Painters on Paintings is a conversation between contemporary artists and their influences across time.
Painters on Paintings Editor Julie Heffernan reflects on three current painting shows in New York City.read more
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.
We know that, under those rough, hasty marks, the scene exists in all of the intricacies of life.
When I saw “The Enamored Mage” in person I was completely transfixed. Painted with heavy impasto, the protrusions of paint gush out of the surface, some following the image, some swelling under it.
The gizmo he depicts with slapdash but accurate strokes of orange and red is reasonable, yes, but dissolves into the vagaries of emotional weather; it does not add up to the logical structure it pretends to be.
The dairy she created allowed her to demonstrate her political agency while intertwining ideas related to femininity, nature and health.
He’s condensed a mall into a theatre set, flattening the rich detail into a sort of Greek chorus to serve the dumb central gun shop.
Pupils dilate when we are happy and contract when we are sad. Inky dilated pupils are attractive, which is why most portraits depict their sitter with sparkling black saucers.
She has a beautiful hand that is ruled by a fairy, but sometimes a demon gives her a stick to paint with.
Breaking the natural world down into its basic forms, the painting as a whole evokes a quiet hum.