1957. Oil on canvas, 270 x 200 cm. Koninklij Museum voor Schone Kunsten
A Dictionary of Modern and Contemporary Art (3 ed.), John Glaves-Smith and Ian Chilvers
Here is a late piece by the one and only Bernard Williams from The New York Review of Books. (It’s easy to imagine the crass approach the regressive activist academic would have in explicating Wagner’s anti-Semitism).
The only reason for worrying about Wagner’s works is that they are powerful and interesting. But if that is so, what difference would these signatures, these local coded messages, make?