The other bone Wolfe has to pick is with the proliferation of art theory, particularly the sort purveyed by postwar colossi like Harold Rosenberg, Clement Greenberg, and Leo Steinberg. Decades after the heyday of abstract expressionism, these guys make pretty easy targets. What could be more absurd, after all, than endless Jesuitical disputes about the flatness of the picture plane? So most of them get a highly comical spanking from the author. It's worth pointing out, of course, that Wolfe paints with a broad (as it were) brush. If he's skewering the entire army of artistic pretenders in a single go, there's no room to admit that Jasper Johns or Willem DeKooning might actually have some talent. But as he would no doubt admit, The Painted Word isn't about the history of art. It's about the history of taste and middlebrow acquisition--and nobody has chronicled these two topics as hilariously or accurately as Tom Wolfe. --James Marcus --This text refers to an out of print or unavailable edition of this title.
Tom Wolfe is a journalist who always manages to combine an encyclopedic store of inside knowledge with the obstinate detachment of a visitor from Mars, not to mention a brilliant style and incisive wit. (San Francsico Chronicle)
The Painted Word may well be Tom Wolfe's most successful piece of social criticism to date. (The New York Times)
The Painted Word is a masterpiece. No one in the art world . . . could fail to recognize its essential truth. I read it four times, each of them with mounting envy for Wolfe's eye, ear, and surgical skill. (The Washington Post)
His eye and ear for detailed observations are incomparable; and observation is to the satirist what bullets are to a gun. (The Boston Sunday Globe)