Acadian Light-Heavy is the very picture of erotic longing. The image has lived in my mind since I first saw it in reproduction in 1975.

Pierre Bonnard’s painting The Terrace at Vernonnet in The Met appears to be a scene of domestic tranquility and pleasure but if one looks more closely it might give pause.

For me the truly amazing thing about Paul Klee was his incredible ability, constantly, to search out new pictorial ideas and yet simultaneously to create a unique, individual expression

I’d never seen a Munch in person before I went to visit the Munch Museum in Norway this past September. Walking its halls, I saw many of Munch’s famous works.

Each and every painting in the exhibit of hers knocked my socks off. But Plowed Field plowed into me like a steamroller flattening Wile E Coyote.

The giant horizontal body seemed to be floating in black space, as if levitating. There was a profound stillness about it.

Matisse’s Piano Lesson is the painting I keep going back to at MOMA. For me, it’s the most compelling modern painting in New York.

Nevertheless as memories of Nixon’s treachery fade into the historical record, "San Clemente" interests me less as a portrait of a former President, and more as a piece about aging and self-disgust.

Pasty male flesh, muscled hairy chests, leather, fur, rope-bound hands, a bloody cloth and a whip: this painting is intriguing to contemplate in reproduction...

Matisse was a traveler, more than we’d think, given the large internal scale of his forms and pared-down, architectonic compositions that establish a sense of timelessness in his best works.

There was something about the insouciant freedom expressed by Matisse that spurred me to think more.