Last Monday I paid a visit to the press view of Americans in Paris, 1860-1900, which opens today at the Metropolitan Museum of Art. It’s a comfy, crowd-pleasing blockbuster exhibition that contains such familiar show-stoppers as Sargent’s Madame X and The Daughters of Edward Darley Boit, Whistler’s Symphony in White, No. 1: The White Girl, Eakins’ The Cello Player, and Cassatt’s The Tea, surrounded by a sea of competent canvases by turn-of-the-century American painters who went to Paris in their youth and learned their lessons well, sometimes quite wonderfully so.
Were “Americans in Paris” the only large-scale show currently on view at the Met, I have no doubt that it would be jammed with delighted viewers. But it happens that the museum is also playing host to From C