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Elaine S. Wilson on Sandra Stone
A small painting: 12 inches wide by 16 inches high. Thin, lightly touched scrapes and dabs of paint in ochres, viridian greens, and a flurry of blues.
Sharon Horvath on Badal Mahal of Bundi Palace
This giant moon-blossom zings a beam straight into my forehead, lasering a third eye that I didn’t know I had before.
Fay Ku on Jules Bastien-Lepage
It was the intensity of her expression that arrested me: wild wide eyes absorbed by some otherworldly sight or sound.
Judy Glantzman on Dawn Clements
Dawn Clements’ giant watercolor on paper, capturing dying peonies, is achingly beautiful. Her touch is light, her eye, and hand in a lock step...
Deborah Oropallo on Marcel Duchamp
Growing up in New Jersey with no art in my life, I thought a painting was a sunset or a basic landscape until I was fifteen.
Robert Berlind on Sigmar Polke
It is one of the most cohesive compositions in Alibis, MoMA’s chaotic and often confounding Polke retrospectiv
Joseph Santore on Vincent van Gogh
I must have been eight or nine years old when my older brother brought home a small Skira book on Van Gogh.
Scott Greene on Winslow Homer
I’m not sure when I first saw Winslow Homer’s “The Herring Net,” but the piece bobs up and down in my imagination, weathering trends, taste and time.
Camilla Fallon on Édouard Manet
The giant horizontal body seemed to be floating in black space, as if levitating. There was a profound stillness about it.
Tony Robbin on Claude Monet
It is rare, and always impressive, when an older artist turns a winter’s passion into a new body of work.
Peggy Cyphers on Francisco de Goya
Don Manuel’s pets create an illusive narrative, one that sets the stage for Goya’s future projects as social commentator and archivist of brutality.
Caren Canier on Henri Matisse
Matisse’s Piano Lesson is the painting I keep going back to at MOMA. For me, it’s the most compelling modern painting in New York.
Christopher Stackhouse on Leland Bell
When a painting provides an immersive experience it is immediately recognized as a successful effort. This strong painting’s constitution, its capacity for persuasion...
Jane Fine on Philip Guston
Let's start with the leg. It is bandaged and horribly swollen. Red arteries, blue veins and yellow pus circle the limb.
Barbara Takenaga on a Rajasthan Manuscript Page
I love this image. And have for many years. Actually, it’s less about one painting and more about a book of images. I chose this one at random.
Lisa Corinne Davis on Niccolo di Pietro
Ursula is unable to move forward or back, in or out. The banner poles, shoulders, arms, legs and 12 virgins, six on each side, function as barriers and boundaries to keep her fixed to the center.
Virginia Wagner on Anselm Kiefer
I am alone, I put the ash flower; in the glass of ripened black, sister mouth; the word you speak lives on before the windows; and silent climbs me, just as I had dreamt.