Andre, Carl In Andre's art it is as if the whole Western tradition of sculpture has been (literally) steamrollered. While other sculptors of his generation dispensed with the plinth, placing their work directly on the floor, Andre dispensed with everything on top of it and declared the plinth itself to be the work of art. Nearly all his sculptures are platforms of one sort or another.
(Carl Andre's sculptures, Anthony D'Offay Gallery, 21 Mar 1989)
 
Bonnard, Pierre
Bonnard is a much-loved artist but the true magnitude of his achievement has been insufficiently recognised. In his surreptitious, soft-spoken way, he invented a whole new language - a way of painting which is so mobile and fluctuant, in the shifts and moves of light across its animated mosaic of surface, that it becomes a potent analogue for experience; a way of recreating, in the texture of art, the texture of life itself.
('Bonnard at Le Bosquet', Hayward Gallery, 5 July 1994)
 
Clemente, Francesco
Clemente is a skimmer. He borrows willy-nilly (especially willy) from the iconography of Hindu temple statuary, he borrows from Mughal art and Rajput miniatures, all in an attempt to graft some kind of cultural respectability on to his lightweight pictures. But the borrowed forms that fill his art are like souvenirs, and his mysticism is the easy awe of the tourist.
(Francesco Clemente, Anthony D'Offay Gallery, 20 April 1993)
 
De Kooning, Willem
His best pictures are not major contributions to Western visual culture, or anything else as abstract and high-sounding as that. They are evocations of strange, dreamed orgies - attempts to evoke, in painting, something like the experience of having sex with someone gorgeous in a bath filled with maple syrup and milk while eating a fried egg and bacon sandwich.  De Kooning's genius was...

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