Peter Fuller, Art Monthly, March 1980 I discover that at the level of ideas we have much in common. He (Cornell) is a Feuerbachian, ‘humanist’ socialist, who clearly believes in the significance of a utopian, affective vision of aesthetic practice… The problematic he...
Alan Wallach, Arts Magazine, February 1980 Cornell aspires to a type of history painting rooted in classical tradition and yet applicable to contemporary life. Such an ambition defies recent art history. Hence the problem Cornell faces: to breathe life into tradition...
Ruth Weisberg, Artweek, December 8, 1979 What works best for Cornell, I think, is the paradox of his refined, natural, classic (never neoclassic) style coupled with primal, sometimes orgiastic subject matter… This exhibit is a wonderful opportunity to view work by a...
Hilton Kramer, The New York Times, November 30, 1979 Mr. Cornell’s forte is a certain kind of shimmering, almost immaterial light, in which the very atmosphere is rendered as thin veils of color…he has captured it with notable success in his own...
John Canaday, The New York Times, January 15, 1972 As a master of traditional techniques in etching and lithography at their purest, Mr. Cornell must have few peers today. Since he is also a correspondingly proficient draftsman and a determined humanist, he gets a...
