THIS OCTOBER marked the fiftieth anniversary of artist Don Bachardy’s one-man debut at the prestigious Redfern Gallery in London in 1961. It was in the cramped, closely hung confines of a basement gallery that the 27-year-old Bachardy exhibited much of the work he had completed that year, notably a series of celebrity portraits.

POETS WRITING literary criticism do so to generate income, to communicate aesthetic values to the public, and to build an audience for their imaginative work. Would readers of the 1950’s and 60’s have paid much attention to Randall Jarrell the poet if he hadn’t been a sharp-witted and engaging critic? Probably not. As for W.H. Auden, I can offer some personal testimony from nearly four decades ago.

IN NOVEMBER, 1910, a small but important art show opened in the Grafton Galleries in London. Titled Manet and the Post-Impressionists, the show was curated by Roger Fry, a member of the Bloomsbury group, a painter, art critic, and at different times the lover of Duncan Grant and Vanessa Bell. This was one of the earliest shows in London dedicated to Impressionist and Post-Impressionist French art.