The painting shows a shrieking wind from low-hanging squall clouds as it pushes a three-masted schooner through towering cape horn swells. St. Elmo's fire glows at the top of the mainmast as lightning strikes the storm-tossed sea. A cinematic masterpiece of a painting!

Result #1

In the background of the painting is a section of a block house, which the artist painted black and which is depicted in the same style. The two paintings share some of the same details: two girls standing under a cliff, a window with a low wall, a wavy, textured surface, and a windowpane door—the black-and-white scale and texture of the latter work is similar to the black-and-white one. The other works in this show also feature three-masted schooners, but St. Elmo's work is more colorful, more complex, and more naturalistic.What this show showed is that St. Elmo is an artist who does not hide the fact that he is capable of quite a lot of work with limited means. While this show confirmed his ability to compose large-scale paintings, it also showed that the artist is more than just a talented illustrator. The paintings on paper were of great importance, not only for their production but also for their visual qualities. The colors of the works make each piece of art sing. St. Elmo reveals that painting is not just about creating a picture but about making it. He shows us how to make good pictures with great words.

Result #2

The painting shows a shrieking wind from low-hanging squall clouds as it pushes a three-masted schooner through towering cape horn swells. St. Elmo's fire glows at the top of the mainmast as lightning strikes the storm-tossed sea. A cinematic masterpiece of a painting! Written by Walker Evans in the catalogue, and most captivating, are the depictions of the luminous lights in the foreground of the painting. The lanterns reflect the light in the canvas in the same way the sun does, but with magnifying glass in the distance. The viewer watches the vie with concentrated concentration, and even as the moon fades in the background, the lights continue to shine.The three-masted schooner, composed of two-and-a-half thousand small wooden planks, floats past the glass window. The shiny, cracked-looking hull reveals the metal plates for the hull; the windows open onto a view of the sea and a dark sky.The painting is a meticulous, recreationally realistic take on the two-dimensional photograph, especially with its use of photomontage. So, for example, in the above-is-a-before-and-after grid of the New York Times, the red column refers to the same thing as a photograph and the yellow, blue, and green outline for a schematic drawing. But these diagrams are a minefield, as important to photo-realist picture making as the photograph itself. Each diagram has a history and a telling narrative, a fictional source. The charted moon is a real thing—a solid ball of polished wood (and a cut from a newspaper); the graph of a pyramid is a chart of objects and places. The sun glows; the moon glows; the stars. Each diagram provides a coloristic model for the real world. In fact, the lights on the ship are so bright and colorful and powerful, they suggest the luminous waters, the luminous shapes, and the vivid, translucent colors of nature, that made the paper and canvas look new. But is this really what the painting really shows? It doesnt, just because the light is so bright. The sun isnt going to burn you.

Result #3

The painting shows a shrieking wind from low-hanging squall clouds as it pushes a three-masted schooner through towering cape horn swells. St. Elmo's fire glows at the top of the mainmast as lightning strikes the storm-tossed sea. A cinematic masterpiece of a painting! The scene recalls the scene in Hamlet of Pensylvania. A painting of the seas, of oceanic monsters. A scary tale of a boat. Of Merlin and his ship.A second work, Green and Brown, furthers the motif of an ancient apocalyptic symbol. Here, the shape of the ship is revealed to be a demonic body that haunts the painting, its head and limbs interwoven. Thus it is the beheading that reveals the true allegiance of man to the devil. The Green and Brown is only the second work in the show. It is comprised of a covered bridge from the Dresden bridge over the Rhine that towers above a main body of water. A vast crescent moon in the background recalls the moon in the painting. In the background, the carving of a round arch and a pearl necklace with a recumbent hand on the tip of it can be seen. In the foreground, the smoke of a fire burns. On a shattered white sail, the head of a dragon lies in its middle. In the background, the headless body of an elephant is borne by a winged woman. On the top, a blue cloud breaks the sky.A third work, the largest and most complex in the show, was a minuscule one-foot square of cream paint mounted on heavy brass. Here, three pairs of large images of a female nude with her hands tied behind her are mounted on the same brass plate. The first pair shows a head, the second an arm. The final pair shows the head of a dolphin. The painting is filled with the same images, except for one: a small figure, nude and bare-chested, has been cut from the side of a building. In the background, an upright bronze statue stands, and a large golden statue appears on the opposite wall. The title of the painting is the name of an ancient goddess, goddess of fertility, of fertility.

Result #4

Undoubtedly, that many permanent colors is not lost on a mind transformed into another sea of memory.

Result #5

A masterful theme painting! To be a master painter is a long-suffering pursuit. But Picassos sea-bound work is an honor with which we should all be well acquainted.Why do we want to have our cake and eat it too? Theres not much to see in the paintings, and when youre out there being weirdly interesting youll have it all to yourself. So why would anyone make a painting? Art is always cheap.What is odd about this show is that there isnt a good painting in it. Why bother with it? The answer is not because Picasso didnt create a painting. The answer is because he was not interested in painting. He didnt want to paint. Instead, he wanted to make a painting. Thats why he painted. Picasso was not interested in painting. Rather, he wanted to make a painting. Why bother with painting? Art is cheap. Painting is not. It was the works themselves that were being shown that were cheap.The paintings are too big to be paintings. Theyre too narrow, too incomplete, too full of things not worth the waste of time. Im not saying the paintings are useless, but they seem to be hopelessly superficial and lacking in substance. Theyre plain, simple, and spare. It is the paintings that are intricate, complex, and rich in story. No wonder the paintings are so much fun.