Archives
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.
Michael Torlen on John Torreano
“Less is less, and more is more. No more, no less.”
Raoul Middleman on Paul Cezanne
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.
John Michael Byrd on Kelli Scott Kelley
To my eyes, this is a love letter to the maternal archetype—the maternal ideal.
Carol Diamond on Al Held
Each hue resonates as cool or warm, deep or shallow, allowing the eye and the sensibility to soak in energy, light and form as pure color sensation.
Yvette Gellis on Katharina Grosse
Then there is the color itself – the purity of color and the psychological effects that pure color can have not only on the eye, but also on one’s emotional states and well-being.
David Humphrey on William John Whittemore
I like thinking, though, that the painting makes a complete body out of dispersed heterogeneous parts, a complicated body constrained and subdivided by guardrails, pedestals, canvas edges, bowler hats and neckties.
Johanna Robinson on Maria Lassnig
… she only painted the parts of her body that she could physically feel in the moment…