Professor Rosenblum does himself less than justice: he is neither the simple mainline neoconservative that he pretends or the swinging elder statesman evoked by his repeated claims of solidarity with «art historians... of a younger generation» and «anyone under forty,» but an original and sometimes brilliantly
eccentric critic,
distinguished among other things for his persuasive
work on the late eighteenth and early nineteenth centuries as well as for his astonishingly early and penetratingly intelligent recognition of Jasper Johns, Roy Lichtenstein, and Frank Stella.