James Esber on George Grosz

George Grosz, The Painter of the Hole, 1948, Oil on canvas, 30 x 22 inches In 1947 George Grosz made a watercolor called Painter of the Hole, which was refined into a painting on canvas the following year. In the second version an artist (Grosz himself?) stares...

Philip Koch: Sailing Lessons from Edward Hopper

Edward Hopper, Sailing, 1911, Oil on canvas, 24 x 29 inches Last August I did some traveling to see art. As an artist I was determined to learn everything I could about the watercolorist Charles Burchfield. My destination was Salem, Ohio to visit the home where...

Marcela Florido on Stanley Spencer

Stanley Spencer, The Nativity, 1912, Oil on canvas, 40 x 60 inches I first encountered Stanley Spencer’s The Nativity hanging on the walls of the Houseman Room, the dining hall for faculty at UCL. The space in the painting was strangely described; the rhythm, set by...

Barry Nemett on Gwen John

The building weighs less than a flower. The parasol stem dreams about being a wicker chair…

Margaret Grimes on Ruth Miller

The still life paintings of Ruth Miller are at first glance deceptively modest. On closer viewing however, they have a compelling power comparable to a gravitational pull.

Barbara Zucker on Florine Stettheimer

I walked into MOMA in 1976 and fell in love: with a painting. It was a coup de foudre. The first thing that drew me to it was the wacky, white scalloped frame.

Catherine Howe on Charles E. Burchfield

Burchfield explained, “To the child sitting cozily in his home , the roar of the wind outside fills his mind full of visions of strange phantoms and monsters flying over the land.”

Jacqueline Gourevitch on Piet Mondrian

Piet Mondrian, Composition in Oval with Colored Planes, 1914, Oil on canvas, 42 3/8  x 31 inches Museum of Modern Art, New York In choosing to write about Mondrian's Oval with Colored Planes (1914), I find it hard to bypass several mysterious paintings by Piero di...

Joyce Kozloff on Miriam Schapiro

Among Miriam Schapiro’s works, the black paintings are my favorites. Although she often used color ecstatically, I never felt it came to her easily.

Amy Weiskopf on Carlo Carra

If Pompeian still life frescos and Cubist still life paintings had a baby, Carlo Carra’s Natura Morta con la Squadra would be that child.

The Mute Shape of Exteriority: Jennifer Coates on Paul Gauguin

Man Ray, Untitled (Hat), 1933,  Photograph, 7 x 8.3 inches Headdress Diagram Freud wrote that hats are like sex organs - sometimes phallic, sometimes vaginal. If a man wears a brimmed hat with a sloping indentation that runs across the top (the Trilby hat, seen above...