David Amico appears to be as intent upon avoiding a singular style in his work as he is upon establishing a singular sensibility. His commandeering of a multiplicity of styles from painting to painting—or even within a single painting—functions to support an unabashedly romantic attitude of mind which is capable of revealing itself in any number of ways. While only rarely quoting directly (and then, more often than not, only from popular culture, bastion of image replication), Amico chooses styles that draw on a lengthy romantic lineage, from Caspar David Friedrich to Paul Gauguin, from “Modern