Painters on Paintings is a conversation between contemporary artists and their influences across time.
The predella panel of Fra Angelico’s Perugia Altarpiece envisions the humble yet heroic life of Saint Nicholas, also known as Nicholas the Wonderworker.
This rather battered old reproduction hangs in my studio. I’ve owned it since I was five, which is when I first and last saw the original.
Niccolo di Pietro, Saint Ursula and Her Maidens, ca. 1410, Tempera and gold on wood, 37 x 31 inches I love stories. I have always loved them more in pictures than in words -- narrative events shown rather than told. All paintings tell stories. Perhaps it is the core...
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
Few previous painters were capable of challenging and disturbing the consumerist mentality and self-satisfaction of the middle class and the economic and social systems that sustained them.
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Within a year of exhibiting it, he would never paint like this again