1. Lin

    I just looked at her work online at the Thiebaud gallery. Morandi came to mind immediately, of course. Then that other quality, differred much from Morandi, was also immediately obvious. Of course, you put it here more clearly, is the humble surrender to the Other, the reality, like a private song in acapella, out of a cloister but carressed by natural light. I like Morandi, but I do sense his willingness to join force in the 20th Century thrust of drying up the images, leaving nothing but rock-hard (and a little sad) design, a rock, to be sure, from which we can not drink. On the other hand, as Ms Maize’s work shows, we could learn from teachers like Morandi without losing that quality within us, the kind that “cannot be taught.” Thanks, Maureen, for pointing me her way.

    Cheers to Maritain’s “habit of art”!

  2. Richard in Chicago

    Catherine Maize’s still lifes indeed look good, even online. The Paul Thiebaud Gallery has regularly come to the annual exhibitions here in Chicago, and they are always like a window to the Pacific sky, with the bright colors and luscious paints of the elder Wayne Thiebaud and other fine artists.

    As for Morandi, here is Karen Wilkin in hagiographic mode in The New Criterion a few years ago: “…for once the hackneyed phrase ‘an artist’s artist’ is absolutely accurate….an ability to appreciate Morandi’s subtle excellences can serve as a kind of litmus test for perception. If you can’t see how good Morandi is, it’s possible that your eye for painting is not to be trusted.” That’s it, who are you going to trust, me or your own eyes? This sounds not like perception, but High-Modernist antiquarianism sealed off from both past and present.

  3. Rebecca

    What a glorious find for me today. I too would love to get on that plane.

    Thank you for sharing this.

  4. Jennie

    I had the opportunity to see Maize’s work at an art fair in Paul Thiebaud’s booth several years ago. I thought they were small and powerful works. They have more color than Morandi’s and a sweetness about them. For me these works allow a kind of quiet exhale where as Morandi’s illicit a quiet gasp and contemplation. Passion can be exhibited in different ways. Standing in front of Morandi’s work I personally recognize the intimacy he had with the objects seen and have never felt cold blood running through his veins, but rather deep spiritual emotion. I look forward to going to Bologna this summer to see more of his works in person.

    I enjoy your writing very much.

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