Time and influence are funny things. Artistic debt is generally attributed vertically, across a linear pedigree from master to apprentice, teacher to student, art star to poseur. Just as often, though, a cultural Zeitgeist will emerge from a flurry of tightly orchestrated stylistic homages, satires, ripostes and outright thefts among a peer group of artists — ideally producing a recursive, fractally detailed blast of feedback like the New York School of Abstract Expressionists. Among artists, though, connections can also span millennia, or even seem to move backward in time. Picasso’s lengthy and spirited dialogue with 17th-century fellow Spaniard Velázquez arguably left a legacy as vital as his hothouse-pas-de-deux invention of Cubism with Georges Braque in 1909.
Somewhere in between lies the case of hometown boy Philip Guston and Italian proto-Surrealist Giorgio de Chirico
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