, <i>April<\/i>, 2016, oil on canvas, 28&#8243; x 16&#8243;.<\/p><\/div><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cIntimisms,\u201d a new group exhibition at James Cohan Gallery, looks at\u00a0the legacy of the Intimists, a group of late nineteenth- and early twentieth-century artists\u2014Jean-\u00c9douard Vuillard and Pierre Bonnard among them\u2014remembered for the rich closeness and empathy of their\u00a0portraiture. The French writer and critic Camille Mauclair defined intimism as \u201cpsychologic poetry in painting \u2026 a revelation [&hellip;]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[1659,23043,23042,23046,16425,23035,23041,23034,23033,14425,23045,23038,23036,23037,3108,13808,4154,23044,23040,23039],"class_list":["post-99909","post","type-post","status-publish","format-standard","hentry","category-look","tag-alice-neel","tag-aliza-nisenbaum","tag-anna-glantz","tag-camille-mauclair","tag-exhibitions","tag-gahee-park","tag-henry-taylor","tag-intimism","tag-intimists","tag-james-cohan-gallery","tag-jennifer-parker","tag-joan-brown","tag-john-mcallister","tag-louis-eilshemius","tag-lucian-freud","tag-painters","tag-paintings","tag-patricia-treib","tag-ridley-howard","tag-sylvia-sleigh"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - 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