The
circular red ribs that make up the urn - like
form of Cherubini's «Morning Star» reflect the looping vase handles and linear flowers in Nichols's still lifes; the figure / field spatial disparity in Bischof's «Omi im Bregenzer Wald» is also found in Trudy Benson's «Yes, and...» from 2014 (evidently a play on Yes, but..., Dore Ashton's
classic study of Philip Guston's late work, published in 1976), where beads of yellow paint resembling wads of chewed - up chewing gum seem to drift above a receding gray and green field, which is bordered in peach - and - gray shards intersecting with black - and - white stripes.