Painters on Paintings is a conversation between contemporary artists and their influences across time.
Editor’s Note: Elizabeth Thompson and the Case of the Vanishing Lady
I wanted to draw your attention to the first episode of Malcolm Gladwell’s podcast Revisionist History, in which he looks at the career of painter Elizabeth Thompson as a way to think about tokenism, moral licensing, and being the first outsider to enter a closed world.
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Michelle Stuart on Maya Art
They are simple yet complex, erotic yet spiritual, wildly designed yet perfectly rendered to fit both the scale of the object and the place in architecture.
Tony Robbin on the Painter of Pech Merle
25,000 years ago an artist who looked a lot like you and me (except without the haircut and the Uniqlo clothes) climbed down 150 feet below the surface of what is now called France…
Dennis Congdon on La Pittura di Giardino
La Pittura di Giardino (The Garden Fresco in the Villa di Livia), Circa 30 - 20 BCE Museo Nazionale Romano, Rome Italy On my second trip to Rome I came upon the frescoes of Livia’s Garden Room, an experience for which I was, to say the least, unprepared. The pale...
Recent Articles
Raoul Middleman on the Master of the Osservanza Triptych of St. Anthony
Their separate egos are hereby erased when the two saints conjoin in an embrace, which echoes the cave behind them, a cosmic hug of sorts, clinching the final humanistic coda of this panel.
Leslie Roberts on ‘Fire in the Evening’ by Paul Klee
Klee presented the grid as a flexible container for ecstatic color.
Lisa Hoke on Addie Herder
Hers are the machines that we can’t hold onto, fleeting signs of our human desire to mark which way to go.
Ali Miller on Dante Gabriel Rossetti
Alexa Wilding fluctuates between a confident and seductive nymph, a stiff and unamused model, and a vulnerable damsel awaiting a rescue.
Mariel Herring on Chuta Kimura
Imagine if de Kooning and Matisse painted a landscape together, and maybe Bonnard was their professor/mentor? That’s ya boi Kimura.
Lydia Pettit on Henry Taylor’s “I became . . .”
Overall there was chaos in his figure, strokes sometimes lining up with the form, and sometimes going against the logic of the body.