When ranting about his profound contempt for Pierre-Auguste Renoir, Max Geller frequently returns to the word “treacle.”
The French Impressionist painter’s renderings of bourgeois leisure are shamelessly “treacly”; his portraits of doll-faced
When ranting about his profound contempt for Pierre-Auguste Renoir, Max Geller frequently returns to the word “treacle.”
The French Impressionist painter’s renderings of bourgeois leisure are shamelessly “treacly”; his portraits of doll-faced