Goodrich writes: "An extraordinarily self-possessed and disciplined painter, [Mattiasdottir] turned Hofmann’s often bombastic exuberance in a very different direction, towards a keen-eyed affection for the appearance of things, even when — or, perhaps, especially when when — they were reanimated through the formal language of painting... Like Bonnard and Matisse, her work testifies to the unique combination of sensuousness and discipline that marks the best traditional painting. The particular virtues of her work — subtly weighted color, dynamics of rhythm and scale — don’t come through on a screen or printed image."
Joe Walentini reviews several November painting shows in New York including exhibitions by Sharon Etgar, Norman Lewis, Herman Maril, and Louisa Matthiasdottir.
Of Matthiasdottir, Walentini writes that her "paintings are deceptively unassuming due to their minimalism. But now look at how the space is carved out within each composition. Perspective is determined almost entirely by the size and placement of the forms and how they are painted. Nearly everything in these paintings serves a dual purpose between constructing the rudimentary subject matter and simultaneously orchestrating everything else to a totality beyond the combination of elements. Best of all is how the latter challenges the viewer’s imagination and creativity – something all great painting does."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.