SEARCH THE ARCHIVE
KEYWORD
CATEGORY
Scott Greene on Winslow Homer
I’m not sure when I first saw Winslow Homer’s “The Herring Net,” but the piece bobs up and down in my imagination, weathering trends, taste and time.
Camilla Fallon on Édouard Manet
The giant horizontal body seemed to be floating in black space, as if levitating. There was a profound stillness about it.
Tony Robbin on Claude Monet
It is rare, and always impressive, when an older artist turns a winter’s passion into a new body of work.
Peggy Cyphers on Francisco de Goya
Don Manuel’s pets create an illusive narrative, one that sets the stage for Goya’s future projects as social commentator and archivist of brutality.
Caren Canier on Henri Matisse
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.
Christopher Stackhouse on Leland Bell
Bell fosters belief in the moments the painting captures and makes legible the emotional, intellectual tenor of his aesthetic.
Jane Fine on Philip Guston
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.
Barbara Takenaga on a Rajasthan Manuscript Page
I love this image. And have for many years. Actually, it’s less about one painting and more about a book of images. I chose this one at random.
Lisa Corinne Davis on Niccolo di Pietro
Ursula is unable to move forward or back, in or out. The banner poles, shoulders, arms, legs and 12 virgins, six on each side, function as barriers and boundaries to keep her fixed to the center.
Virginia Wagner on Anselm Kiefer
I am alone, I put the ash flower; in the glass of ripened black, sister mouth; the word you speak lives on before the windows; and silent climbs me, just as I had dreamt.
Barry Nemett on Antonio López García
Antonio López García's painting of a bathroom fixture imprinted itself in my art-schooled heart, and all these years later, its mark hasn't faded.
Zachary Wollard on Max Beckmann
Side by side, they employ a breathtaking collagist grace. It’s as if a larger, epic painting from the 19th century has swallowed a Dadaist sleeping pill.
Gerald Davis on Robert Yarber
It’s casual. It’s funny. The cartoony-ness is a point of entry into the painting, but it seems at odds with the overall situation.
Sarah Faux on Jacopo Pontormo
But this painting has stuck with me precisely for its literalness. Pontormo has painted the body of Christ three times over.
Lisa Sanditz on Antonello da Messina
Seeing an Annunciation painting in Italy is about as easy as it was to find hair gel in a locker at my midwestern high school in the 80s.
Margaret McCann on Diego Velazquez's 'Las Meninas'
Sphinx-like, Diego Velazquez’s Las Meninas (1656) questions more than it answers. Whether the picture is about the painter with a brush in the mirror, or the princess...
Dennis Kardon on Edouard Manet
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...
Julian Kreimer on Rufino Tamayo
It doesn’t ask for our attention, rather its very self-sufficiency inspires fascination in us.
Sarah Walker on Shiva Vishvarupa
Before I can grasp it with my mind, this painting has already saturated and immobilized me. What am I looking at? Not so much a painting as a force.
Frances Barth on Piero della Francesca
The amazing spatial adjustments of the trees on the left had for me an energy and restraint at the same time that seemed almost to be a choreographed ballet.