Reflecting on Caravaggio, Ecce Homo (Madrid), c. 1605 - 1609
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Reflecting on Caravaggio, Ecce Homo (Madrid), c. 1605 - 1609
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Winslow Homer, Adirondack Guide, 1894 This painting keeps refusing brightness. No clearing. No vista. No reward for looking longer. Homer gives us a man shaped by repetition rather than revelation. Someone formed by water that stays dark and a forest that doesn’t open itself for you. His steadiness isn’t mood or mindset. It’s skill, patience, familiarity earned over time. I keep coming back to how unromantic this is. And how trustworthy. Adirondack Guide is in the collection of the Museum of Fin
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Winslow Homer, Adirondack Guide, 1894 This painting keeps refusing …
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Rembrandt van Rijn, The Night Watch (1642) This painting was meant to show people at their best. Rembrandt chose the moment before that. Before order settles. Before everyone knows their place. Before anyone feels ready. The Night Watch isn’t a scene of heroism or control. It’s the interruption. The call just given. The awkward beginning of movement. That’s why it unsettled people then. And why it still does. When responsibility arrives, it rarely waits for clarity. Where in your life are you wa
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Rembrandt van Rijn, The Night Watch (1642) This painting was m…
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Peter Doig, 100 Years Ago, 2000 The distance seems steadier than the figure, but not because it’s truer. It’s because memory lingers differently from the body. Doig works from images that drift back over time. Photographs, films, half-held scenes. What returns is persistent, not reliable. The place can still be pictured. The canoe, the water, the far shore. But they no longer form a ground you can stand on. The figure loosens. The image holds, but without certainty. 100 Years Ago isn’t about ret
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Peter Doig, 100 Years Ago, 2000 The distance seems steadier than the f…
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Vilhelm Hammershøi, Interior with Woman at Piano, Strandgade 30 (1901) Nothing announces itself as important. Objects wait. The figure turns away. Meaning is not offered. It’s deferred. Painted in Copenhagen at the turn of the twentieth century, this intimate interior reflects an artist committed to restraint at a moment when art was becoming louder and more demonstrative. What appears sparse is carefully held. Absence here is not neglect but choice. The painting is in the collection of Ordrupga
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Reflecting on El Greco, View of Toledo, 1596 - 1600
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141 viewsJan 28, 2025
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Reflecting on Caravaggio, The Incredulity of Saint Thomas, c 1601 - 1602
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Reflecting on Caravaggio, The Incredulity of Saint Thomas, c 160…
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Shrove Tuesday
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