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Elizabeth Johnson on 'The Cynnie Paintings' by Carol Saft
Her dark dress shimmers in the chilly bathroom suggesting Joan of Arc, in chain mail, before a Zoom battle.
MaryKate Maher on Marlene Dumas and Maja Ruznic
It’s red like memory is red or how, when you close your eyes because the sun is too bright, your eyelids create that deep red shadow.
Kyle Staver on Janice Nowinski
The staccato of the surface gives me the mph of the wind on the beach that day.
Judy Glantzman on Obituaries and Shadows | Art in Isolation
I have been painting portraits from obituaries on poured plaster/acrylic plaques since the pandemic began.
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.
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.
Katie Miller on 'Young Girl with a Dead Bird'
Pupils dilate when we are happy and contract when we are sad. Inky dilated pupils are attractive, which is why most portraits depict their sitter with sparkling black saucers.
Julie Heffernan on El Greco
El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.
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.
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.
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...
Sam McKinniss on Aaron Zulpo
...the evidence of his happiness made me happy, and for that I was grateful.
Brandi Twilley on Lynette Yiadom-Boakye
... Even as invented portraits, they have that quality that “someone is home.”
Alan Feltus on Susan Yanero
...her cast of characters played out dramas on a stage that is both circus and life as she knows it...
Elizabeth Neel on Francis Bacon
Regarding the Other in horror and finding that Other in myself, it’s impossible to look at “Study of a Baboon” and not be sucked into a vortex of abjection and a struggle for empathy.
Andrew Fish on Henry Taylor
There’s an unabashed honesty in the way Henry Taylor paints a picture.
What's in a Name: Raoul Middleman on John Singleton Copley
How else to paint but to concentrate mercilessly on the singularity of high end realistic focus and finish... rendered to an almighty faultless Metaphysical T.
Mark Greenwold on Jack Levine
Greenbergian Modernism... has put nails in the coffins of all sorts of serious and interesting representational artists for most of my lifetime.