"Some critics like to pin Matisse on me....But I don't think he has influenced my work." * It's hard to believe that Milton Avery actually made that statement.
Just take a look at some of his paintings, like Tree Fantasy (Whitney Musuem of American Art, New York), March on the Balcony (Phillips Collection, Washington, DC) and Seated Blonde (Walker Art Center, Minneapolis). Avery's brushwork, sophisticated use of color, and his masterful reduction of forms to simple, playful,
This post is the first in a series I call "Permanent Collections." "Permanent Collections" is the result of countless hours spent traveling the country looking at paintings from institutions of all kinds: from large, encyclopedic collections built on the donations of many collectors--such as the Metropolitan Museum in New York and the Cleveland Museum of Art; to well-known eponymous legacies, like the Isabella Stewart Gardner Museum and the Phillips Collection; to small, obsc
50 best/most important/most interesting paintings in Boston, post number 3, Rembrandt’s “Artist in his Studio.” This little work--it’s only 9.75 x 12.5 inches--is one of my favorite paintings anywhere, not just in Boston. It’s a portrait; it’s a narrative painting; it’s an amazing study of light. And it’s filled with so many wonderful details: a mahlstick held with a pinkie, palettes hanging on the wall, vessels to the left of the artist, door hinges and latches, worn floorbo
The second in my series of the the 50 best/most important/most interesting paintings in Boston-area museums, is a work that I’ve actually never seen in person. “The Mandolin” by Georges Braque (c. 1939-40) is owned by the Harvard Art Museums, and for some reason I can’t figure out, they seem to hardly ever show it. It has never been on view when I’ve visited, and whenever I check the museums’ website, the painting is still in storage. Nonetheless, I feel I can declare this as
This portrait, “Luis de Góngora y Argote,” by Diego Velazquez is the first in a series of posts that will feature what I consider the 50 best/most important/most interesting paintings in Boston-area museums. Although small (19 3/4 x 16 inches), and not among Velazquez’s best-known works, it might be one of his most significant. According to the Museum of Fine Arts, Boston, where the painting hangs, “this portrait may well have led to [Velazquez’s] first royal commission and s