Georges RouaultPaysageca. 1940Oil on paper laid down on canvas14.5 x 11 cm  “There is no inner life any more. There is no constant effort voluntarily followed up. Or at least, there is less and less of it.”— Rouault, in a letter to André Suarès, 1911 

Georges Rouault
Paysage
ca. 1940
Oil on paper laid down on canvas
14.5 x 11 cm 

“There is no inner life any more. There is no constant effort voluntarily followed up. Or at least, there is less and less of it.”
— Rouault, in a letter to André Suarès, 1911 

Joan MiróL’équarrisseur à l’ouvrage1968Colour lithograph55 x 55 cm

Joan Miró
L’équarrisseur à l’ouvrage
1968
Colour lithograph
55 x 55 cm

Anonymous (Sanganer & Delhi)Untitled2000Tempera, gouache, watercolor on paper 35.6 x 23.2 cm  “After the first shudder of delight, everything occurs beyond eyeshot, much deeper. Everything happens when that which is already only a reflection, the glimmer of the seen,landswithout the slightest soundin the spirit.” — Franck André Jamme (translated by Michael Tweed), from Tantra Song 

Anonymous (Sanganer & Delhi)
Untitled
2000
Tempera, gouache, watercolor on paper 
35.6 x 23.2 cm 

“After the first shudder of delight, everything occurs beyond eyeshot, much deeper. Everything happens when that which is already only a reflection, the glimmer of the seen,
lands
without the slightest sound
in the spirit.”

— Franck André Jamme (translated by Michael Tweed), from Tantra Song 

Richard di SantoInterior2012Ink on paper26 x 17.8 cm

Richard di Santo
Interior
2012
Ink on paper
26 x 17.8 cm

Francis BaconParalytic Child Walking on all Fours (from Muybridge)1961Oil on canvas198 x 142 cm Collection of the Gemeentemuseum Den Haag 

Francis Bacon
Paralytic Child Walking on all Fours (from Muybridge)
1961
Oil on canvas
198 x 142 cm

Collection of the Gemeentemuseum Den Haag 

Paolo Uccello (attributed)A Young Lady of Fashionca. 1460Oil on wood44.1 x 31.8 cm

Paolo Uccello (attributed)
A Young Lady of Fashion
ca. 1460
Oil on wood
44.1 x 31.8 cm

Richard di SantoUntitled postcard (detail)2011Watercolor on paper15.2 x 10.2 cm

Richard di Santo
Untitled postcard (detail)
2011
Watercolor on paper
15.2 x 10.2 cm

David HockneyWinter Timber (detail)2009Oil on 15 cavases108 x 240 in. See the complete work here. Or better still, visit the Royal Academy of Arts (on now until 9 April 2012).

David Hockney
Winter Timber (detail)
2009
Oil on 15 cavases
108 x 240 in.

See the complete work here. Or better still, visit the Royal Academy of Arts (on now until 9 April 2012).

Matthew SmithModel à la Rose1924Oil on canvas892 x 638 cm “He seems to be to be one of the very few English painters since Constable and Turner to be concerned with painting, that is, with attempting to make image and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image is the paint and vice versa. Here, the brush-stroke creates the form and does not merely fill it in. Consequently, every movement of the brush on the canvas alters the shapes and implications of the image. That is why real painting is a mysterious and continuous struggle with chance — mysterious because the very substance of the paint, when used in this way, can make such a direct assault upon the nervous system; continuous because the medium is so fluid and subtle that every change that is made loses what is already there in the hope of making a fresh gain. I think that painting today is pure intuition and luck and taking advantage of what happens when you splash the bits down, and in this game of chance Matthew Smith seems to have the gods on his side.” — Francis Bacon (1953) 

Matthew Smith
Model à la Rose
1924
Oil on canvas
892 x 638 cm

“He seems to be to be one of the very few English painters since Constable and Turner to be concerned with painting, that is, with attempting to make image and technique inseparable. Painting in this sense tends towards a complete interlocking of image and paint, so that the image is the paint and vice versa. Here, the brush-stroke creates the form and does not merely fill it in. Consequently, every movement of the brush on the canvas alters the shapes and implications of the image. That is why real painting is a mysterious and continuous struggle with chance — mysterious because the very substance of the paint, when used in this way, can make such a direct assault upon the nervous system; continuous because the medium is so fluid and subtle that every change that is made loses what is already there in the hope of making a fresh gain. I think that painting today is pure intuition and luck and taking advantage of what happens when you splash the bits down, and in this game of chance Matthew Smith seems to have the gods on his side.”
— Francis Bacon (1953) 

Rodney GrahamInverted Drip Painting no. 302008Acrylic on linen152.4 x 127 cm 

Rodney Graham
Inverted Drip Painting no. 30
2008
Acrylic on linen
152.4 x 127 cm