Tag Archives: painting
“Carnal Tapioca”
Recently in the NYTimes Roberta Smith wrote a spirited appraisal of the exhibition of Renoir’s late nudes at the Clark Art Institute in Williamstown, MA. Peter Schjeldahl weighs in on the topic in the latest New Yorker. It’s fascinating how … Continue reading
“A Saved Man”
I admire Renoir for the valor with which he carried on his work into old age, arthritic hands and all. I don’t care much for his nudes. Nor am I as fond of Boucher as he was, but I get … Continue reading
“Amped Up to Grotesqueness”
Gina Beavers’s work hits a sweet spot for me. It’s impossible not to bumble where the talent has gone already, but I intend to explore serial, inflated, anatomical detail myself. Her idiosyncratic aesthetic… [offers] canny statements on contemporary bodies, beauty … Continue reading
Feminine Manet
My favorite touch on this painting is the mauve-against-yellow bonnet garnish — purple-yellow adjacencies enthuse me. Otherwise, the mannequin with the bee-sting pucker and doe-stupid gaze is both masterful and tiresome. Jason Farago writes about the exhibition “Manet and Modern … Continue reading
Fuchsia Parabola
[Frank] Bowling, born in Guyana 85 years ago, has lived for more than five decades in the London district of Pimlico… Jason Farago’s recent appreciation of Frank Bowling’s work is full of verbal spice. (Jason Farago, “A Trans-Atlantic Artist, Recognized … Continue reading
Surrealism’s Daughters
The creature with a “cow’s head” in Carrington’s “And Then We Saw the Daughter of the Minotaur” looks like the minotaur bred a doe, which of course is surreally plausible. The French capital was alive with Surrealism and its contagious … Continue reading
“Ida, Not Georgia”
Roberta Smith writes of an exhibition at the Clark Art Institute in Williamstown, Massachusetts entitled “Ida O’Keeffe: Escaping Georgia’s Shadow.” I don’t warm immediately to the work of Ida Ten Eyck O’Keefe (1889-1961), but I’m glad it has survived against … Continue reading →