Belz writes that "each [artist] has now been painting for more than four decades, and each has in the process periodically made ambitiously large pictures, as well as pictures that are frankly and unapologetically beautiful, candid in celebrating color as a vehicle of emotional content, intuitively smart in structuring its deployment to assure the content's credibility. Regularly inspired by their modernist past, yet at the same time unburdened by it, each has also looked periodically to nature, not in opposition to abstraction, which was the charge presented against painting nature in the 1950s, but as a resource for enriching it."
Discussing the documentary in a recent article in NYArts Magazine Collins noted: "I began with a person whom I already knew: Joseph Marioni, a painter perpetuating the High Modernist tradition of his predecessors. Once I talked with him, I came away with many ideas that multiplied. Though De Antonio was already well acquainted with his group of participants, I would be learning about mine for the first time while filming, which is an experience I have come to enjoy. There's nothing like sitting with someone and hearing the story of his or her life firsthand."
Haber writes: "Both [artists] work in acrylic and let it flow, big time. One can contemplate its color and other pleasures, or one can dive in to look for representation. With Moyer that means women and other creatures, with Ronnie Landfield landscape. Neither rests on irony, and yet both are looking back. Only looking back gets trickier all the time."
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.