Archives
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.
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.
Lavar Munroe on Folkert De Jong and Expansive Painting
Evidence of deconstructing form and then “healing” those breaks was apparent in the yellow and pink adhesive substrates bleeding through the crevasses of incisions.
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.
Wendy Letven on Simona Prives
The alchemy of using a fragment of a scan of parsley to represent a forest was a revelation.
Laurie Hogin on Grant Wood
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.
Zorawar Sidhu on František Kupka
Within a year of exhibiting it, he would never paint like this again
Eric Fischl on Max Beckmann’s Departure
The woman and man are eternally bound in a psychopathologically perverse interpretation of yin and yang.
Dear Weather: Buzz Spector on Hobbema, Gainsbourough, & Vermeer
Little popcorn puffs or higher, more distant, cirrus… a shorthand for how the duration of a painting allows for some time.
Rachel Youens on Horace Pippin
I was struck by Pippin’s preference for angular, even knife-like, shapes and harsh environmental contrasts
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.
Brian Alfred on Jo Baer
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.