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Raoul Middleman on the Master of the Osservanza Triptych of St. Anthony
Their separate egos are hereby erased when the two saints conjoin in an embrace, which echoes the cave behind them, a cosmic hug of sorts, clinching the final humanistic coda of this panel.
Gabrielle Vitollo on Nemesis: The Great Fortune by Albrecht Dürer
When I eventually approached the mirror to throw water on my face, I caught a glimpse of Nemesis striding forward in the same direction.
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.
Altoon Sultan on Piero di Cosimo
There I was, standing in front of this beautiful, tender, poignant painting, unable to stop weeping.
Barry Nemett: Beholding Bonnard on a Vaulted Altar
Over and over again, the sky changed: until it was brand new. Or I was.
Philip Pearlstein on Piero della Francesca
Yet it seemed to me to provide a kind of grammar of pictorial invention, parallel to the grammatical constructions of language that adventurous poets play with...
Julie Heffernan on Andrea Mantegna
Quite a carousel of fun and divine hijinks, you might say if you happened to venture onto this scene from the surrounding caves or the tiny town nestled under Mount Helicon in the distance.
James Siena on Albrecht Dürer
It’s no coincidence that this particular self-portrait (the middle one of three he painted in his younger years) sits in the Prado.