Acrylics

Sam Gilliam
Red Hot New Haven
1987
acrylic on canvas and acrylic on aluminum
Smithsonian American Art Museum, Washington DC

Peter Halley
The Acid Test
1991-92
acrylic on canvas
Whitney Museum of American Art, New York

Mary Heilmann
French Screen
1978
acrylic on canvas
Whitney Museum of American Art, New York

Allen Hirsch
Drugs
1986
acrylic on board
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Alex Israel
Sky Backdrop
2013
acrylic on canvas
Whitney Museum of American Art, New York

Nicholas Krushenick
Indoor Pastry
1971
acrylic on canvas
NSU Art Museum
Fort Lauderdale, Florida

François Lacasse
Compression IV
2006-2007
acrylic on canvas
Musée National des Beaux-Arts du Québec

François Lacasse
In Vivo
2014
acrylic on canvas
Musée National des Beaux-Arts du Québec

Fernanda Laguna
Abstract
2014
acrylic on two canvases
Guggenheim Museum, New York

Bernie Lettick
Reagan's Tax Package
1985
acrylic on canvas
(commissioned by Time magazine)
National Portrait Gallery, Washington DC

Steve Locke
Homage to the Auction Block #92 - Sacrifice
2021
acrylic on panel
Portland Museum of Art, Maine

Reinier Lucassen
Traum
1981
acrylic on canvas
Museum Boijmans Van Beuningen, Rotterdam

Kim MacConnel
Formidable
1981
acrylic on strips of bed-sheet
Whitney Museum of American Art, New York

Mundo Meza
Merman with Mandolin
1984
acrylic on canvas
Whitney Museum of American Art, New York

Aaron Morse
Cloud World (#3)
2014
acrylic on canvas
Blanton Museum of Art, Austin, Texas

Gordon Onslow-Ford
Finding
1986
acrylic on paper
Los Angeles County Museum of Art

John Opper
Color Series 8-71
1971
acrylic on canvas
Smithsonian American Art Museum, Washington DC

    If there be any evil in death, it would appear to be that pain and torment which we apprehend to arise from the breaking of those strait bands which keep the soul and body together; which, sith not without great struggling and motion, seemeth to prove itself vehement and most extreme.  The senses are the only cause of pain, but before the last trances of death they are so brought under that they have no, or very little, strength; and their strength lessening, the strength of pain too must be lessened.  How should we doubt but the weakness of sense lesseneth pain, sith we know that weakened and maimed parts which receive not nourishment are a great deal less sensible than the other parts of the body; and see that old, strengthless, decrepit persons leave this world almost without pain, as in a sleep?  If bodies of the most sound and wholesome constitution be those which most vehemently feel pain, it must then follow that they of a distempered and crazy constitution have least feeling of pain; and by this reason, all weak and sick bodies should not much feel pain; for it they were not distempered and evil complexioned, they would not be sick.  That the sight, hearing, taste, smelling leave us without pain and unawares, we are undoubtedly assured; and why should we not think the same of the feeling?  That by which we are capable of feeling is the vital spirits animated by the brain, which in a man in perfect health, by veins and arteries are spread and extended through the whole body, and hence it is that the whole body is capable of pain; but in dying bodies we see that by pauses and degrees those parts which are furthest removed from the heart become cold, and being deprived of natural heat, all the pain which they feel is that they do feel no pain.  Now, even as, ere the sick be aware, the vital spirits have withdrawn themselves from the whole extension of the body to succour the heart (like distressed citizens which, finding their walls battered down, fly to the defence of their citadel) so do they abandon the heart without any sensible touch; as the flame, the oil failing, leaveth the wick, or as the light the air which it doth invest.  

– William Drummond of Hawthornden, from A Cypress Grove (London: Hawthornden Press, 1919, reprinting the original edition of 1623)