John Goodrich

John Goodrich considers Henri Matisse's Laurette in Green Robe (Black Background) in the collection of the Metropolitan Museum of Art. Goodrich observes: "We ... may become aware of something particularly lively about this semblance of a woman in a chair: the sense of her weight, and how her forms expand rhythmically across the chair, which

John Goodrich visits Drawn to Greatness: Master Drawings from the Thaw Collection and shares his observations about Watteau's striking formalism. Goodrich writes: "Superficially, Watteau is all fanciful froth – charming subject matter, feathery modeling, a light, darting touch. But what distinguishes Watteau are his extraordinary and comprehensive intuitions about formal rhythms — in this case,

John Goodrich reviews Janice Nowinski: Paintings at John Davis Gallery, Hudson, New York, on view through June 18, 2017. Goodrich writes: "In her third show at John Davis Gallery, Nowinski continues to combine a distinctly 'low,' unpolished approach with high ambitions for painting. The artist’s fairly conventional motifs — figures posed in landscapes and interiors

John Goodrich reviews Thaddeus Radell: Hard Rain at John Davis Gallery, Hudson, New York, on view through June 18, 2017. Goodrich writes: "Throughout these paintings, the candid attempts and re-attempts to define each subject become, in effect, stories of their own: encapsulated histories of a transcendental quest. Radell’s work, in short, revels in the epic

John Goodrich reviews a recent exhibition of paintings by Kyle Staver at Kent Fine Art, New York. Goodrich writes: "Kyle Staver is a colorist, and one of the best around – which is only to say that in her paintings she makes every color count. In art school, they drill into students the three properties

John Goodrich reviews Gregory Amenoff: New Paintings at Alexandre Gallery, New York, on view through October 29, 2016. Goodrich writes: "While the natural landscape, exotic and enveloping, underpins all of Amenoff’s scenes, they depart from boiler-plate realism by several routes. A number of especially romantic paintings are notable for their brushy, atmospheric depths; they depict

John Goodrich reviews a recent exhibition of works by Hearne Pardee at Bowery Gallery, New York. Goodrich writes: "When artists share their process, they usually call our attention to particularly evocative materials and techniques. Pardee, however, focuses on a different kind of process, one that’s arguably even more fundamental to visual experience: the challenges of

John Goodrich blogs about viewing Jean-Baptiste-Siméon Chardin's Seville Orange, Silver Goblet, Apples, Pear and Two Bottles (1750) at the Metropolitan Museum of Art, New York. Goodrich writes that "the painting provides something of an existential experience. For more conventional artists, painting representationally means starting with a recognizable enough rendering and then adding the 'art': suggestive

John Goodrich reviews the exhibition Ruth Miller: Recent Work at Lohin Geduld Gallery, on view through November 12, 2011. Goodrich begins: "It's no surprise that over the decades, the painterly landscapes and still lifes of Ruth Miller... have gained many admirers. Her vivid hues and richly scumbled surfaces have an immediate appeal, but more impressive