Art: Art in New York: Mar. 27, 1964

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UPTOWN

PABLO PICASSO—Saidenberg, 1035 Madison Ave. at 79th. Jacqueline, the youthful model whom the Spanish master, 82, married three years ago, shows up often in these twelve oils (1955-63). Many may wonder, looking at the twisted caricatures he paints, why he bothers with a model at all. But he uses her to express the infinite changes and fundamental unity of the Picasso vision, turning her face every which way and examining it like the facets of a diamond. Through April 4.

DARREL AUSTIN—Perls, 1016 Madison Ave. at 78th. Austin casts a lunar spell: rarely does he paint a picture without a moon in it, and a full one at that. Capering in the silvery light are foxes, bulls, elephants, tigers-and maidens, round, ripe and waiting. Twenty-five oils. Through April 4.

JACQUES VILLON—Thaw, 50 East 78th. Death put an end last year to the more than 60 years in art that Villon called "a long love affair." It was a happy one that mellowed and matured with the man, and it is tellingly revealed by these 15 oil paintings. The earliest is a 1909 Portrait of the Artist; he is young, bearded, not yet taken with cubism. The latest is The Environs of Rouen, painted in 1960, luminous proof of how apt was his self-summation as a "cubist impressionist." Through April 18.

JEAN DUBUFFET—World House, 987 Madison Ave. at 77th. Dubuffet has rushed from mixed pastes and putties to butterfly-wing collages to painting with knives and forks. Here shown are examples of his spirit for adventure and experiment, including works from the Arabe, Texturologie and Personnage series. Oils, assemblages, gouaches and drawings, done between 1943 and 1960. Through April 11.

STILL LIFES—Schweitzer, 958 Madison Ave. at 75th. The stimulus of still life is ages old, the artist's response to it always new. Persuasive testimony to the fact: a collection that begins with Vanderhamen, a Spanish painter of Flemish ancestry who worked in Madrid more than 300 years ago, embraces Ruoppolo, Bernard, Lebasque, Marie Laurencin (a pink bouquet of roses on wood believed to be her only extant still life), Pechstein, Hartley and others, concludes with a contemporary Spaniard, Josep Roca. Through March 28.

RICHARD STANKIEWICZ—Stable, 33 East 74th. Dada takes the credit, but the ability to look at trash and find something of esthetic value begins with children. As a child, Stankiewicz played in a foundry dump; today he leads the sculptors who make assemblages of junk. Scavenging in scrapyards, rusting and welding the iron and steel he finds, he makes figures and abstractions. Says he: "I take something already degenerating, discarded, and then I make something beautiful of it. It should hit people over the head and make them ask, 'What is beauty?' " Through April 18.

FAIRFIELD PORTER—Tibor de Nagy, 149 East 72nd. Porter took his training at the Art Students League from Thomas Hart Benton, felt "you don't deserve to paint abstractly until you can paint representationally." But he admits that De Kooning has been a major influence. One painting, September Clouds, points up that affinity: an abstract rendering of nature, it suggests that Porter is ready to follow a new path. Through April 11.