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Melinda Stickney-Gibson on Susan Rothenberg
It's a curious thing to feel an immediate and unflagging connection and respect for a fellow painter's work

Mary Lucier on the Video Mysteries of Cecelia Condit
They depict a psychological violence resulting from a basic cold-heartedness in human nature.

Philip Pearlstein on Piero della Francesca
Yet it seemed to me to provide a kind of grammar of pictorial invention, parallel to the grammatical constructions of language that adventurous poets play with...

David Reed on Caravaggio: Whirlpool - The Martyrdom of St. Ursula
The strange pattern of forms that now obsessed me implied a resolution of that split in consciousness between St. Ursula’s and Caravaggio’s portrait...

Mark Greenwold on Jack Levine
Greenbergian Modernism... has put nails in the coffins of all sorts of serious and interesting representational artists for most of my lifetime.

Marc Handelman on Martin Johnson Heade
The jungle is gathered as a flat organization of space, folded, and pierced so as to connect multiple locations.

Rackstraw Downes on Hercules Segers at the MET
Once you get into his weird scale and murmuring color a whole world opens up.

Luke Murphy on Robert Fludd
What it tries to contain — an unimaginable nothingness — is so beyond its simple means...

James McGarrell on Jan Vermeer
Its entry is inevitably from the bottom edge because it is from there that, as crawling infants, we all enter spaces.

Marie Peter-Toltz on Gerard Garouste
Beauty disguises her devilry; she represents the other half of hell.

Judith Bernstein on Edvard Munch
He created a vertigo inducing composition, extraordinary in its manifestation of Existentialism.

A Call to Action: Kelli Scott Kelley on Julie Heffernan
The bare-breasted heroine, the apparent caretaker of the heap, wielding a chainsaw...

John Moore on Pierre Roy
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.

Samuel Jablon on Mike Cloud
Like a sinister joke, or a self-destructive one, the work makes us laugh and question why we’re laughing.

Murray Zimiles on Kazimir Malevich
In keeping with communist doctrine, he claims that his work glorifies the proletariat, in the form of the Russian peasantry.

Barkley Hendricks on Louis Sloan
I learned a great deal from Mr. Sloan when I was a student of his at the Pennsylvania Academy of the Fine Arts in Philadelphia.

Laura Newman on a Diagonal Line in Matisse's 'View of Notre Dame'
In Matisse’s View of Notre Dame, a diagonal line reaches out of the pentimenti, which establish the artist’s side of a French window, and spans the Seine.

Roberto Juarez on Hilma af Klint
Her paintings spoke to me in a personal yet enigmatic way. I had yet to experience anything like them.

Joan Waltemath on Zen and the Art of Billy Al Bengston
“Stud”, an exhibition of Billy Al Bengston’s paintings at Venus over Manhattan Gallery this past November, afforded a unique opportunity to see the legendary West Coast painter in New York City. It is clearly a special moment for an artist.

And then the Real Nature Showed Up: Emilie Clark on Rubens
Last week I went to the Met to pick out a painting to write about for Painters on Painting. I had initially thought that I would write about a contemporary work, always feeling that I need to broaden my knowledge of contemporary painting. But then the election happened and I wanted to be in the Met.