Staver painted the triptych to honor her brother who passed away six years ago. Seed writes "Although the paintings can be seen together as a cycle, Staver is mainly concerned that each image tells a strong story that can be related to the other panels. 'What is important for me, as a painter,' she relates, "Is that the three panels hold together and have the 'gestalt' to be cohesive, without relying on pictured sequencing, as in comic books.' Another element that connects the paintings is humor, something Staver finds essential; 'I do think humor is terribly important in painting. It is the constant and steady reminder of our humanity; the foible aspect of being alive.' "
Fantastic essay by Guy Davenport on the art of Simon Dinnerstein. Davenport writes: "Simon Dinnerstein’s Fulbright Triptych is so symmetrically a harmony and so richly a composite of genres (family portrait, still life, landscape, and a collage that amounts to a complex poem)..." Davenport continues, describing the transition from the northern european influenced works like the Fullbright Triptych to Dinnerstein's more recent work, a "Balthusian vision of the female nude sleeping or daydreaming, or simply being there."
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.