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As Yaffe points out, Mitchell learned from painting how to yoke "past, present, and future" together in one image.
It is clear from this decent example of his meat-and-potatoes painting how much time he has spent drawing and looking.
He made attempts to ask his questions — how you determine who painted a painting, how you follow its fate, find its true owner.
Leonardo was obsessed with problems like how to create translucent effects in painting, how to capture the mysteries of light – the very problems posed by painting a glass sphere.
For nearly 20 years he has made work that seduces the eye while also upending most notions of what, exactly, constitutes a painting, how it should be made and by whom.
The work of this Italian-born artist, who is based in New York, seduces the eye while also upending most notions of what, exactly, constitutes a painting, how it should be made and by whom.
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Who painted how?
It's how great artists paint, how great mathematicians solve equations".
There is talk of the artist, "who paints how people feel," "how it would feel on the inside".
The camera follows the conversation as it builds, with observations like: "He paints how people feel," and "She's lonely".
You see the change in his painting when expressionism took over, and he discovered you could paint how you felt, not how you looked.
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