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.
She has a beautiful hand that is ruled by a fairy, but sometimes a demon gives her a stick to paint with.
Breaking the natural world down into its basic forms, the painting as a whole evokes a quiet hum.
The newest paintings convey a lot of those–the lightness that attends letting go, the playfulness and humor that comes when one is attentively waiting, waiting.
The tension between the bodies of mother and child builds up until the moment of physical separation with the delivery of a new entity in the world. Bourgeois depicts that moment using transparent skins of juicy crimson.
El Greco emphasizes this theme of separation—head from body, conceptual realm from sensorial realm, upper half from lower half, white from black.
There is something about feeling that rightness of a painting when I’m 75 that feels so very satisfying.
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
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.
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
The readmission of artists like Grant Wood into high art discourses may open the door to many more types of representation, inclusive of many more places, lives, and subjectivities.
Within a year of exhibiting it, he would never paint like this again