If Anderson's paintings have contemporary affinities in practices (especially with that of Peter Doig, his former teacher), the theoretical contexts they
summon are well - rooted — in particular those teleological forecasts about the relationship between his chosen genres as articulated by critics including Kenneth Clark and Clement Greenberg; the latter wrote, in 1949, of the evolutionary conundrum whereby French painting «was brought to the verge of abstraction in and by its very
effort to transcribe visual experience with ever
greater fidelity.»