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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.
Barry Nemett on Robert Rauschenberg
All looked pleasant enough near the foot but, like a dramatic plot twist, everything closer to the bed’s head looked war-torn, tortured.
Jessica Stoller on the Sévres Breast Bowl
The dairy she created allowed her to demonstrate her political agency while intertwining ideas related to femininity, nature and health.
Brenda Goodman on Her Work in Stages
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
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.
Aaron Zulpo on Anthony Cudahy
One man is found pulling leaves from a stem, as if counting down time. Another man stares longingly at a pile of petals.
Yvette Gellis on Katharina Grosse
Then there is the color itself - the purity of color and the psychological effects that pure color can have not only on the eye, but also on one’s emotional states and well-being.
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.
Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
Gary Stephan on Paul Cezanne
Picasso said of Cezanne: "He is the father of us all.” In this essay I want to take the "us" expansively.
Katharine Kuharic on the Pantheon - Part II Richard Dadd
The blade may be in front of the self-portrait of the axe man... but it serves to slice the man into numerous pieces.
Katharine Kuharic on the Pantheon - Part I Ivan Albright
In his mature works the portraits are literally portraits of the walking dead.