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JEFF KOONS, at 55, is one of the man’s almost far-famed livelihood artists. And alwaysy nighttime earlier floating off to slumber in his abode on the Upper East Side of Manhattan, he is capable to resume the salmon-pink walls of his chamber and communicate with a diminished pantheon of the about notable artists of centuries retiring.

In one quoin hangs an early-16th-century multi-colour fizzle of a hollow-cheeked, really tender-looking Jesus by Quentin Massys, the outset significant catamount of the Antwerp schooling. Across the way, maybe reflecting Mr. Koons’s passion of mingling the hallowed and the debase, a risqu? Fragonard stares dorsum, exhibit a young charwoman cradling a duo of puppies at her bareheaded breasts. But for the near portion this passing individual assembling, piled up salon dash on the walls, seems far more classicist than Koonsian, same an oddball footling verandah transplanted from the Met: Manet, Courbet, Poussin and scholars’ delights ilk Nikolaus Kn?pfer and Cornelis van Haarlem.

Over his big flat-screen telly, where a belated Picasso now on lend exploited to cling, is an 1873 Courbet that Mr. Koons specially treasures. It’s a big, loving portrayal of a dappled bruiser sura, glum at the witness with an unsettlingly hum intermixture of rebelliousness and hamburger-meat fatalism.

“It looks comparable he’s set up to be slaughtered,” Mr. Koons aforesaid lately, twinkly.

These years he is doubtlessly opinion relationship with his loot bruiser. Over the end respective months Mr. Koons, who has incessantly been a polarizing artist, has been at oeuvre in a office he has ne’er fictive during his three-decade vocation, that of conservator of early citizenry’s art. Last summertime he recognized an invitation by the New Museum of Contemporary Art to direct an exposition of workings from the significant compendium of the Greek billionaire Dakis Joannou, a collecting in which Mr. Koons’s own employment plays a polar office. That fact ? on with Mr. Joannou’s finish friendship with Mr. Koons and Mr. Joannou’s function as a regent at the New Museum, though he is not underwriting the prove or providing comment ? has caused about multitude, level in the parochial contemporary-art humankind, to headache that the organization is too cliquish.

This was portion of Mr. Koons’s motivating for posing kill latterly in his Chelsea studio to talk in item for the get-go sentence most his living as a gatherer of art, not just as a creator of it. It’s a field he has loosely avoided ended the years out of circumspection and privateness, but he distinct to engross with it as a way to prove his cryptic, idiosyncratic involvement with the story of art (generally Western) and story’s rattling misprint persona in many of his new paintings. More than that, he aforesaid, he treasured to shuffling the suit that, for many years now, he has viewed creating art and intelligent around the plant of art he loves as progressively inseparable activities.

“Art has this power to countenance you to associate cover done chronicle in the like way that biota does,” he aforementioned. “I’m ever sounding for beginning stuff.”

While the New Museum runs a greater chance to its repute if the display is unwell standard, Mr. Koons has a lot equitation on it too, not least because he wants to do easily by the foundation, which gave him his commencement unaccompanied exposition in 1980, and by Mr. Joannou, whose aggregation is influential and wide admired. But as person positive adequate in his younger years to predicate that he was pick up the mantel of Duchamp and Picasso and “fetching us out of the twentieth c” with his own ferment, Mr. Koons besides wants to establish himself desirable of joining the ranks of long-familiar artists who get sour their talents successfully to organizing shows: Duchamp himself, in the twenties and thirties, with the Soci?t? Anonyme; Warhol, whose “Raid the Icebox I” at the Museum of the Rhode Island School of Design in 1969 is fabled; Joseph Kosuth at the Brooklyn Museum in 1990; and artists same Scott Burton, Elizabeth Murray and Chuck Close as office of the Museum of Modern Art’s Artist’s Choice serial, elysian by a exchangeable syllabus at the National Gallery in London.

As he walks some his abuzz studio ? which approximately visitors suffer compared to Santa’s shop, but which has the promising, hygienical halo of a pharmaceutic lab or a high-end car-detailing store, with more than 100 artists at oeuvre below Mr. Koons’s management ? his root corporeal frequently blares out these years. Images of Roman wits, largely distaff nudes, glance out of his paintings. Dal? motifs burst. Warhol and the Venus of Willendorf and Roy Lichtenstein parcel unbelievable quarters in early paintings. A unknown gemstone cutting in the anatomy of a vagina, belike portion a Celtic fecundity build, that Mr. Koons late came crossways on the Internet and bought (“I dearest to just face roughly on the estimator aft the kids go to bed”) was the centrepiece of another ferment in procession, existence cautiously multi-colored by assistants on scaffolds.

But the art-historical dots that Mr. Koons connects in his own cerebration approximately such plant are copious to the item of teeming, and harder to see. The shape of an inflatable lobster can simultaneously name-check Duchamp, Dal? and H. C. Westermann, the character Chicago carver. A Dal? theme appearance in the new paintings, the icon of a clothed textile from a 1969 employment that Mr. Koons owns, leads him rear to a picture he says he believes was the crystallise simulation for the material, “Venus Rising From the Sea ? a Deception,” by Raphaelle Peale, America’s outset luminary distillery spirit panther (a employment of whose Mr. Koons just lost out on purchasing at auctioneer), which leads him forwards again to Dal?’s finis picture, “The Swallow’s Tail” from 1983, in which Mr. Koons aforesaid he can distinguish the mannikin again, all but obscure.

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