ShareIn Painting and Reality, Etienne Gilson argued that painting should be experienced on its own terms. That is to say, aesthetically. He insisted that audiences greet art without thinking of it as something to be understood, decoded, or interpreted. A painting is not an essay, not a set of propositions. Whatever literary, philosophical, or narrative [...]
Category Archive for 'Painting'
ShareAmong Platonists, man is mind, intellect, above all else. Man is ordained to think. His province is learning and true wisdom. The rest is flesh and appetite, or, in the phrasing of Timaeus , an Eros of begetting. A common, ignoble thing that resides in the lower precincts of the body and pulls us earthenward, away [...]
Roger de la Fresnaye (1885-1925) painted strikingly personal, luminous, figure compositions between 1912 and his entry into the French army in 1914. They are among the grandest works of the generation of Picasso and Braque.
During the 1940s, Duncan Phillips called him a “legendary knight.” Neglected might have been the more accurate adjective, but the noun was [...]
Among Euan Uglow’s studio props was a female skull, minus the jaw bone and, possibly, two thousand years old. His friend and fellow painter Tony Eyton wrote that Uglow found it in an ancient burial ground and smuggled it out. It is a fit companion to Notes of an Anatomist by Frank Gonzalez-Crussi, a practicing pathologist [...]
ShareThe only Christian work is good work, well done.
Ask: “Who is the greatest figure painter of the late twentieth century?” The answer on this side of the Atlantic is likely to be Lucian Freud. Across the water, the choice is hardly so clear cut. Euan Uglow (1932-2000) is one of Britain’s most distinguished—to many, [...]
Shareby Hasan Niyazi
CARAVAGGIO AND HIS FOLLOWERS IN ROME has arrived at the Kimbell Art Museum in Fort Worth, Texas. Those unable to experience the majesty of the Baroque in person are left to ponder the substantial catalogue recently published by Yale University Press.
Featuring essays by exhibition organizers and notable scholars of the Baroque, Michael Fried’s [...]
ShareLLOYD MARTIN LIVES AND WORKS IN RHODE ISLAND. By no means does that permit anyone to call him a New England painter. There is nothing regional about his painting. His achievement embodies Robert Hughes’ observation—made some twenty years ago—that Manhattan is no longer a creative center. A marketing center, certainly; but vital for the development [...]
ShareIN MORE THAN TWENTY YEARS of following Paul Resika’s painting, I have yet to see a single flower painting by him. Opening today at Lori Bookstein’s is “Paul Resika: Flowers,” a survey of atypical floral still lifes that begins in the late 1980s and continues into the present. A dozen small scale (22 x 18 [...]
ShareNEW YORK REMAINS A MARKETING CENTER but it has not been a creative center for at least two decades. Robert Hughes was saying as much in the early Eighties. Artists live where they like, where they can afford. They spend just enough occasional time in New York to get to know galleries where their work [...]
ShareIt is always interesting to view the work of art critics. Most often, the soul of their criticism—its preferences and loyalties—is encapsulated in their own art. Hedy O’Beil has been a guide to the art world for close to 40 years. She contributed to Arts magazine in its heyday, from 1976 to 1985 when it [...]