In Painting Sixteen the artist evokes the meditation that is the precursor to any work of artistic integrity. Sculpture, literature, painting and architecture are elicited in the painting. The massive solidity of Michelangelo’s unfinished Slaves is suggested in the main figure; perhaps a poem or the first page of a novel that will swell to become Hugo’s Hunchback lies curled upon the floor. The grotesquerie of flesh suggests Soutine or Groszman. The painting propped on the window sill is of a cityscape which might have been painted by Dufy or O’Keefe. The fiery orange of the far wall reminds us that Rodin’s Thinker originally brooded over The Gates of Hell.