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Ford Crull on Paul Klee, The Magician
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
Lauren Britton on Edvard Munch
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.
Brenda Goodman on The Guston Curse
The color was not Guston, the shapes were mostly not Guston, and the paint handling was certainly not Guston but people still had to say--“Oh I see Guston in there.”
Doron Langberg on Jess
When I saw “The Enamored Mage” in person I was completely transfixed. Painted with heavy impasto, the protrusions of paint gush out of the surface, some following the image, some swelling under it.
Carolee Schneemann on Arthur B. Carles
How did I manage to get to the great museum on the parkway, perched like a castle above the two rivers?
Ellen Harvey on Rogier Van der Weyden
This rather battered old reproduction hangs in my studio. I’ve owned it since I was five, which is when I first and last saw the original.
Austin Furtak-Cole on Duccio di Buoninsegna
There are times when a painting stops the world around me for a moment and all I can do is stare back in wonder at this thing that holds me.
Virginia Wagner on Wangechi Mutu
It was a Lord of the Flies summer. I was coming from an undergraduate art program that served only to nurture the special seed...
Julie Heffernan on Angela Dufresne
A hot/cold interior, a crimson stage in the middle of a veiled blue vault, one lone, naked lady, tiny in scale but lit up—the lightest thing in the room-- presiding over a vast and louche lounge.
Carrie Moyer on Elizabeth Murray
At the time the existence of this intelligent, vivacious woman painter was as inspiring and important to me as the paintings themselves.
Elaine S. Wilson on Sandra Stone
It is a quiet painting, although we can hear the voices of women calling to each other as they work, the sound of a news announcer on the radio, or a song, perhaps a finch in its cage singing, and the background throb of a pigeon from the rooftop.
Peter Malone on Rogier Van der Weyden
It was on a trip to the Philadelphia Museum of Art in 1982 that I first encountered what is now my favorite riddle.
Sharon Horvath on Badal Mahal of Bundi Palace
This giant moon-blossom zings a beam straight into my forehead, lasering a third eye that I didn’t know I had before.
Robin Williams on Sylvia Sleigh
Her pieces seemed indifferent to the visual hierarchy that defines space, distance, or remove. Sleigh’s eyes were an equalizing force and connected her with her subjects in a way that felt personal and political.
Fay Ku on Jules Bastien-Lepage
It was the intensity of her expression that arrested me: wild wide eyes absorbed by some otherworldly sight or sound.
Judy Glantzman on Dawn Clements
Dawn Clements’ giant watercolor on paper, capturing dying peonies, is achingly beautiful. Her touch is light, her eye, and hand in a lock step; the drawing is a placeholder for where the peonies once were.
Deborah Oropallo on Marcel Duchamp
What I discovered viewing that piece at 15 is that the experience of standing in front of great art always does the same thing to me: stops me in my tracks, points out my own limitations as to what I thought was possible in Art.
Robert Berlind on Sigmar Polke
Has anyone pushed the attitude of anti-art so relentlessly? Beyond attacking notions of esthetic unities and good taste, he seems to intentionally abjure coherent communication.
Fred Valentine on Joan Mitchell
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.
Joseph Santore on Vincent van Gogh
I remember Al Held saying that Van Goghʼs paintings never quite settled in on the walls of museums and that there was a strange awkwardness about the way they related to the other works around them.