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Xico Greenwald on Diana Horowitz

Here the artist’s eye and hand are alive to the scene before her.

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Heide Fasnacht on Donna Moylan

All this arboreal inventiveness seems right for this juncture of the Anthropocene, an exaltation at a time when we may all be called upon to reinvent the landscape.

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Patricia Miranda on Shilpa Gupta

The paper – white, ghostly, struck through its heart, floats in space like the upturned body of an impaled fish.

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Sandow Birk on John Trumbull

Then I found John Trumbull – a stumbling American colonial painter who was also in awe of the great European painters.

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Kathy Butterly on Howard Hodgkin

Howard Hodgkin’s paintings pull me in like nature does, like those moments in my backyard did.

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Shiri Mordechay on Frank Auerbach

The marks remind me of automatic writing, as when the hand moves fast across the page and all of the sudden a thought snaps into consciousness.

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Joy Taylor on Romare Bearden

He created utterly flat but paradoxically deep space, too, inhabited by dignified characters of mythical stature from scraps of colored paper, torn and ink-stained prints, bits of fabric, and parts of magazine imagery.

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Keren Benbenisty on the Map of Tender

The land of indifference was not that far from the land of love.

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Gerald Davis on Francisco de Goya

In terms of thinking about how to have both a beautiful and innocent subject and not let it veer into Kleenex box pretty-ness, this painting is my guide.

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Naomi Ben-Shahar on Helène Aylon: The “Elusive Silver” Paintings

Aylon experimented with the idea of creating paintings that revealed themselves slowly, while being changeable and elusive like the sky.

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Andrew Cornell Robinson on Linda Griggs and Allen Hansen

In the realm of artistic marriages, the relationship between painters Linda Griggs and Allen Hansen stands as a testament to the enduring power of creative dialogue and partnership.

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Anna Shukeylo on Jane Swavely

That deep maroon/oxide void lures the viewer to step in past the two silver curtains on either side.

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The Journey: Marik Lechner on Dana Schutz

A grotesque, elaborate stage. The genius promiscuity of a witch painter, with turpentine instead of blood flowing through her veins.

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Tony Robbin on Andrea Pozzo

Pozzo states, “Perspective is but a counterfeiting of the truth, the painter is not obliged to make it seem real from any part, but only from one determinant point only.”