Articles and Reviews
I have had reviews of my work from over 35 different art critics with some of the reviews being included in various magazines and newspapers such as Art News, Art New England, New York Sun, and the Phoenix, to name a few.
Following is a review that was written on October 18, 2009 by Phillip Isaacson:
SMALL, YET BIG AND ABUNDANT
"New Small Paintings" is the title of William Manning's show at Jameson. Like all of his painting, it embodies his engagement with Monhegan. There is no direct recitation of the physical space, although one is clearly implied. Instead, it is an account of his deliberations about a far island that is as resolute as he is. The work is abstract, often visually raucous and sometimes nearly violent. The turbulence lies in the colors, as does the painter's genius. In the depth of his imagination of the subject, Manning walks with the masters. In this show and often during his career, he has used melodious color as a counteractive to the combative and has made it work. It brings his colors into balance. There is a point in each work in which the colors accede to one another, but warily so. This tension added to the aggressive blocks of form characteristic of Manning's work produces another and higher degree of tension. I have used the word animation frequently in this column, but it is never more apparent than in Manning's paintings. It refuses to lie down. Small is a relative term, but in this body of his work it is applicable solely to the size of his support, be it canvas or panel. In every other respect, these are very big and emotionally abundant paintings. It is a great pleasure to see them."
Phillip Isaacson had been writing about the arts for the Maine Sunday Telegram for over 48 years.
Following is a review that was written on October 18, 2009 by Phillip Isaacson:
SMALL, YET BIG AND ABUNDANT
"New Small Paintings" is the title of William Manning's show at Jameson. Like all of his painting, it embodies his engagement with Monhegan. There is no direct recitation of the physical space, although one is clearly implied. Instead, it is an account of his deliberations about a far island that is as resolute as he is. The work is abstract, often visually raucous and sometimes nearly violent. The turbulence lies in the colors, as does the painter's genius. In the depth of his imagination of the subject, Manning walks with the masters. In this show and often during his career, he has used melodious color as a counteractive to the combative and has made it work. It brings his colors into balance. There is a point in each work in which the colors accede to one another, but warily so. This tension added to the aggressive blocks of form characteristic of Manning's work produces another and higher degree of tension. I have used the word animation frequently in this column, but it is never more apparent than in Manning's paintings. It refuses to lie down. Small is a relative term, but in this body of his work it is applicable solely to the size of his support, be it canvas or panel. In every other respect, these are very big and emotionally abundant paintings. It is a great pleasure to see them."
Phillip Isaacson had been writing about the arts for the Maine Sunday Telegram for over 48 years.
