John Gundelfinger is more complex since his color painting of particularly bilious and noxious ranges—on purpose—end up about bosky landscape painting. The technique employs the vicissitudes of lyric abstraction but throws it into the tradition of the loose monotype landscapes of Degas’ and Monet’s acidulated views of Westminster Bridge and the Ducal Palace in Venice. In both, the problem, for me at least, is the confrontation between the historical location—late Impressionism—of the image vis-à-vis the vernacular of recent wrinkles in field painting. In both, it is the history which is more beautiful than the actuality.

—Robert Pincus-Witten