Roseland 1959

Milton Resnick’s ‘Roseland’ seems to have materialized from pure painting energy, layers of color blooming into form. I can imagine Resnick in his studio, wrestling with the canvas, pushing paint around until something emerges from the chaos. There's this yellow section at the bottom that feels like a ground, maybe some long grass. You know, painting is such a physical act. It’s about the push and pull of the brush, the texture of the paint, the way colors vibrate against each other. Look at those reds and greens – they're almost fighting for space, creating a visual tension that keeps your eye moving. It’s like he’s having a conversation with other painters, like de Kooning or even Monet, but in his own language. Ultimately, painting is a conversation across time, inspiring each other to see the world in new ways. It's not about answers, but about embracing the questions and uncertainties.