Welliver’s palette, devoid of earth tones, was chosen to suggest the presence of air and to create an image that would parallel, rather than replicate, the luminosity of nature.
Deane’s great skill was his ability to transcribe human forms from memory…. His owlish face was as quick to slyly smile as it was to cloud over, for he was at once one of the most brilliant and emotionally kinetic people I’ve ever known.
The Metropolitan Museum’s Madame Cezanne and its accompanying catalogue go a long way toward rewriting a well-worn narrative of conjugal disfunction.
I approach Andrew Wyeth’s work circumspectly, in order to tease apart and separate the art from the commodity.
There are a couple of exhibitions of nineteenth-century landscape painting now on view at the Morgan Library & Museum.
A master of the unbroken contour, Schiele could suggest the living swells and valleys of a figure so dexterously that any elaboration by means of value would have been, well, academic.
A lot of us will never get to Edinburgh, but a choice piece of Scotland is visiting New York: Masterpieces from the Scottish National Gallery has opened at the Frick.
“For me, with Pollock’s Mural, I was looking at something that had been created that was about art, that was about itself, that could be its own reference.” —Bruce Dorfman
American Mirror: The Life and Art of Norman Rockwell is an impeccably researched and highly readable biography of a man that many Americans feel they already know.
We have all had the experience of going to an exhibition and having one painting stand out so completely in your mind, that you remember little, if anything else, about what you have seen.