Barry Nemett: Beholding Bonnard on a Vaulted Altar

Barry Nemett: Beholding Bonnard on a Vaulted Altar

Altar of Santa Croce Basilica, Florence, Italy The walk tasted great. It wasn’t a dazzling aesthetic or spiritual revelation. It didn’t teach me anything about color, inspiration, or the merging of another world with our own. But that’s what it led to in...
Gary Stephan on Paul Cezanne

Gary Stephan on Paul Cezanne

Paul Cezanne, Mont Sainte-Victoire, 1897, Oil on Canvas, 81 x 65 cm Picasso said of Cezanne: “He is the father of us all.” In this essay I want to take the “us” expansively. Evoking murder and rape, Cezanne’s dark paintings of the 1860s eschewed the...
Mark Greenwold on Jack Levine

Mark Greenwold on Jack Levine

Jack Levine, Welcome Home, 1946, Oil on canvas, 40 x 60 inches I’ve been thinking recently about Jack Levine. How as a young artist I loved his work. My dad used to say, when people would see my work hanging in our house, “My son’s copying Jack Levine.”...
Judith Bernstein on Edvard Munch

Judith Bernstein on Edvard Munch

Edvard Munch, The Scream, 1893, Oil, pastel, cardboard, tempera, 29 x 32 inches In my work, I always look to “NAIL IT!,” meaning that I aim for my artwork to have the highest possible impact while addressing the severest aspects of humanity – that’s why I’ve...
John Moore on Pierre Roy

John Moore on Pierre Roy

Pierre Roy, METRIC SYSTEM, 1933, oil on canvas, 57 5/8 x 39 inches 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. Roy is a painter whose work came to the PMA as...
Murray Zimiles on Kazimir Malevich

Murray Zimiles on Kazimir Malevich

Kazimir Malevich, Knife Grinder, 1912-13, Oil on canvas, 31×31 inches Kasimir Malevich is best known in America for his Suprematist painting, White on White (1918), in the collection of MOMA. Less well known are his Futurist works, made a few years earlier, works...