“Two roads diverged in a yellow wood,” wrote Robert Frost, famously. Could he have been thinking of the yellow wood of “The Aspen Chapel,” featured as the April image in the Thomas Kinkade 2012 calendar? Clearly we have two paths—the familiar unpaved country road on the right-hand side and the sweetly babbling brook on the left. But why two paths, from a painter who has previously perfected and fetishized the depiction of the single charming path? Is there a man vs. nature duality theme here? Is there meaning to the fact that, pictorially speaking, the road gets abruptly cut off by the right end of the frame, while the brook is allowed to fade mysteriously into a mist? Fortunately this is Kinkade, so we can be confident that the answer to these and any other deeper questions is: “meh.” In all likelihood, one of Kinkade’s marketing execs accidentally brushed against his shoulder while he was firing off this image, knocking it off-center. READ MORE

March’s image is titled “A Peaceful Time.” And indeed it is a peaceful time for you, because you are not the unfortunate owner of this cottage. Take a look at it. While there's certainly much to recommend it as a residence—the picturesque location, the flowers so lush you could eat them—this level of immaculate rusticity is surely financially ruinous to maintain. When a stone wall requires repair, the owner cannot simply summon a mason, but must instead ask the Historical Society to appoint an art restorer. The savings that would ordinarily go toward the kids' college fund instead must go to updating the plumbing. I count one, two, three, four, five wisps of smoke, which means five fireplaces, and five fires that need constant tending to. (This does not include the kitchen table nor the living-room furniture, which also appear to be on fire.) READ MORE

This month's painting is all about journeys. READ MORE

“Formulaic.” “Schlocky.” “Tremendously successful.” These are some of the epithets that are routinely directed toward painter Thomas Kinkade by the cultural elitists in the current art and media establishments. But has anybody really taken a deep look at Kinkade’s work? You can dismiss his work as cheesy sentimentalism, but hey—can you name any other fine artist who has so thoroughly dominated the intellectual territory between Lids and Things Remembered? I didn’t think so. In an effort to plumb the complexities of Kinkade's work, each month I'll be discussing a page from his 2012 “Painter of Light” calendar. Let’s start with January, the month that Kinkade—slyly—has chosen to lead off with. READ MORE