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Julie Langsam on Frederic Edwin Church
I first saw Frederic Church’s “Twilight in the Wilderness” in 1996 on my first trip to Cleveland; I was wandering aimlessly through the galleries of the Cleveland Museum of Art when this painting stopped me dead in my tracks.
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.
Tim Doud on Henri de Toulouse-Lautrec
The first paintings I ever interacted with regularly were those bought and traded in the board game “Masterpiece”. I had covetous relationships with many of the paintings in the game but two stand out.
Peter Drake on Maso di Banco
One of my favorite paintings in the world is Maso di Banco's St. Sylvester Resurrecting the Two Magi Killed by a Dragon and I've never seen it in person.
Hanneline Rogeberg on Titian
I grew up seeing the paintings of Munch and minor works of Northern European artists in the flesh, most of them tipping the scale at maudlin/austere.
Jason Mones on Leon Golub
I had the honor of joining Leon Golub and Nancy Spero to preview a Max Beckman show one evening in 2003. Leon needed help physically getting around at this point in his life and I was honored to lend him a shoulder to lean on.
Fabian Marcaccio on Jasper Johns
His flags and maps from the 50s are great but this painting shows, in a humble way, all of the doubts, questions, and ambiguities he had about America.
Tony Ingrisano on Yukinori Yanagi
Looking back, I am amazed that I was attracted to them at all; my tastes skew towards the insanely complicated and these pieces were really just simple line drawings.
Emily Noelle Lambert on James Turrell
After a long winter and a cool spring, I find that my inspiration stems from color, arresting me and connecting me in time.
Lauren Gidwitz on Édouard Vuillard
Every time I visit the Metropolitan Museum of Art in New York I spend at least thirty minutes with Album, by Vuillard. It continues to fascinate me.
Benjamin Britton on Julie Mehretu
I decided to write about Mogamma (A Painting in Four Parts): Part II by Julie Mehretu. Although I’ve followed her work for a while, it has become the piece of hers I have seen in situ the most.
Alexandria Smith on Laylah Ali
I first came across Laylah Ali's paintings in graduate school and immediately felt enamored. Her works were refreshing and filled me with validation.
Tony Robbin on Joyce Kozloff
Joyce Kozloff’s If I Were an Astronomer (Tasman), 2014, has a magical, rich, nocturnal silver-blue light that unifies the work and allows an exuberance of imagery to be seen as a whole.
Ed Valentine on Ivan Albright
The first time I saw an Ivan Albright painting was as a sophomore art student, in an art history class at The Columbus College of Art and Design. That was 1970.
Barry Nemett on Honore Daumier
My son's breath warmed my neck as I lost myself in the wrinkle of his wrist. Blackness. Quiet. Then the skeleton.
Gaby Collins-Fernandez on Frederick Edwin Church
“Our Banner in the Sky” is a painting made almost entirely of belief, which is why I liked it at first sight, in reproduction no less, advertising the Met’s 2013 Civil War and American Art exhibition in a newsletter.
Jo Smail on Pietro Perugino
Turn left outside the Jules Maidoff Palazzo in Florence†, walk to the first traffic light, turn left and walk up the hill until you reach via della Collona. Go right, soon you will arrive at # 9.
Elizabeth Glaessner on Karin Mamma Andersson
I discovered the work of Karin Mamma Andersson as an undergraduate while scanning art magazines in the library.