Gallery showcases the abstract and the recognizable of portraiture’s second wind

The Age of Abstraction, if it truly happened, didn’t last long. As Reaves and Fortune note, Larry Rivers started painting figuratively in the early 1950s, less than a decade into the period the show covers. The pop artists he inspired were only a few years behind him, followed by Chuck Close, Alex Katz, Philip Pearlstein and many more.

Even before that, though, well-regarded artists resisted the labels — “abstract expressionist,” “action painter” — devised for them. Willem de Kooning, whose 1954 “Marilyn Monroe” reduces the actress to lips, eyes and hair, didn’t do a lot of portraits. But his expressionism was never purely abstract.

Amusingly, the work of the most famous theorists of post-war abstraction are both hanging here, painted more realistically than de Kooning’s Marilyn. Clement Greenberg is depicted, loosely but recognizably, in a 1955 piece by René Robert Bouché. In a portrait made the next year, Harold Rosenberg seems to

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