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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
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Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
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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.
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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.
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Katharine Kuharic on the Pantheon - Part I Ivan Albright
In his mature works the portraits are literally portraits of the walking dead.