The other day, looking at
James Merrill, the unbur-
dening making of art im-
pressed me as almost per-
fectly captured in his po-
em. This quality in the
happiest moment, as I think
of the conduct of art as be-
ing, cannot be portrayed to
us by punctilio, I admitted,
detached from taste as a hu-
man right. I share the glad
news of the arrival of the
25th Anniversary edition of
a volume of criticism, as a
gift preserving the happiest
moment from any imposition.
I reject categorically the
assumption, widespread now
among art historians, that
visual styles almost inev-
itably have some political
or ideological import, fix-
ed or otherwise. I believe
that a work of art has a
freestanding value. I insist
on this as a matter of prin-
ciple.
Our evening's plans are
reconciled. Our choice
of Champagne, wafted up
the slope of the flute,
remains where it belongs.
Jed Perl
Paris Without End
On French Art Since
World War I
1988
Arcade, 2014©
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