From the catalogue of Wendy Artin's exhibit at Gurari Collections, Boston, October-November 2001, this essay by the well-known artist, Eric Fischl, is eloquent:

"From the moment I first saw Wendy Artin working I knew I was watching something extraordinary. It is not often, as an artist, that you see another artist's work and think this is something you couldn't do. Mostly you think you could do it but you don't want to. With Wendy it was different. She was doing something I very much want to do but can't.

 I have never seen such grace, such sureness, so much sexy pleasure from the hand of a living artist. It is hard for the lay person to comprehend the difficulty she has mastered in her life-drawings. The complexity of forms of the human figure is well known and the mark of a talented artist, like that of the exceptional athlete, is the appearance of ease with which they execute the task. No one could know from looking at Wendy's watercolors that these remarkable figure studies were done within the three minutes the model holds the pose. To watch her work is to watch a master. She gets all the anatomy, all the movement, and as well, imbues her subjects with a luminosity that is the special light of Rome. Her gift is this illumination, this glow, that animates the human form and argues for its divine creation."

Another insightful commentary by April Gornik, in the October-November 2001 catalogue for Wendy Artin's exhibit at Gurari Collections:

Many people draw, and draw well, with charcoal, watercolor, pencil, ink; but few people draw well with paper itself. The ability of an artist to allow the paper to afford light to a subject is one of the great underused aspects of contemporary drawing. When it happens, it means that the artist is seeing the subject within the space of the paper itself, which is a potentially deep and lively space, as Wendy Artin proves in her masterful work. This quickened sense of the paper-as-light, manipulated by the shadow and volume of her watercolors or charcoals, make her work alive like few other artists'. Whether flesh, stone, or landscape is being depicted, the sheer pleasure of weight and shadow and volume resonating in her materials is a dream come true for another artist like myself, a kind of realism that compels delight and wonder."

(Continued Here)