Peter Blume, The Rock (1945-48)

There is no place better suited to pondering the attractions and limitations of eccentricity than Philadelphia—at least, during this past fall and into the new year. The city hosted three retrospectives of painters whose oeuvres generate interest less through a command of the medium than through a strident emphasis on (or indulgence in) idiosyncrasy. The Institute of Contemporary Art at the University of Pennsylvania mounted “Dear Nemesis; Nicole Eisenman, 1993–2013,”while the venerable Pennsylvania Academy of Fine Arts presented “David Lynch: The Unified Field” and...

 

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