This is a portrait of a culture in the late stages of psychic rot.
Klee presented the grid as a flexible container for ecstatic color.
Hers are the machines that we can’t hold onto, fleeting signs of our human desire to mark which way to go.
His mane strangely blows forward on a windless night, while his eye appears as a mesmerizing orb that plays off the moon and mandolin.
Breaking the natural world down into its basic forms, the painting as a whole evokes a quiet hum.
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.
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.
Within a year of exhibiting it, he would never paint like this again
The woman and man are eternally bound in a psychopathologically perverse interpretation of yin and yang.
I was struck by Pippin’s preference for angular, even knife-like, shapes and harsh environmental contrasts
Its minimal linear elements raced around the side of the canvas and played with my expectations of where paint would normally be.
There is almost a metaphysical postponement of finish throughout these portraits, a hesitation as if waiting for an informant of the future to complete them.