professional polish and even slickness of his technique are, however, a foil for the heated erotic atmosphere that pervades his work. The detachment of the worldly artist-observer only serves to make the subject matter itself, dominated by images of oversize goddesses in strange dress and temptresses Swollen with an appetite for experience, all the more compelling. These figures are outfitted in perhaps one should say armed with-in the garments of erotic combat. The recurrent tendency of all of Lindner’s parintings has been to seize on the far-out changes that have taken place in contemporary fashion design changes deliberately intended to incite an open sexual response, an invitation to erotic adventure and then project them on a mythical scale. The exaggerated garments in which Lindner’s dramatis personae appear before us, although derived from the boutique styles that are now seen on the streets of virtually every major city in the West, are no more realistic than those fragments of the urban environment which surround them. They are, indeed, pictorial inventions.
They speak the language of myth-and in the realm of myth, the swinging styles of the sixties occupy the same world as the costumes conjured up from a distant, old-world childhood. The corset and the sailor suit join the jump suit and the
miniskirt. Campy wigs and wraparound shades and skin-tight panty hose coexist with the old coiffures and riding habits. The very rigor of the form in Lindner’s work -its highly impersonal mode of execution-intensifies our response to the imagination that is aflame with these elaborate costumes of the buried inner life.