In the riveting Dance in the Country, one of three spectacular canvases with life - size revelers from 1883, which was borrowed from the Orsay and closes the exhibition, Aline Charigot already
looks zaftig.
Looking at these triptychs, one might have thought for a moment of Aleksandr Rodchenko's iconoclastic Pure Red Color, Pure Yellow Color, Pure Blue Color of 1921, except that where the Russian Constructivist's work was meant to boil down painting to its primary colors, what the artist called its «logical conclusion,» Levine's wooden panels are invested in painting's history: The color of each is derived from the digital averaging of the hues in one of Renoir's many
zaftig yet jaundiced nudes.