Over and over again, the sky changed: until it was brand new. Or I was.
Picasso said of Cezanne: “He is the father of us all.” In this essay I want to take the “us” expansively.
Greenbergian Modernism… has put nails in the coffins of all sorts of serious and interesting representational artists for most of my lifetime.
He created a vertigo inducing composition, extraordinary in its manifestation of Existentialism…
In the seventies while living in Philadelphia I spent a lot of time at the Philadelphia Museum of Art where I first saw Pierre Roy’s Metric System.
In keeping with communist doctrine, he claims that his work glorifies the proletariat…
In Matisse’s View of Notre Dame, a diagonal line reaches out of the pentimenti, which establish the artist’s side of a French window, and spans the Seine.
Her paintings spoke to me in a personal yet enigmatic way. I had yet to experience anything like them.
A little while ago I went to the Stuart Davis retrospective at the Whitney. I was expecting to like it, and I did. I’ve seen my fair share of Davis’ paintings over the years, and I have particularly fond memories of his solo 1991 Metropolitan Museum exhibition, Stuart Davis: American Painter.
The first Morandi painting that I ever saw was at the Pittsburgh International Triennial Exhibition of 1958. I was a first year art student at Carnegie Mellon University, then called Carnegie Tech.
Charles Burchfield’s landscape paintings are riveting. This painting, Sphinx and Milky Way, with its bat-like shapes, celestial falling stars, deep midnight blue and black center, flowers with faces, and symbolic points of light, pulls me in with a kind of intensity I’ve discovered in few others.