Three Women in a Courtyard — Kent Monkman


Three Women in a Courtyard, 2018 by Kent Monkman (b. 1965)

Jesura the Holy Kaiju — Mu Pan

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Jesura the Holy Kaiju, 2019 by Mu Pan (b. 1976)

Mientras Pablo no me vea — Carmen Chami


Mientras Pablo no me vea (As Long as Pablo Doesn’t See Me) by Carmen Chami (b. 1974)

Portrait of Moerai Matuanui — Kehinde Wiley


Portrait of Moerai Matuanui, 2019 by Kehinde Wiley (b. 1977)

Desayuno sobre la Obrera — Carmen Chami 


Desayuno sobre la Obrera by Carmen Chami (b. 1974)

The Three Graces, after Rubens — Jake Wood-Evans

The Three Graces, after Rubens, 160x140c

The Three Graces, after Rubens, 2018 by Jake Wood-Evans (b. 1980)

Don Quixote — Daniele Galliano


Don Quixote, 2014 by Daniele Galliano (b. 1961)

Ilketshall — Stuart Pearson Wright


Ilketshall, 2014 by Stuart Pearson Wright (b. 1975)

One Too Many — Clive Smith


One Too Many, 2001 by Clive Smith (b. 1967)

Two Elders Seated — Jayne Holsinger


Two Elders Seated, 2007 by Jayne Holsinger

I’m into Shooting in Natural Environments — Dana Schutz


I’m into Shooting in Natural Environments, 2008 — Dana Schutz (b. 1976)

the book (is an extension of the eye) — Jen Mazza


the book (is an extension of the eye), 2012 by Jen Mazza (b. 1972)

Daniela on David’s Récamière — Paul Wunderlich


Daniela on David’s Récamière, 1974 by Paul Wunderlich (1927-2010)

Super Saian George with Trojan Horse — Mu Pan


Super Saian George With Trojan Horse, 2018 by Mu Pan (b. 1976)

Goya’s Ghost — Veronika Holcová 


Goya’s Ghost, 2016 by Veronika Holcová (b. 1973)

Too much plasticity (From Gaddis’s The Recognitions)

 — Where were you all day? Mr. Yak asked again, when they bumped the second time.

—The Prado.

—The art museum? Mr. Yak shrugged. —What did you do there? He glanced up at the face beside him, and said, —You don’t look like you liked it much. The art there.

—Well they . . . the El Greco, his companion began, as though called upon to comment, and he drew his hand across his eyes.

—They have so many in one room, they’re almost hung on top of each other and it’s too much, it’s too much plasticity, there’s too much movement there in that one room . . . He suddenly looked up at Mr. Yak, holding a hand out before them which appeared to try to shape something there. —Do you … do you see what I mean? With a painter like El Greco, somebody called him a visceral painter, do you see what I mean? And when you get so much of his work hung together, it … the forms stifle each other, it’s too much. Down where they have the Flemish painters hung together it’s different, because they’re all separate . . . the compositions are separate, and the . . . the Bosch and Breughel and Patinir and even Dürer, they don’t disturb each other because the . . . because every composition is made up of separations, or rather … I mean … do you see what I mean? But the harmony in one canvas of El Greco is all one . . . one . . . He had both hands out before him now, the fingers turned in and the thumbs up as though holding something he was studying with a life which Mr. Yak had not seen in his face before. But he broke off abruptly, and his hands came down to his sides.

From William Gaddis’s The Recognitions. 

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Detail from The Crucifixion, El Greco, 1600

The Magazine Antiques — David Brega


The Magazine Antiques, 1986 by David Brega (b. 1948)