After an absence of more than twenty years, Leonora Carrington returned to New York in the not-to-be-missed gallery show “Leonora Carrington: The Story of the Last Egg,” a small but impressive grouping of seventeen paintings and six masks dating from the 1940s to the mid-1970s, some on public view for the first time. Organized by the San Francisco-based Gallery Wendi Norris and installed on Madison Avenue in a vacant storefront that had once been a pharmacy—an appropriate setting, given Carrington’s fascination with alchemy, not to mention her drug-infused tale from the 1960s, “How to Start a Pharmaceuticals Business”—the exhibition took as its central theme her devotion to the egg, the traditional symbol of fertility and renewal that the artist long exalted as a custodian of life in times of crisis. Though Carrington is probably best known for her years as a young artist when she escaped a stifling English upper-class milieu by running off with Max Ernst and becoming part of André Breton’s circle in Paris, the exhibit steered clear of the Surrealist banner and instead engaged with her art on its own terms. The title—a nod to her 1969 play “Opus Siniestrus: The Story of the Last Egg” [see excerpt Review: Literature and Arts of the Americas, Issue 100, Vol. 53, No. 1, 2020, 145–148

中文翻译：

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莱奥诺拉·卡灵顿：最后一个鸡蛋的故事

阔别二十多年后，Leonora Carrington 在不容错过的画廊展“Leonora Carrington：最后一个鸡蛋的故事”中重返纽约，这是一个由 17 幅画和 6 个约会面具组成的小而令人印象深刻的组合从 1940 年代到 1970 年代中期，有些是第一次出现在公众面前。由总部位于旧金山的画廊 Wendi Norris 组织，并安装在麦迪逊大街一个曾经是药店的空置店面——考虑到卡林顿对炼金术的迷恋，更不用说她 1960 年代的注入药物的故事，“如何开始制药业务”——展览将她对鸡蛋的热爱作为中心主题，鸡蛋是生育和更新的传统象征，艺术家长期以来一直将其视为危机时期的生命守护者。尽管卡林顿最出名的可能是她作为年轻艺术家的岁月，当时她逃离了令人窒息的英国上流社会环境，与马克斯·恩斯特 (Max Ernst) 逃跑并成为安德烈·布雷顿 (André Breton) 在巴黎的圈子的一员，但这次展览避开了超现实主义的旗帜，而是参与以她自己的艺术方式。标题——向她 1969 年的戏剧“Opus Siniestrus: The Story of the Last Egg”致敬[见摘录评论：美洲文学与艺术，第 100 期，卷。53, No. 1, 2020, 145–148 美洲文学与艺术，第 100 期，卷。53, No. 1, 2020, 145–148 美洲文学与艺术，第 100 期，卷。53, No. 1, 2020, 145–148