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Tony Robbin on Bonnard's Bathers
It is often said that Pierre Bonnard’s paintings featuring bathers are intimate works, as the women are caught unawares, glimpsed in unguarded and private moments...
James Esber on George Grosz
The artist inhabits a post-apocalyptic world where people and objects are empty and degraded. Every volume is a void.
Philip Koch: Sailing Lessons from Edward Hopper
I've always found the painting remarkable for the way Hopper's boat surges with such energy. Any moment it will have sailed out of our view altogether.
Melissa Meyer Remembers Jean Dubuffet at the Jeu de Paume, 1991
Although the marks may appear casual and the painting spontaneous, Dubuffet rigorously planned the composition of each “Theater of Memory.”
Marcela Florido on Stanley Spencer
The unexpected apparition of arms, fences, doors and bodies in that humid landscape led me to perceive mystery and mysticism in what seemed to be a mundane, daily event.
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
This Mondrian has a marvelous, lilting, adventurousness to it: an improvisational, searching liveliness. These are life enhancing qualities.
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
By probing into visionary states through the psychological or magical effects of color, not just through the depiction of women experiencing a shared hallucination, Gauguin veers into abstraction.
Phyllis Bramson on Henry Darger
Henry Darger is a self-taught artist whose life's work was discovered in his Chicago apartment in the months before his death in 1973.
Lesley Dill on Agnes Martin
I am writing about Agnes Martin because her work approaches me initially where I think I live, a place of attained quietness through years of meditation.
James Siena on Albrecht Dürer
It’s no coincidence that this particular self-portrait (the middle one of three he painted in his younger years) sits in the Prado.
Martha Edelheit on Georgia O'Keeffe: A Reminiscence
It's 1965. I'm daydreaming in my studio about all the famous, inaccessible artists alive in the world. I think of Georgia O'Keeffe.
Jennifer Coates on Paul Gauguin: Pork Talisman
Paul Gauguin’s ham is like an archeological dig site with remnants of the porcine ancestor embedded in its terrain. The untamed progenitor of domesticated pigs, sus scrofa, or wild boar, haunts the charcuterie.
Jon Rappleye on Joseph Stella
I believe it was at the Kemper Museum in Kansas City where I first saw this jewel of a painting from across the room, beckoning me to come closer
Judith Linhares on Marsden Hartley
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.