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Heide Fasnacht on David Diao and the Squeegee in the Expanded Field
An innovation is alive and mutable as it passes from hand to hand.
Alison Kruvant on Hedda Sterne
She saw New York as a “Surrealist” city. With its unfathomable density, extreme juxtapositions, and collective lack of sleep, the city hasn’t changed much.
Lincoln Perry on Frank Auerbach and Marino Marini
This wasn’t a decapitated head, but a self-sufficient object, as autonomous as a meteor.
Stephen Benenson on Goya and Picasso in Madrid
It was as if the life in them burned up like cellulose melting in a projector.
Norm Paris on Max Ernst
This is a portrait of a culture in the late stages of psychic rot.
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.
Suzanne Unrein on Henri Rousseau
His mane strangely blows forward on a windless night, while his eye appears as a mesmerizing orb that plays off the moon and mandolin.
Lilian Day Thorpe on Nicolas de Staël
Breaking the natural world down into its basic forms, the painting as a whole evokes a quiet hum.
Azita Moradkhani on Louise Bourgeois
The tension between the bodies of mother and child builds up until the moment of physical separation with the delivery of a new entity in the world. Bourgeois depicts that moment using transparent skins of juicy crimson.
Constance Mallinson on Manet's and von Werefkin's Ragpickers
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.
Zorawar Sidhu on František Kupka
Within a year of exhibiting it, he would never paint like this again
Eric Fischl on Max Beckmann’s Departure
The woman and man are eternally bound in a psychopathologically perverse interpretation of yin and yang.
Rachel Youens on Horace Pippin
I was struck by Pippin’s preference for angular, even knife-like, shapes and harsh environmental contrasts
Brian Alfred on Jo Baer
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.
Raoul Middleman on Paul Cezanne
There is almost a metaphysical postponement of finish throughout these portraits, a hesitation as if waiting for an informant of the future to complete them.
Carol Diamond on Al Held
Each hue resonates as cool or warm, deep or shallow, allowing the eye and the sensibility to soak in energy, light and form as pure color sensation.
David Humphrey on William John Whittemore
I like thinking, though, that the painting makes a complete body out of dispersed heterogeneous parts, a complicated body constrained and subdivided by guardrails, pedestals, canvas edges, bowler hats and neckties.
Johanna Robinson on Maria Lassnig
... she only painted the parts of her body that she could physically feel in the moment...
Julie Heffernan on Pierre Bonnard: Part II
Bonnard is no easy reach. The challenge he sets for all narrative painters is formidable: how to use both understatement and wild speculation to tell a bold story well...