Not only are there real likenesses of composition and palette in the tipped, compressed space and smoky, brooding hues of both painters' work, but also both Beckmann and Braque make their delight in paint as a seductive, intensely physical substance an important part of what their pictures are about; their still lifes are as much celebrations of their pleasure in the responsive viscousness
of oil paint as they are images of quotidian objects.
The problem is not only the progressivism of this line, she argues, but more insidiously, a "deeply rooted fear of liquidity, of viscousness
, of goo." "The fear of flow," in short, "underlies the wish for painting's end." She hardly needs to inquire "Whose goo and flow?" Thickened, juicy, runny or congealed: worked pigment conjures tactile intimacy and messy pleasures that trouble the champions of firm boundaries, smooth surfaces, high-tech clarity and control.