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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.
John Dubrow on Titian
I first saw Titian's Flaying of Marsyas in the winter of 1984. I had moved to Brooklyn from the Bay Area just 5 months before, when I heard the Flaying of Marsyas was at the Royal Academy in London for an exhibition on 16th Century Venetian painting. I quit my job, got a cheap flight and flew over.
Richard Kalina on Stuart Davis
A little while ago I went to the Stuart Davis retrospective at the Whitney. I was expecting to like it, and I did. I’ve seen my fair share of Davis’ paintings over the years, and I have particularly fond memories of his solo 1991 Metropolitan Museum exhibition, Stuart Davis: American Painter.
Nancy Hagin on Giorgio Morandi
The first Morandi painting that I ever saw was at the Pittsburgh International Triennial Exhibition of 1958. I was a first year art student at Carnegie Mellon University, then called Carnegie Tech.
Kristen Schiele on Charles Burchfield
Charles Burchfield's landscape paintings are riveting. This painting, Sphinx and Milky Way, with its bat-like shapes, celestial falling stars, deep midnight blue and black center, flowers with faces, and symbolic points of light, pulls me in with a kind of intensity I've discovered in few others.
Wells Chandler on Katherine Bradford
I'm convinced that it's Katherine in her astral body feeling good about working her ass off in the studio.
Julie Heffernan on Andrea Mantegna
Quite a carousel of fun and divine hijinks, you might say if you happened to venture onto this scene from the surrounding caves or the tiny town nestled under Mount Helicon in the distance.
Sarah Slappey on James Ensor
It is the kind of laughter born of cruelty instead of fantasy. How can such an emotional difference between paintings depicting imagery that is remarkably similar be accounted for?
Curt Barnes on Morris Louis
What had been poured downward now seemed to grow upward, sometimes like some multicolored, gargantuan plant form.
Elena Soterakis on George Bellows
His paintings of the Penn Station excavation, violent and gritty, show the negative side of progress; they’re the quintessential example of man at odds with nature.
Maria Calandra on Joan Miró
It spoke to me directly, which is uncommon for a painting in a museum setting. It was one of us.
Lourdes Bernard on Pieter Bruegel
The Wine of Saint Martin’s Day by Pieter Bruegel has preoccupied me since 2009, after coming across it in the fifth Bruegel book I ever purchased.
Sophia Narrett on Edgar Degas
When I first saw Degas’s Portrait of Mlle Fiocre in the Ballet "La Source" I felt like I was experiencing the actual ballet as an audience member might have, accessing the elusive suspension of disbelief that allows viewers to get swept up in the narrative experience.