‘Glenn Brown’s art is based on his versatile and unpredictable methods of appropriation, taking up and transforming the distinct individual styles which he finds mostly amongst selected European Old Masters. While he is best known for his paintings and sculptures, he has lately begun to add drawing as an autonomous form of expression to his repertoire, as the present publication strikingly shows. In drawings produced since 2013, artists of the Renaissance, Mannerism, the Baroque, the Rococo, Neoclassicism and French Romanticism have served as starting points for Brown’s eminently variable linear transformations. (…)
Throughout, Brown refrains from the gestures of the Old Masters in his drawings. He is no copyist who merely traces his templates like a slave. When he gradually appropriates the motif and style of a given drawing, or more precisely, its reproduction, the source receives a new interpretation.
Brown creates a calculated, but also passionately radical mannerism that is completely his own, defined by the artful translation and exaggeration of found stylistic characteristics and artistic expressions. What shines through in his work is the absurd, even monstrous, and at the very least grotesque, qualities that each possible style harbours.’
A. Schalhorn, ‘Calculation and Passion: On the Drawings of Glenn Brown’, in Glenn Brown: Dessins, Galerie Max Hetzler, Paris; Berlin: Galerie Max Hetzler and Holzwarth Publications, 2015, pp. 61–5