▁by ▁the ▁h ed ges ▁of ▁M ét is - sur - Mer ▁and ▁painted ▁in ▁a ▁p alette ▁of ▁gre ens , ▁aqu a - bl ues , ▁and ▁cre ams — have ▁been ▁li ken ed ▁to ▁p ared - down ▁lo aves ▁and ▁pod s , ▁monument al ▁so fa ▁c ush ions ▁and ▁" mod ern ist ▁modules ." The ▁New ▁York er . ▁" This ▁Is ▁Not ▁About ▁Land s cape ," ▁August ▁ 4 , ▁ 2 0 0 8 . M aine , ▁Stephen . ▁" A ▁Wild ▁Hor izon ," ▁The ▁New ▁York ▁Sun , ▁July ▁ 5 , ▁ 2 0 0 7 . ▁The ▁ambigu ity ▁of ▁the ▁minimal ▁forms ▁took ▁Bel court ' s ▁work ▁in ▁an ▁intention ally ▁un resol ved , ▁occasionally ▁com ical ▁direction ▁that ▁Art ▁in ▁America ▁labels ▁" ab stra ction ▁sh ading ▁into ▁fig uration " ▁and ▁Time ▁Out '' ▁terms ▁" visual ▁version ( s ) ▁of ▁Z en ▁ko ans "; ▁these ▁reviews ▁draw ▁par alle ls ▁in ▁the ▁work ▁to ▁artists ▁as ▁diverse ▁as ▁Gust on , ▁De ▁Ch ir ico ▁and ▁Richard ▁Ser ra . ▁ ▁Later ▁painting ▁ ▁Crit ics ▁note ▁a ▁greater ▁degree ▁of ▁spatial ▁effects ▁and ▁figure - ground ▁contradict ions ▁in ▁Bel court ' s ▁later ▁work , ▁achieved ▁through ▁subt le ▁sh ifts ▁in ▁tone , ▁color ▁and ▁light ▁and ▁more ▁exp ans ive ▁forms ▁and ▁compos itions ▁that ▁confl ate ▁landscape , ▁city s cape ▁and