FAIRFIELD PORTER, MASTER REALIST
THE felicitous ease of Fairfield Porter's canvases cause many viewers trouble. ''Are they modern enough? Too French? Too pleasant? Hasn't this been done before?'' are questions that - the critic John Ashbery amusingly suggests - people guiltily raise while succumbing to their charms. Art, as we all know, must be difficult, intellectually challenging, and not, well, immediately accessible. On these counts, the Porter works flunk, as is readily apparent in ''Fairfield Porter,'' the first major retrospective of this influential realist (1907-75), at the Whitney Museum, Madison Avenue, at 75th Street (through Aug. 19). Yet these fresh, light-struck landscapes, intimate interiors, informal portraits and homey still lifes - made during and after the heyday of Abstract Expressionism - are certainly among the finest realist paintings produced in the United States since the end of World War II. Porter's work didn't lack for exposure during his late-blooming career, but viewed in this unprecedented depth (more than 70 canvases) and in light of the painterly realism that holds sway today, its presence takes on new authority. As with many figurative painters, his work got looser, even more ''abstract,'' toward the end of his life, - but it never abandoned what Porter called the ''visualness'' that was its basis.