Medusa 1959

Frank Mason made this painting of Medusa sometime in the 20th century with oil on canvas, and what strikes me is the way he's used a dark palette, punctuated with these bursts of fleshy tones, like a bruise blooming on skin. It feels very visceral, like you could almost smell the oil paint, that slightly acrid tang. Look how the thick, almost frantic brushstrokes build up the texture, especially in her hair – or should I say, the snakes. Each stroke feels like a decision, a writhing mark that contributes to this overall sense of horror and fascination. Notice the stark contrast between the rough, almost chaotic rendering of the snakes and the smoother treatment of her skin, creating a tension that mirrors the myth itself. It’s like Caravaggio and Goya had a baby. There is a shared dramatic use of light, but also the psychological intensity of someone like Goya. Like so much great art, this piece is about the ongoing conversation between artists across time.