It\u2019s a marked change of pace, then, in both physical scale and historical perspective, to see \u201cCabinet Pictures,\u201d the new show devoted to the kind of small paintings<\/a> kept since the Renaissance in private rooms to be seen by a handful of viewers. On view are nearly four dozen paintings by 10 artists, none exceeding 15 inches across, and arranged in groups on six different colored walls, across the ground and second floors. <\/p>\n Each artist is represented by multiple works spread across the display walls, and each wall presents the artists in a slightly different order, so that going from wall to wall is like shuffling and reshuffling a deck of cards. Each wall invites close, deliberate viewing.<\/p>\n News Roundups<\/p>\n By signing up, you agree to our\u00a0Terms of Service<\/a>\u00a0and\u00a0Privacy Policy.<\/a><\/p>\n \u201cCabinet Pictures\u201d at the Power Station packs a lot of artwork into a small wall space.<\/p>\n The Power Station<\/p>\n The upstairs red wall, however, offers a different experience. There, 13 works hang closely together in a dense salon-style<\/a> cluster (as opposed to the single row more common in the modern era), and one\u2019s eye can move rapidly in all directions, apprehending how the paintings fit together.<\/p>\n Aside from the ravishing works of Dallas-based Marjorie Norman Schwarz<\/a> (who has some larger, door-sized works up at the moment across town at 12.26<\/a>, for comparison), the artists hail from far and wide, with similarly disparate styles and media. <\/p>\n What unites them is that they make work to a cabinet scale \u2014 just as would have been the case in a historical cabinet, where works were chosen to please a collector\u2019s eye rather than illustrate an art-historical thesis. According to curator Rob Teeters, the works share \u201ca common consistency of maintaining a high level of attention to the craft of the painted picture.\u201d<\/p>\n Louis Eisner’s detailed works, such as the 2025 oil painting “The Worship of Venus,” are among the exhibition’s highlights.<\/p>\n The Power Station<\/p>\n The wonderfully detailed oil-on-copper paintings by Louis Eisner recall the heyday of the cabinet in their old-fashioned medium<\/a>. Eisner\u2019s high level of contrast and sharp white background stand out when placed next to darker, more shadowy works by other artists. Nate Antolik\u2019s much more muted still lifes, for instance, are right out of the quiet, introverted playbook of Giorgio Morandi (who is quoted in the announcement).<\/p>\n A similar range in tonality makes for dramatic side-by-side comparisons between, on the lighter side, Ellen Siebers\u2019 pale figure studies and the late Pat de Groot\u2019s gray Provincetown ocean views, and on the darker side, Karol Palczak\u2019s dusky still lifes and Nicholas Bierk\u2019s moody landscapes, which recall George Inness and 19th-century American Luminism.<\/p>\n In texture as well, there is a contrast between the goopy, frosting-thick impasto surfaces of Joanna van Son\u2019s portraits, which evoke a painterly tradition<\/a> of sensuous pleasure, and Yui Yaegashi\u2019s minimal, anti-illusionistic brushwork, which plays on the canvas itself in the manner of Robert Ryman.<\/p>\n Despite the stimulating contrast with the bright, open industrial space of the Power Station, viewing the show is otherwise a lot like being in a cabinet. No labels, no wall texts and (on my recent visit) no other visitors to get in the way of an exciting, almost scandalous closeness with the artworks. It\u2019s a pleasure \u2014 the opposite of being jostled by tourists in an overcrowded museum.<\/p>\n Jer\u00f3nimo Elespe’s 2020 oil painting “Soberana” is among the works on display at the Power Station in Expo Park.<\/p>\n Benjamin Lima<\/p>\n The show is well worth seeing, although \u2014 viewer beware \u2014 it is not necessarily easy to get in the door. Obtaining basic information (phone number, opening hours, closing date) required some effort, with the website listing outdated or inaccurate information, to the extent that it almost seems more of a quasi-public exhibition than a public one.<\/p>\n To be sure, the question of what, if anything, private art foundations owe the public is a long-standing one, in Dallas<\/a> and elsewhere<\/a>. It is much easier to simply create a private foundation, with all its advantages, than to go to the considerable trouble needed to make it accessible to the public. Still, for those who manage to get inside, the experience is rewarding.<\/p>\n Details<\/p>\n \u201cCabinet Pictures\u201d is on view at the Power Station, 3816 Commerce St., through Feb. 28. Saturdays from noon to 5 p.m. and by appointment through info@powerstationdallas.com<\/a>. Free. <\/p>\n \u201cCabinet Pictures\u201d features nearly four dozen paintings by 10 artists.<\/p>\n The Power Station<\/p>\n![\"\u201cCabinet](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/NHVAXQWP65FZJK6FQTAS5T6VCE.jpeg\")
<\/p>\n![\"Louis](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/SOAT5MMRTVC57B7LP4OPT5U2DM.jpeg\")
<\/p>\n![\"Jer\u00f3nimo](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/AGTRZHHQ3NF45AQXOVDHGHHMCU.jpg\")
<\/p>\n![\"\u201cCabinet](\"https:\/\/www.europesays.com\/us\/wp-content\/uploads\/2025\/11\/5D7XEUC26BHPZOBJR63M2N5D7Y.jpeg\")
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